sábado, 16 de mayo de 2009

The Kite Runner (2003), by Khaled Hosseini





Read the following chapters from The Kite Runner, by Khaled Hosseini (Cometas en el cielo, 2003, Letras de bolsillo) and answer the questions:


1.Reference to Nature and plants is made in the language, such as “poplar trees”, “mulberries”, “walnuts”. On the other side, the animal kingdom is also shown in the mentioning of that one-eyed German shepherd. Can you give any reason why the two boys first appear together surrounded by such a natural environment? What does this tell us about them?

2.The two boys were motherless and fed from the same breast. Can you think of things they both could share in their childhood? What about things they couldn't share at all? In the novel it appeared the first word each of both boys said, Can you remember which word was first said by any of them and could you guess why that word would be important for them both in the future?


3.This novel is about friendship, lost and recovered friendship; about guilt and redemption. And about the good old times and how the mounting ethnic, religious, and political tensions began to tear a country, Afghanistan apart in the same way as at the kids' sphere, an unspeakable assault on Hassan by a gang of local boys would also separate them. It is not in the passages below. It would be advisable to read the whole novel by Khaled Hosseini to be able to answer this question properly, but even if you would not, Could you make a guess, by just reading the following passages, as to how the novel would develop?

When we were children, Hassan and I used to climb the poplar trees in the driveway of my father’s house and annoy our neighbors by reflecting sunlight into their homes with a shard of mirror. We would sit across from each other on a pair of high branches, our naked feet dangling, our trouser pockets filled with dried mulberries and walnuts. We took turns with the mirror as we ate mulberries, pelted each other with them, giggling, laughing. I can still see Hassan up on that tree, sunlight flickering through the leaves on his almost perfectly round face, a face like a Chinese doll chiseled from hardwood: his flat, broad nose and slanting, narrow eyes like bamboo leaves, eyes that looked, depending on the light, gold, green, even sapphire. I can still see his tiny low-set ears and that pointed stub of a chin, a meaty appendage that looked like it was added as a mere afterthought. And the cleft lip, just left of midline, where the Chinese doll maker’s instrument may have slipped, or perhaps he had simply grown tired and careless.

Sometimes, up in those trees, I talked Hassan into firing walnuts with his slingshot at the neighbor’s one-eyed German shepherd. Hassan never wanted to, but if I asked, really asked, he wouldn’t deny me. Hassan never denied me anything. And he was deadly with his slingshot. Hassan’s father, Ali, used to catch us and get mad, or as mad as someone as gentle as Ali could ever get. He would wag his finger and wave us down from the tree. He would take the mirror and tell us what his mother had told him, that the devil shone mirrors too, shone them to distract Muslims during prayer. "And he laughs while he does it," he always added, scowling at his son.

"Yes, Father," Hassan would mumble, looking down at his feet. But he never told on me. Never told that the mirror, like shooting walnuts at the neighbor’s dog, was always my idea.

The poplar trees lined the redbrick driveway, which led to a pair of wrought-iron gates. They in turn opened into an extension of the driveway into my father’s estate. The house sat on the left side of the brick path, the backyard at the end of it.
(.../...
Everyone agreed that my father, my Baba, had built the most beautiful house in the Wazir Akbar Khan district,
(.../...)
On the south end of the garden, in the shadows of a loquat tree, was the servants’ home, a modest little mud hut where Hassan lived with his father.

