大学英语教案unit1 period1-2
Periods 1-2
I. Teaching Content:
Listening and Speaking: Unit 1 Family
II.Teaching Aims:
1.Knowledge aims
(1)Grasp important words and phrases
Award；conservationist；environmentalist；film ；take after
(2)Have a better understanding of family.
2.Ability aims
Improve their ability of listening and speaking.
3.Emotional aims
Get more interested in English studying.
Combine English learning with daily life and arouse students’interest in learning English.
III.Teaching Important and Difficult Points:
(1)To grasp important words and phrases such as award; conservationist; environmentalist; film; take after.
(2)To train students grasp the main idea and details of the passage listened.
IV.Teaching Methods:
https://www.360docs.net/doc/002276736.html,municative method;
Task-based method;
2.Teaching aids: Multi-media, blackboard.
V. Teaching Procedures:
Step 1: Greeting/ Organize the Class
Greet students.
Step 2: Review/Revison
Step3: Presentation
1.Introduction of pronunciations and meanings of the new words and phrases.
2. Lesson A A Famous family
1)Listen for gist
To give the students some background information, the teacher should have students look over the picture and read the captions. Ask them to raise their hands if they've
heard of Jacques Cousteau or any of his family members. Elicit predictions about how Jacques Cousteau and Alexandra Cousteau are related. The aim of the first listening is to catch the main idea of the material.
2)Listen for details
Point out that they need to match the years with events.
3.Lesson B Brazil’s Changing Families
1）Pre-listening task
Read the following question and discuss with a partner.
In what ways has the makeup of the Brazilian family changed in recent times?
2)Listen for gist.
Listen to the recording once and answer the questions on the book. Tell students that they are going to listen to how family size in Brazil is changing.
3)Listen for details
To help students achieve maximum understanding of the material.
Step 4: Consolidation
Ask students to tell the main ideas of each material.
Step 5: Assignment/ homework
Ask students to review the important words and phrases .
VI.Teaching Reflection
Students’ listening ability is not very good, they need a lot of practice to improve listening and speaking. The teacher should do more practice.
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We all listen to music according to our separate , for the sake of analysis, the whole listening process may become clearer if we break it up into its component parts, so to certain sense we all listen to music on three separate lack of a better terminology, one might name these: 1) the sensuous plane, 2) the expressive plane, 3) the sheerly musical only advantage to be gained from mechanically splitting up the listening process into these hypothetical planes is the clearer view to be had of the way in which we listen. The simplest way of listening to music is to listen for the sheer pleasure of the musical sound is the sensuous is the plane on which we hear music without thinking, without considering it in any turns on the radio while doing something else andabsent-mindedly bathes in the kind of brainless but attractive state of mind is engendered by the mere sound appeal of the music. The surprising thing is that many people who consider themselves qualified music lovers abuse that plane in go to concerts in order to lose use music as a consolation or an enter an ideal world where one doesn’t have to think of the realities of everyday course they aren’t thinking about the music allows them to leave it, and they go off to a place to dream, dreaming because of and apropos of the music yet never quite listening to it. Yes, the sound appeal of music is a potent and primitive force, but you must not allow it to usurp a disproportionate share of your sensuous plane is an important one in music, a very important one, but it does not constitute the whole story. The second plane on which music exists is what I have called the expressive , immediately, we tread on controversial have a way of shying away from any discussion of music’s expressive not Stravinsky himself proclaim that his music was an “object”, a “thing”, with a life of its own, and with no other meaning than its own purely musical existenceThis intransigent attitude of Stravinsky’s may be due to the fact that so many people have tried to read different meanings into so many knows it is difficult enough to say precisely what it is that a piece of music means, to say it definitely to say it finally so that everyone is satisfied with your that should not lead one to the other extreme of denying to music the right to be “expressive”. Listen, if you can,to the 48 fugue themes of Bach’s Well-tempered to each theme, one after will soon realize that each theme mirrors a different world of will also soon realize that the more beautiful a theme seems to you the harder it is to find any word that will describe it to your complete , you will certainly know whether it is a gay theme or a sad will be able, on other words, in your own mind, to draw a frame of emotional feeling around your study the sad one a little closer. Try to pin down the exact quality of its it pessimistically sad or resignedly sad; is it fatefully sad or smilingly sadLet us suppose that you are fortunate and can describe to your own satisfaction in so many words the exact meaning of your chosen is still no guarantee that anyone else will be