Составитель: Микунис Наталья Семеновна — Заслуженный учитель РФ; Отличник народного просвещения; Член Координационного совета MELTA, ГБОУ города Москвы «Школа № 1208 имени Героя Советского Союза М.С. Шумилова»

JOHN JARMAIN   EL ALAMEIN 1 part

There are flowers now, they say, at El Alamein;
Yes, flowers in the minefields now.
So those that come to view that vacant scene,
Where death remains and agony has been
Will find the lilies grow –
Flowers, and nothing that we know.

So they rang the bells for us and Alamein,
Bells which we could not hear.
And to those that heard the bells what could it mean,
The name of loss and pride, El Alamein?
Not the murk and harm of war.
But their hope, their own warm prayer.

It will become a staid historic name,
That crazy sea of sand !
Like Troy or Agincourt its single fame
Will be the garland for our brow, our claim,
On us a fleck of glory to the end ;
And there our dead will keep their holy ground.

But this is not the place that we recall,
The crowded desert crossed with foaming tracks,
The one blotched building, lacking half a wall,
The grey-faced men, sand-powdered over all ;
The tanks, the guns, the trucks,
The black, dark-smoking wrecks.

So be it; none but us has known that land :
El Alamein will still be only ours
And those ten days of chaos in the sand.
Others will come who cannot understand,
Will halt beside the rusty minefield wires
and find there, flowers.

Alun Lewis GOODBYE

So, we must say Goodbye, my darling,
And go, as lovers go, for ever;
Tonight remains, to pack and fix on labels
And make an end of lying down together.

I put a final shilling in the gas,
And watch you slip your dress below your knees
And lie so still I hear your rustling comb
Modulate the autumn in the trees.

And all the countless things I shall remember
Lay mummy-cloths of silence round my head;
I fill the carafe with a drink of water;
You say 'We paid a guinea for this bed,'

And then, 'We'll leave some gas, a little warmth
For the next resident, and these dry flowers,'
And turn your face away, afraid to speak
The big word, that Eternity is ours.

Your kisses close my eyes and yet you stare
As though god struck a child with nameless fears;
Perhaps the water glitters and discloses
Time's chalice and its limpid useless tears.

Everything we renounce except ourselves;
Selfishness is the last of all to go;
Our sighs are exhalations of the earth,
Our footprints leave a track across the snow.

We made the universe to be our home,
Our nostrils took the wind to be our breath,
Our hearts are massive towers of delight,
We stride across the seven seas of death.

Yet when all's done you'll keep the emerald
I placed upon your finger in the street;
And I will keep the patches that you sewed
On my old battledress tonight, my sweet.

KEITH DOUGLAS “Vergissmeinnicht “1part

Three weeks gone and the combatants gone
returning over the nightmare ground
we found the place again, and found
the soldier sprawling in the sun.

The frowning barrel of his gun
overshadowing. As we came on
that day, he hit my tank with one
like the entry of a demon.

Look. Here in the gunpit spoil
the dishonoured picture of his girl
who has put: Steffi. Vergissmeinnicht.
in a copybook gothic script.

We see him almost with content,
abased, and seeming to have paid
and mocked at by his own equipment
that's hard and good when he's decayed.

But she would weep to see today
how on his skin the swart flies move;
the dust upon the paper eye
and the burst stomach like a cave.

For here the lover and killer are mingled
who had one body and one heart.
And death who had the soldier singled
has done the lover mortal hurt.

TIMOTHY CORSELLIS

NEWS REEL OF EMBARKATION

Where are you going to, laughing men?

For a holiday on the sea?

Laughing, smiling, wonderful men,

Why won’t you wait for me?

God, how I love you, men of my race,

As you smile on your way to a war;

How can you do it, wonderful face

Do you not know what’s before?

Laugh, laugh, you soldier sons

Joke on your way to the war

For your mothers won’t laugh at the sound of the guns

And the tales of the filth and the gore.

Smile and joke young sailor Jack

For it’s the self-same story:

There’ll be no jokes when you come back

And bloody little glory.