It was there, in that little shack, that Hassan was born in the winter of 1964, just one year after my mother died giving birth to me.
(.../...)
They called him "flat-nosed" because of Ali and Hassan’s characteristic Hazara Mongoloid features. For years, that was all I knew about the Hazaras, that they were Mogul descendants, and that they looked a little like Chinese people. School textbooks barely mentioned them and referred to their ancestry only in passing. Then one day, I was in Baba’s study, looking through his stuff, when I found one of my mother’s old history books. It was written by an Iranian named Khorami. I blew the dust off it, sneaked it into bed with me that night, and was stunned to find an entire chapter on Hazara history. An entire chapter dedicated to Hassan’s people! In it, I read that my people, the Pashtuns, had persecuted and oppressed the Hazaras. It said the Hazaras had tried to rise against the Pashtuns in the nineteenth century, but the Pashtuns had "quelled them with unspeakable violence." The book said that my people had killed the Hazaras, driven them from their lands, burned their homes, and sold their women. The book said part of the reason Pashtuns had oppressed the Hazaras was that Pashtuns were Sunni Muslims, while Hazaras were Shi’a. The book said a lot of things I didn’t know, things my teachers hadn’t mentioned.
(.../...)

Baba hired the same nursing woman who had fed me to nurse Hassan. Ali told us she was a blue-eyed Hazara woman from Bamiyan, the city of the giant Buddha statues. "What a sweet singing voice she had," he used to say to us.

What did she sing, Hassan and I always asked, though we already knew—Ali had told us countless times. We just wanted to hear Ali sing.
 
He’d clear his throat and begin:
On a high mountain I stood,
And cried the name of Ali, Lion of God.
O Ali, Lion of God, King of Men,
Bring joy to our sorrowful hearts.
Then he would remind us that there was a brotherhood between people who had fed from the same breast, a kinship that not even time could break.

Hassan and I fed from the same breasts. We took our first steps on the same lawn in the same yard. And, under the same roof, we spoke our first words.

Mine was Baba.

His was Amir. My name.

Looking back on it now, I think the foundation for what happened in the winter of 1975—and all that followed—was already laid in those first words.

(picked out from chapter two)

martes, 28 de abril de 2009

Squeeze (The X-Files) (1996), novel by Ellen Steiber


Read two of the last scenes from SQUEEZE (The X-Files), television series script that follows, created by Christ Carter, based on the teleplay written by Glen Morgan and James Wong, novel by Ellen Steiber and focuse on comprehension and vocabulary:


SCENE 14
(Scully is siiting in a room at the bureau. Tom comes in)
TOM COLTON: We have to talk.
SCULLY: I have to meet Mulder..
TOM COLTON: That's what we have to talk about. You're using two of my men to sit in front of a building that's been condemned for ten years?
SCULLY: It isn't in any way interferring with your investigation.
TOM COLTON: When we first had lunch, I really looked forward to working with you, you were a good agent, but now after Mulder, I couldn't have you far enough away. Don't bother going down there, I had the stakeout called off.
SCULLY: You can't do that.
TOM COLTON: No, I can't but my regional asat can, especially after I told them about the irresponsible waste in man hours.
(Scully picks up the phone but before she can phone Mulder, Tom takes the phone off her)
Auh-uh! Let me call Mulder, let me tell him the news.
SCULLY: Is this what it takes to climb the ladder Colton?
TOM COLTON: All the way to the top.
SCULLY: Then I can't wait `til you fall off and land on your ass.
(Tom phones Mulder)
[ MULDER'S ANSWER MACHINE ]
This is Fox Mulder, I'm not here, leave a message.
(Scully pulls up outside her apartment. From the darkness we can see the eyes of Tooms, watching. Scully walks from her car to her apartment block and Tooms sees it all in black and white)



