ACTIVE Skills for Communication 1: Student Text by Chuck Sandy

By Chuck Sandy

Energetic abilities for verbal exchange is a thrilling new three-level sequence that develops freshmen' talking and listening talents. Written by way of ELT experts Curtis Kelly and Chuck Sandy, with sequence advisor Neil J. Anderson, the sequence makes use of the energetic method of aid newbies develop into extra fluent, confident-and active-speakers of English. each one unit includes easy-to-follow, step by step actions that lead towards a huge conversing activity. The projects are according to real-life occasions and are designed to extend self-worth and foster optimistic attitudes in the direction of studying English.

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He is an angry man, but he is also vulnerable. We cannot forgive him, but suddenly we feel compassion for Cholly nonetheless. It is interesting to note that judges participating in our CLTL program often responded in a similar way. Cholly’s story compels them, they say, to see offenders appearing before their bench from a new perspective. Each offender has a richly complex story, the judges agree. Such complexity makes judgment difficult, but it deepens their sense of purpose. Such a reminder of the human complexity of experience itself raises questions about the perplexing relationship between mercy and justice, between compassion and judgment.

Language itself provides the medium or conduit for activating the imagination and for understanding both self and others. Language is our home, as the German philosopher Martin Heidegger suggested in 1947 in his ‘‘Letter on Humanism,’’ where he argued: Language is the house of Being. In its home man dwells. Those who think and those who create with words are the guardians of this home. (Heidegger, 1947, p. i) Language, as scaffolding for understanding, is not to be considered a shelter for protection, but a way to think and a place to grow.

Narrative language is embodied language, meaning that it is felt on the pulse of the reader as a fully human experience. What role the imagination plays in all this we will take up in more detail later, but we are here reminded of a quotation from Shakespeare’s Act 1 of ‘‘Midsummer Night’s Dream’’: And as imagination bodies forth The forms of things unknown, the poet’s pen Turns them to shapes and gives to airy nothing A local habitation and a name. (Shakespeare, 1937, p. 185) The difference between the language of a narrative story and the language of some other types of prose is, in one sense, the difference between embodied and disembodied writing.

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