need they important thing is that each one feels for himself the specific expressive quality of a theme or, similarly, an entire piece of if it is a great work of art, don’t expect it to mean exactly the same thing to you each time you return to it. The third plane on which music exists is the sheerly musical the pleasurable sound of music and the expressive feeling that it gives off, music does exist in terms of the notes themselves and of their listeners are not sufficiently conscious of this third plane. It is very important for all of us to become more alive to music on its sheerly musical all, an actual musical material is being intelligent listener must be prepared to increase his awareness of the musical material and what happens to must hear the melodies, the rhythms, the harmonies, the tone colors in a more conscious above all he must, in order to follow the line of the composer’s thought, know something of the principles of musical to all of these elements is listening to the sheerly musical plane. Let me repeat that I have split up mechanically the three separate planes on which we listen merely for the sake of greater clarity. Actually, we never listen on one or the other of these we do is to correlate them—listening in all three ways at the same takes no mental effort, for we do it instinctively Perhaps an analogy with what happens to us when we visit the theater will make this instinctive correlation the theater, you are aware of the actors and actresses, costumes and sets, sounds and these give one the sense that the theater is a pleasant place to be constitute the sensuous plane in our theatrical reactions. The expressive plane in the theater would be derived from the feeling that you get from what is happening on the are moved to pity, excitement, or is this general feeling, generated aside from the particular words being spoken, a certain emotional something which exists on the stage,that isanalogous to the expressive quality in music. The plot and plot development is equivalent to our sheerly musical playwright creates and develops a character in just the same way that a composer creates and develops a to the degree of your awareness of the way in which the artist in either field handles his material will you become a more intelligent is easy enough to see that the theatergoer never is conscious of any of these elements is aware of them all at the same same is true of music simultaneously and without thinking listen on all three planes. It is not surprising that modern children tend to look blank and dispirited when info rmed that they will someday have to “go to work and make a living”. The problem is that they cannot visualize what work is in corporate Americ a. Not so long ago, when a parent said he was off to work, the child knew very well what was about to happen. His parent was going to make something or fix something. T
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新标准大学英语5~6课文原文
It was a horrible joke, but Doc Daneeka didn't laugh until Yussarian came to him one mission later and pleaded again, without any real expectation of success, to be grounded. Doc Daneeka snickered once and was soon immersed in problems of his own, which included Chief White Halfoat, who had been challenging him all that morning to Indian wrestle, and Yossarian, who deciede right then and there to go crazy. "You're wasting your time," Doc Daneeka was forced to tell him. "Can't you grant someone who's crazy?" "Oh, sure. I have to. There's a rule saying I have to graound anyone who's crazy." "Then why don't you ground me? I'm crazy. Ask Clevinger." "Clevinger? Where is Clavinger? You find Clevinger and I'll ask him." "Then ask any of the others. They will tell you how crazy I am." "They are crazy." "Then why don;t you ground them?" "Why don't they ask me to ground them?" "Because they're crazy, that's why." "Of course they're crazy," Doc Dneeka replied. "I just told you they are crazy, didn't I? And you can;t let crazy people decide whether they are crazy or not, can you?" Yossarian looked at him soberly and tried another apporach."Is Orr crazy?" "He sure is,"Doc Daneeka said. "Can you ground him?" "I sure can. But first he has to ask me to. That's part of the rule." "Then why doesn't he ask you?" "Because h's crazy," Doc Daneeka said. "He has to be crazy to keep flying combat mission after all the close calls he's had. Sure, I can ground Orr. But first he has to ask me to." "That's all he has to do to be grounded?" "That's all. Let him ask me." "And then you can ground him?" Yossarian asked. "No, then I can't ground him." "You mean there's a catch?" "Sure there's a catch," Doc Daneeka repled. "Catch-22. Anyone who wants to get out of combat duty isn't really crazy." There was only one catch that was Catch-22, which specified that a concern for one's own safety in the face of dangers that were real and immediate was the process of a rational mind. Orr was crazy and could be frounded. All he had to do was ask; and as soon as he did, he would no longer be crazy to fly more missions. Orr would be crazy to fly more missions and sane if he didn't, but if he was sane he had to fly them. If he flew them he was crazy and didn't have to; but if he didn't want to he was sane and had to. Yossarian was moved very deeply by the absolute simplicity of this clause of Catch-22 and let out a respectful whitsle. “That’s some catch, that catch-22,” he observed. “It’s the best there is,” Doc Daneeka agree.