SCENE 15
66 EXETER ST., 7:25 P.M.
(Mulder pulls up in his car)
MULDER: Where is everyone? Scully?
(Mulder has a quick look around and then runs and enters the building)
(Back at Scully's apartment)
[ MULDER'S ANSWER MACHINE ]
This is Fox Mulder, I'm not here, leave a message.
SCULLY: Mulder, you must've gone out since Colton gave us the night off, I say we file a complaint against him, I am furious. Call me when you get in, ok, bye.
(Scully is in her bathroom, after hanging up, she runs a bath. Scully walks out of the bathroom and outside the window we see Tooms reach up and feel the window)
(Meanwhile, Mulder is in the cellar below Tooms' apartment. As he looks at the table with the trophies, from the murders, he sees and recognises Scully's necklace)
MULDER: Dammit.
(Scully is back in her bathroom, she lifts a towel of the rack and goes over to the bath and turns off the taps. She lifts a small bottle from a shelf, she moves to the side of the bath to open it. As she opens it, a lump of bile falls from the ceiling and splashes on her hand. She breaths deeply, in shock, and then looks up at the vent in the ceiling, there is bile around one corner of it. Scully rushes out of the bathroom and looks for her gun in the apartment)
(Mulder is driving his car and using his phone)
MULDER: Dammit, ANSWER.
(We see that the phone line to Scully's apartment have been cut)
(Scully is moving about her apartment, with her gun, searching for Tooms. She enters a room and turns, pointing her gun at a small vent near the floor. As Scully turns away from the vent, a hand comes crashing through and grabs Scully's leg causing her to fall. We see the face of Tooms in the vent as well. Scully manages to grab hold of a door frame and pull herself from Tooms' grasp)
(Mulder pulls up outside Scully's apartment block)
(Tooms forces himself out through the vent and Scully, on the floor, backs off into the bathroom. Tooms gets up and follows her in and sits on her. Scully tries to hit Tooms but he blocks it, but she punches him with her other hand)
(Mulder races into the building)
(Scully pushes her thumbs into the eyes of Tooms, but he grabs her arms and pushes them to the floor above her head, exposing her stomach)
(Mulder breaks open Scully's door, and rushes in)
MULDER: SCULLY!
(Tooms, hearing Mulder, gets off Scully and breaks the bathroom window. Mulder comes into the bathroom and points his gun at Tooms. Scully gets up and grabs Tooms before he can get out the window, but Tooms grabs Scully by the throat and tries to choke her. As he does this, Mulder puts handcuffs on one of Tooms' wrists. Tooms elbows Mulder, knocking him to the ground, and turns to advance on him. Scully grabs the handcuffs, stopping him from getting closer to Mulder and then pulls the handcuffs to the bath taps. Scully feeds the handcuffs through the taps, Tooms tries to stop her, but Scully grabs his other hand and fastens it in the other handcuff. Mulder gets up and points his gun at Tooms, who is tugging at the handcuffs)
You alright?
(Scully is leaning against the wall, breathing heavily. She manages a nod of the head)
He's not gonna get his quota this year.
(Tooms stops pulling at the handcuffs and accepts defeat)
http://www.insidethex.co.uk/transcrp/scrp102.htm
1. Use your English and finish these expressions from the text
1.Interferring ….....
2.looking forward to ….........
3.don't bother.........................
2. Answer these questions in your own words:
4.If he had the stakeout called off, what had he done? …......................
5.As a result of calling the stakeout off, is Skully in any danger? Why? …..................
6.What does Mulder recognise among Toom's tropies? Why is he alarmed?........
7.Why is she in shock? ….........................
8.She manages to grab hold of a door frame, what does this move allows her? …......
9.Who does what?
Forces out through the vent:....... hits and punches:....................
blocks it:........................ pushes her thumbs into his eyes:......
rushes in:........................ tries to choke her...................
puts handcuffs on one of his wrists........ knocks him to the ground.............
pulls the handcuffs to the bath taps....... fastens it in the other handcuff.....

martes, 14 de abril de 2009

A story of a Mobile Phone (April, 2009)



1. Read the piece of writing closely and try to learn the terms in bold

2. Can you describe the young teenager who tells the story?
Analyse his language and point of view.
3. There is another point of view in the story, belonging to an adult this time.
Are you able to distinguish between this point of view and the teen's one?