SIDNEY KEYES 

WAR POET

I am the man who looked for peace and found
My own eyes barbed.
I am the man who groped for words and found
An arrow in my hand.
I am the builder
Whose firm walls surround
A slipping land.
When I grow sick or mad
Mock me not nor chain me ;
When I reach for the wind
Cast me not down
Though my face is a burnt book
And a wasted town.

TIMOTHY CORSELLIS “DAWN AFTER THE RAID”

 Was it for this that we ached in the darkness

Not knowing that nearby

Another house had fallen

To the blast of the same bomb?

 Is it for this that bending we strived

And fought in other’s blood and other’s sorrow

To reach these mangled remains?

…We are the best of those remaining

We are the mellow and the hardened

And though our backs are hard of bending

Under aloofness our souls bend rending

The sorrow out of the bereaved father’s breast

Tearing it out and holding it in our own hands

Adopting it to our own bodies

Caring for the children we had never seen

JOHN JARMAIN   AT A WAR GRAVE

No grave is rich, the dust that herein lies
Beneath this white cross mixing with the sand
Was vital once, with skill of eye and hand
And speed of brain. These will not re-arise
These riches, nor will they be replaced;
They are lost and nothing now, and here is left
Only a worthless corpse of sense bereft,
Symbol of death, and sacrifice and waste.

Кузьменкова Юлия Борисовна, доктор культурологии

Профессор НИУ ВШЭ

При подготовке англоязычных проектов желательно, хотя бы в общих чертах, объяснять учащимся, как подобные проекты оформляются с учётом международных требований. Как известно, особенностью англо-американской традиции является повышенное внимание к форме, которая часто бывает важнее содержания. В целом формальные требования к построению научных проектов в России совпадают с зарубежными, но имеются и определенные различия. По структуре проекты аналогичны научным статьям и строятся по модели IMRC (Introduction-Method-Result-Conclusion), однако конкретное наполнение рубрик не во всем совпадает. Так, например, в отличие от российской традиции во введении к зарубежным проектам нет рубрик предмет \ объект, новизна и актуальность, а аннотация более жестко регламентирована в плане структурных элементов.

При составлении аннотации (abstract) обычно используется вышеуказанная модель, включающая введение (вводная фраза аналогичная нашей типа Современная наука…\ в настоящее время), цель, методы ее достижения, результат, вывод. Причем для краткости возможно объединение первых двух и оставшихся трех элементов в соответствующие предложения. Уточним, что название работы в аннотации не пишется и что характерные для наших заголовков уточнения (типа на примере…) нетипичны; эти уточнения вполне логично из заглавия перенести в аннотацию (например, акцент в работе делается на …).

В самом проекте присутствуют те же элементы в более развернутом виде. Во введении обычно обосновывается выбор темы (background, indicating the gap), затем следует постановка проблемы и ее значимость. Отметим, что, определив цель (general aim), конкретные пути ее достижения (objectives, tasks) обычно определяют единообразно — либо перечислением (infinitive\ noun\ gerundive structures), либо c помощью вопросительных предложений (research questions) — а затем указывают, зачем все это надо. Заметим, что relevant и актуальный или важный не синонимы; relevant – это прежде всего имеющий отношение к ч-л; актуальность может здесь передаваться как relevance, но обязательно в отношении ч-л, или через слова со значением centrality\ importance.

Далее, если в работе приводится лит. обзор, надо связать его с задачами: обосновать, почему выбраны именно эти источники и что конкретно дает почерпнутая из них информация, иначе это будет описание, а не попытки анализа. Методы, как правило, определяются спецификой проекта. Результаты и выводы часто разграничиваются: первый раздел представляет полученные данные без комментариев, а в заключении их соотносят с поставленными целями и дают оценку. Отметим, что при оценке полезности проделанной работы обычно избегают категоричности и не используют глаголов типа must или will.

Практика показывает, что при необходимости возможны инновации и различные отступления от данной схемы, однако все они обычно оговариваются \ обосновываются во введении.

FYI  Кузьменкова Юлия Борисовна — член координационного совета MELTA и постоянный член жюри конкурсов и фестивалей. Вы можете задать вопросы, обратившись к Юлии Борисовне по адресу: kuzmen11 [at] yandex [dot] ru

 https://dzen.ru/id/6302094d453ea516d43928e0
For those who are interested in the culture of English-speaking countries, or are preparing for the English Olympiads.