The day my parents got me a mobile/cell phone I went mad with excitement. I was big enough to keep my own communication system going on: have my friends contacted every single minute of the day; receive surprise rings any moment; avoiding feeling alone ever; being able to disconnect from study any time… that was good. And what sounded even better, being told the answers at exams, taking photos of whoever I felt like photographing …It was as if I could grasp the whole world in my single hand.
I walked on down the street and on either side there were phone shops entreating me to buy the latest camera/mp3 player/mobile phone with more minutes per month than I could possible use. I was like everyone else now. Everywhere, people were sitting in parks, cafes, walking down the street, all with phones pressed against their ears. Eventually, I was exactly the same as them. I could talk non-stop. It was unnecessary envying all those who had the invisible headsets that make it impossible to distinguish them from the insane who argue with themselves in public. I also could look as if I were arguing with myself in public and that was also good.
I felt so sociable and secure that I needed my phone to ring twenty, thirty times a day -confirmation that there was someone on this planet who valued out existence, at least enough to press a few buttons and use up some of their monthly phone plan?
People thought beepers were the cool thing, the communication buzzers that added bulge to your jeans pockets. I didn’t mind comments on how they soon switched from risking testicular cancer to the more fashionable perils of brain tumours and there was no looking back, they said, which I did not mind at all, being young enough to watch health problems at a distance.
At times, I loved them with a passion. I’ve lost count of how many nonsense conversations have been interrupted by an insistent Nokia. The moment of seduction, offering condolences to the bereaved, an incredible sunset. That seemed funny to me. The best one I heard though was from an English woman who still shivered at the memory; she had been in church at the funeral of her husband’s aunt when she heard a phone ringing somewhere. Naturally, she assumed an indignant pout and started shooting silent glares around the pews. Who could be so gauche as not to turn off their phone before entering a funeral? The ringing stopped and then started again – clearly this was not a caller to be put off by an answering service.
By now even the vicar had halted his speech and hushed whispers were growing in volume within the acoustics of the old stone church. Suddenly she was seized by a growing panic as she realized that her handbag was shaking. She opened the flap and perceived in the same moment as the entire congregation that she was the culprit. She snatched the phone with shaking hands but as she had only bought it the week before she had no idea how to turn it off. With 500 pairs of eyes fixed menacingly upon her she fumbled with the buttons in vain. With each second her husband grew violently tense at her side.
Finally he did the decent thing and grabbed the phone from her now paralyzed hands, dropped it on the floor and stamped on it. That didn’t quite do the trick though and he was obliged to stand up and jump on the thing before silence was restored to the ceremony. Apparently no one saw the funny side and the vicar even rubbed it in with some stern words about propriety in the House of the Lord.
The experience hadn’t been so shocking to me… the moment when I was at my eldest brother’s violin concert, playing on a Mozart piece when it was heard the same Mozart piece ringing tone coming from my personal mobile phone. People stared at me contemptuously. My brother would hate me deeply, but I was so caught by the idea of pure chance in the coincidence of a Mozart performance being echoed by a Mozart ringing tone that couldn’t feel much upset.
Mobile phones are probably one of the best examples of how technology can change the nature of social interaction, even how we see the world. Try watching movies made before 1998 and you’ll see a hundred different plot twists that would never have arisen had one of the protagonists been carrying a phone. A killer white shark is stalking you on your broken down boat? Call the coast guard and he’ll have you air-lifted out of there in minutes.
Another example: Call round to see a friend by chance and watch the expression of shock on their face as they open the door – ‘but, but you didn’t call first to check I was in!’ Did we really used to spend that much time locked out or lost or just plain hanging around place in silence and – god forbid – thinking about things? I mean, I don’t remember kicking my heels every day and wishing for the invention of portable communication. But now that it was there…
Mobile phones are obviously excellent inventions that save lives and boost your social life if you don’t spend much time at home anyway. In theory you can turn them off before you go into the cinema or be like the Japanese who have them set only on vibrate so that they won’t offend anyone. Like any technology, if used responsibly there’s no problem, so they say. Why it is that I enjoy using it as irresponsibly as possible?
Possibly, because hello? Take a look around the planet – this is not a responsible species we’re talking about. It reminds me of the Calvin and Hobbes strip where Calvin says something along the lines of ‘Call this the 21st century? Where are the ray guns? The invisibility devices? Teleportation? I mean I still have to press the buttons on the remote control!’ That is sort of a limitation to me. Hobbes then observes that perhaps we could do with learning how to handle the technology that we already have. And this is interesting enough, isn’t it?
Often it seems to me that our techy devices just amplify the human condition rather than change anything in particular. We were always a feckless, dissatisfied people but channel surfing made it visible. The neighbourhood teenager was always angry and troubled but now his ghetto blaster let everyone know about it. I am being watched and observed most carefully, and this is a fact I couldn’t quite rate as positive, negative or just neutral. It doesn’t affect to me any more. While we’re on the subject nervous, whiny people shouldn’t be allowed to have dogs because that’s exactly the same thing.
The point being that the way we use mobile phones just makes visible our neurotic tendencies like scratching a pencil over a drawing in wax.. We were always this nervous and insecure. Only now we have the device to play with in public and stroke when no one is looking. Or so they say, because I've never been aware of being nervous or insecure myself.
The best thing about mobile phones though was observed by a friend of mine the other day. We were talking about getting phone numbers from girls and the whole drama of then calling them up. He remarked philosophically:
“The advent of mobile phones meant you never had to speak to a girl’s parents ever again. You always get through directly to her.”
Then again with caller ID, getting her to answer the damn thing is another story.
And I do like stories to be told.
This is a piece of writing coming from two sources: www.tomthumb.org/essays/phones.shtml -
And my own personal writing, Mari Carmen López Sanjuán

jueves, 5 de marzo de 2009

WOMEN POETS to celebrate March 8th, an International Women's Day



Women's Day is an important celebration for the achievements and gains made by women around the world. A major day of global celebration for the economic, political and social achievements of women. Let us remember two poet women for us to read today

Emily Dickinson Poems

I'm Nobody! Who are you? by Emily Dickinson I'm Nobody! Who are you?
Are you -- Nobody -- Too?
Then there's a pair of us!
Don't tell! they'd advertise -- you know!

How dreary -- to be -- Somebody!
How public -- like a Frog --
To tell one's name -- the livelong June --
To an admiring Bog!


Sample of Rosalía de Castro's Poetry

I was born with plants in blossom,
In a month when gardens grew,
In a dawn so very gentle,
In a dawn of April dew.
That’s the reason why I’m Rosa,
With a grin gone red with rue,
Bristling thorns for everybody
(Never, though, a thorn for you).
Since I fell in love (a thankless
Thing I did) life’s gone askew
And I let it go, believing
You my life and glory too.
Why then this complaining, Mauro?
Why the rage? You know it’s true—
If my dying made you happy,
Happily I’d die for you.
Still you stab me with a dagger
Spiked with curses. Not a clue
What it was you really wanted,
Crazy deeds you made me do!
All I had to give I gave you
In my hungering for you.
Now my shuttered heart I send you
With the only master key.
I’ve got nothing left to give you,
You’ve no more to ask of me.
From the original Galician "Nasín cand' as prantas nasen"




















NASÍN CAND' AS PRANTAS
NASEN ... I WAS BORN AT BIRTH OF
BLOSSOMS ...
Nasín cand' as prantas nasen,
No mes das froles nasín,
Nunha alborada mainiña,
Nunha alborada d'abril.
Por eso me chaman Rosa,
Mais á do triste sorrir,
Con espiñas para todos,
Sin ningunha para ti.
Dés que te quixen, ingrato,
Todo acabou para min,
Que eras ti para mín todo,
Miña groria e meu vivir.
¿De qué, pois, te queixas, Mauro?
¿De qué, pois, te queixas, di,
Cando sabes que morrera
Por te contemplar felís?
Duro cravo me encravaches
Con ese teu maldesir,
Con ese teu pedir tolo
Que non sei qué quer de min,
Pois dinche canto dar puden
Avariciosa de ti,