Call for subscriptions! You're welcome to subscribe

Its creator: Yudif Boyarskaya, English teacher at Moscow school 814, author of manuals and long-term author of the magazine “English” (Publishing House “The First September”), member of MELTA Coordination Council.

Each article is an interesting case that will help teachers in working with children who do not like reading books. Original presentation of country-specific, cultural information. The materials are also useful for Olympiads preparation, as they offer a lot of questions related to the general outlook on the topic of English-speaking countries.

Канал ПроАнглийский

https://dzen.ru/id/6302094d453ea516d43928e0
Для тех, кому интересна культура англоязычных стран, полезен тем, кто готовится к олимпиадам по английскому.

Подписывайтесь на  канал уникальных знаний!

Его создатель: Юдифь Боярская, учитель английского московской школы 814, автор пособий и многолетний автор журнала Еnglish (Издательский Дом 1 сентября), член Координационного Совета MELTA.

Каждая статья – интересный кейс, который поможет учителю в работе с не читающими книги детьми. Оригинальная подача страноведческой, культурологической информации. Материалы полезны для подготовки к олимпиадам, содержащих много вопросов связанных с общим кругозором по теме англоязычных стран.

Я использую Cinquain Poems для подготовки к перифразу темы и подбору синонимов/антонимов к словам в формулировке темы эссе. Эти слова помогают формулировать аргументы «за» и «против» и определиться со своим мнением.

Что такое a cinquain poem?

Синквейн — это методический прием, который представляет собой составление стихотворения, состоящего из 5 строк. При этом написание каждой из них подчинено определенным принципам, правилам. Таким образом, происходит краткое резюмирование, подведение итогов обсуждения. Синквейн является одной из технологий критического мышления, которая активирует умственную деятельность. Написание синквейна — это свободное творчество, которое требует от учащегося найти и выделить в изучаемой теме наиболее существенные элементы, проанализировать их, сделать выводы и коротко сформулировать, основываясь на основных принципах написания стихотворения.  

           Правила построения синквейна

Line 1: A noun (theme)

Line 2: Two adjectives/past participles describing the noun on Line 1;

Line 3: Three verbs ending with –ing

             that describe what the noun on Line 1 might

do;

Line 4: A phrase describing the noun on Line 1;

and

Line 5: A synonym of the word on Line 1

Рассмотрим на примере темы:  The school uniform is useless

Подберем прилагательные для того, чтобы выразить наши аргументы «за» (useful, purposeful

helping, saving, concentrating) и используем их для написания синквейна.

                             School uniform

useful, purposeful

helping, saving, concentrating-

a special thing in our life

helper

Подбираем прилагательные, подходящие для выражения мнения «против». Это, например,  purposeless, unpopular, boring, limiting, depressing. Пишем синквейн.

School uniform

purposeless, unpopular

boring, limiting, depressing-

an unnecessary thing in our life

clothes

Еще пример. Тема эссе: Humans will be replaced by robots

Вот прилагательные для выражения мнения «за»:  well-developed, controlled, replacing, untiring. Составляем синквейн.

                   Robots

well-developed, controlled

helping, replacing, untiring-

a necessary substitution in the future

hard worker

Ищем прилагательные, которые могут выразить негативное отношение к роботам: unintellectual, breakable, failing, unthinking, threatening. Синквейн может быть такой:

 Robots

unintellectual, breakable

failing, unthinking, threatening-

grave danger in the future

inanimate being

Рассмотрим еще один пример. Подберем прилагательные для эссе по таким темам:

IT technologies cannot provide successful teaching at schools.

IT technologies make an educational process more productive.

Мнения «за» нам помогут выразить прилагательные: useful, enjoyable, supporting, improving, assisting.

                         IT technologies

useful, enjoyable

supporting, improving, assisting-

a special methodology for learners

opportunity

Для мнения против будут полезны прилагательные:                 nontraditional, not serious, distracting, entertaining, unavailing. И вот наш синквейн:

                              IT technologies

Nontraditional, not serious

distracting, entertaining, unavailing-

ineffective approach

methodology

Еще несколько примеров.

Тема: Virtual Internet communication results in losing real-life social skills.