O meu coraçón che mando
C'unha chave para ó abrir;
Nin eu teño máis que darche,
Nin ti máis que me pedir.

viernes, 20 de febrero de 2009

Method on 1st Bachillerato Class


Picture from Wikipedia

Read the following text, by Descartes, and find

1. What is a method? How are its rules?
2. How different is following a method in learning, to follow
no method at all or to proceed just 'by chance' or 'at random'?
3. Synonyms of ‘by chance’ , and ‘at random’. Translate them into Spanish.
4. How could the activity of the mind 'be wasted' or 'thrown
away', according to the text?
5. Think of your own mental activity in the class. What does it
usually happen when you stop paying attention and start trying
something else, such as thinking about what you will be doing
after the class, about what you were doing before the class
or just about how you are looking out of the window
absentmindedly at that moment?


By Method (he says), I understand rules certain and easy, such as to prevent anyone, who shall have accurately observed them, from ever assuming what is false from what is true, and by which, with no effort of mind uselessly consumed, but always by degrees, increasing science, a person will arrive at a true knowledge of all those things which he will be capable of knowing.
In accordance with this declaration, it is manifest that procedure by a Method is a fixed procedure, for it is a procedure according to rule. It is thus opposed to procedure by chance or at random.
…/…
The cognitive power, by being thus limited to a determinate channel, is prevented from being wasted or thrown away in irregular exercise. The activity of the mind is subordinate to the realization of a given end; the mind itself has another rule that its own impetuosity. Descartes, therefore, to reach truth, and for the right conduct of the mind, that is, to prevent it from wasting its powers in capricious activity, instituted a Method.

Renée Descartes, “Introduction” in Discourse on Method, p XIV

From the above it follows that it would be recommendable to take some methodological steps in your daily thinking activity in the class :

1 Trust your own self-control ability
2 Be patient and constant
3 Focus on the activity you are doing (the opposite would be getting astray, which could be done as follows: By doing a bit of work on one subject different from the one you are attending at one given class period; by not paying attention; by talking to your classmates instead of drawing attention to the teacher or asking him about any doubts.
4 Do not look for immediate success, but listen attentively, since understanding will come over by means of close listening in the middle or long run. Comprehension seems only to arrive after listening, viewing and thinking a lot.
5 Be aware that time invested in study is a very good invested time.
6 Trying and applying what you already know to new fields will lead to the awakening of your love for knowledge.
Six ideas based on the 1st Course of Bachillerato Mathematics(2008), ANAYA

martes, 10 de febrero de 2009

Two trends in Shakespeare's Love Poems (Sonnets, 1609)


In one of them, Shakespeare seems to understand love as a kind of psychological link or attachment between two minds. In the second interpretation of love, he's chosen to look down on 'his mistress'.
If in the first case, his love's neither Time's fool, nor alterable by circumstances, in the second, he finds no nice metaphors he could use to compare her to. Love in Sonnet 116 does not alter, nor bend, like a fixed mark which guided on tempests and carried to the one who loved even to the end of doom. Conversely, in Sonnet 130, he finds his love as rare as any other possible love she would have compared it to.

1.Read both Sheakspeare's sonnets and try to compare them in your own words
2.Explain the special vocabulary that is applied to love and you consider interesting enough.

Love Sonnet 116
Let me not to the marriage of true minds
Admit impediments; love is not love
Which alters when it alteration finds,
Or bends with the remover to remove:
O, no, it is an ever-fixèd mark,
That looks on tempests and is never shaken;
It is the star to every wand'ring bark,
Whose worth's unknown, although his heighth be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come;
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

Love Sonnet 130

My mistress' eyes are nothing like the sun;
Coral is far more red than her lips' red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress, when she walks, treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
http://users.telenet.be/gaston.d.haese/shakespeare.html