                Virtual Internet communication

                     convenient, available

                       helping, saving, supporting —

a beneficial thing in lockdown

rescue

                Virtual Internet communication

Impersonal, soulless

depriving, hiding, breaking —

the antithesis of face-to-face interaction

substitute

Тема: In any occupation discipline is more important than talent.

                                Discipline

crucial, urgent

organizing, forbidding, concentrating-

the way to work productively

code of behavior

                                 Talent

creative, resourceful

producing, generating, making –

fireworks without discipline

gift

by Boyarskaya Yudif.

Poetry… Verse… Rhyme…

There are as many definitions of poetry as there are poets. Wordsworth defined poetry as «the spontaneous overflow of powerful feelings;» Emily Dickinson said, «If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry;» and Dylan Thomas defined poetry this way: «Poetry is what makes me laugh or cry or yawn, what makes my toenails twinkle, what makes me want to do this or that or nothing.»
Poetry is a lot of things to a lot of people. Homer's epic, The Odyssey, described the wanderings of the adventurer, Odysseus, and has been called the greatest story ever told. During the English Renaissance, dramatic poets like John Milton, Christopher Marlowe, and of course, Shakespeare gave us enough to fill textbooks, lecture halls, and universities. Poems from the romantic period include Goethe's Faust (1808), Coleridge's «Kubla Khan» and John Keats' «Ode on a Grecian Urn.»

Shall I go on? Because in order to do so, I would have to continue through 19th century Japanese poetry, early Americans that include Emily Dickinson and T.S. Eliot, postmodernism, experimentalists, slam...

Perhaps the characteristic most central to the definition of poetry is its unwillingness to be defined, labeled, or nailed down. But let's not let that stop us, shall we? It's about time someone wrestled poetry to the ground and slapped a sign on its back reading, «I'm poetry. Kick me here.»

Poetry is the chiseled marble of language; it's a paint-spattered canvas — but the poet uses words instead of paint, and the canvas is you. Poetic definitions of poetry kind of spiral in on themselves, however, like a dog eating itself from the tail up. Let's get nitty. Let's, in fact, get gritty. I believe we can render an accessible definition of poetry by simply looking at its form and its purpose.

One of the most definable characteristics of the poetic form is economy of language. Carefully selecting words for conciseness and clarity is standard, even for writers of prose, but poets go well beyond this, considering a word's emotive qualities, its musical value, its spacing, and yes, even its spacial relationship to the page. The poet, through innovation in both word choice and form, seemingly rends significance from thin air.

…Poetry, unlike prose, often has an underlying and over-arching purpose that goes beyond the literal. Poetry is evocative. It typically evokes in the reader an intense emotion: joy, sorrow, anger, catharsis, love... Alternatively, poetry has the ability to surprise the reader with an Ah Ha! Experience — revelation, insight, further understanding of elemental truth and beauty. Like Keats said:

«Beauty is truth. Truth, beauty.
That is all ye know on Earth and all ye need to know.»

…Defining poetry is like grasping at the wind — once you catch it, it's no longer wind…

So what is poetry? Poetry is an art. Its medium is words.

POETRY – a type of writing that has rhyme, meter, imagery, condensed language& formal layout.

“…Do we really need poetry, or, for that matter, any of the arts? They may be desirable or even excellent, but are they of any practical use? Would it really matter if they did not exist?

The answer seems to be that man is an artistic animal, and as long as man exists so some form of art will exist. The human being must express his ideas and yearnings in some form of activity. The arts satisfy man’s emotional needs and his desire for beauty in all manifestations.

To return to poetry, we have to admit that when we wish to express some precious, tender emotion we instinctively turn to poetry. ... We recognize that it is the best way to express the best that is within us.”

To conclude, my favourite quote from my favourite movie “Dead Poets Society”.

«No matter what anybody tells you, words and ideas can change the world.»

«We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.»

«To quote from Whitman, 'O me! O life!.. of the questions of these recurring; of the endless trains of the faithless... of cities filled with the foolish; what good amid these, O me, O life?' Answer. That you are here — that life exists, and identity; that the powerful play goes on and you may contribute a verse. That the powerful play goes on and you may contribute a verse. What will your verse be?»