Lesson 2 The Location and History of Hainan

外研版高中英语必修三Module2_Developing_and_developed_countries课件

Find out the places above in the
mIcealapnd. Sweden
Norway
the Netherlands Germany
France
the US
the UK
Japan
Australia
Use the words in Activity 2, Page 11 to fill the blank.
2. Excuse me for breaking in, _C____ I have some news
for you.
A. so B. and
C. but D. yet
Grammar -1. Revision
3. Some people waste a lot of food _D____ others haven’t enough to eat. A. however B. when C. as D. while
1. We are making progress but we need to make greater efforts.
2. In a developed country, people have nice clothes to wear, however, in a poor country , people have few clothes.
Reading & Vocabulary – 3 .Exercise(6m) Fill the form.
Figure
13 years
150 million
799 million
115 million
1 billion
3 .Comprehension(6m) Find out

lesson的中文翻译

lesson的中文翻译lesson可以翻译为"课程"、"教训"、"经验"等。

用法：1.作为"课程"的意思，指学习的主题、内容或教学活动。

2.作为"教训"或"经验"的意思，表示通过某种经历或事件学到的宝贵教训或经验。

双语例句：1. The math teacher is planning a lesson on geometry for tomorrow.数学老师正在计划明天的几何课程。

2. He learned an important lesson about the consequences of procrastination.他从拖延行为中吸取了一个重要的教训。

3. The car accident was a hard lesson for him to drive more carefully.这次车祸对他来说是一个严厉的教训，让他注意安全驾驶。

4. The history lesson covered the events leading up to World War II.历史课程涵盖了导致二战的事件。

5. She learned her lesson after failing the exam and started studying harder.她考试不及格后吸取了教训，开始更加努力地学习。

6. The team's loss served as a valuable lesson in teamwork and communication.这个团队的失败为团队合作和沟通提供了宝贵的经验教训。

7. The coach gave them a tough lesson in discipline and dedication.教练向他们传授了严格的纪律和奉献精神的教训。

新视野大学英语第三版第二册U1课文原文+翻译

Unit 1An impressive English lesson1 If I am the only parent who still corrects his child's English, then perhaps my son is right. To him,I am a tedious oddity: a father he is obliged to listen to and a man absorbed in the rules of grammar, which my son seems allergic to.2 I think I got serious about this only recently when I ran into one of my former students, fresh from an excursion to Europe. "How was it?" I asked, full of earnest anticipation.3 She nodded three or four times, searched the heavens for the right words, and then exclaimed, "It was, like, whoa!"4 And that was it. The civilization of Greece and the glory of Roman architecture were captured ina condensed non-statement. My student's "whoa!" was exceeded only by myhead-shaking distress.5 There are many different stories about the downturn in the proper use of English. Surely students should be able to distinguish between their/there/they're or the distinctive differencebetween complimentary and complementary. They unfairly bear the bulk of the criticism for these knowledge deficits because there is a sense that they should know better.6 Students are not dumb, but they are being misled everywhere they look and listen. For example, signs in grocery stores point them to the stationary, even though the actual stationery items— pads, albums and notebooks — are not nailed down. Friends and loved onesoften proclaim they've just ate when, in fact, they've just eaten. Therefore, it doesn't make any sense to criticize our students.7 Blame for the scandal of this language deficit should be thrust upon our schools, which should be setting high standards of English language proficiency. Instead, they only teach a little grammar and even less advanced vocabulary. Moreover, the younger teachers themselves evidently have little knowledge of these vital structures of language because they also went without exposure to them. Schools fail to adequately teach the essential framework of language, accurate grammar and proper vocabulary, while they should take the responsibility of pushing the young onto the pathof competent communication.8 Since grammar is boring to most of the young students, I think that it must be handled delicately, step by step. The chance came when one day I was driving with my son. As we set out on our trip, he noticed a bird in jerky flight and said, "It's flying so unsteady." I carefully asked, "My son, how is the bird flying?" "What's wrong? Did I say anything incorrectly?" He got lost. "Great! You said incorrectly instead of incorrect. We use adverbs to describe verbs. Therefore, it's flyingso unsteadily but not so unsteady."9 Curious about my correction, he asked me what an adverb was. Slowly, I said, "It's a word that tells you something about a verb." It led to his asking me what a verb was. I explained, "Verbs are action words; for example, Dad drives the truck. Drive is the verb because it's the thing Dad is doing."10 He became attracted to the idea of action words, so we listed a few more: fly, swim, dive,run. Then, out of his own curiosity, he asked me if other words had names for their useand functions. This led to a discussion of nouns, adjectives, and articles. Within the span of a10-minute drive, he had learned from scratch to the major parts of speech in a sentence. It was painless learning and great fun!11 Perhaps, language should be looked upon as a road map and a valuable possession: often study the road map (check grammar) and tune up the car engine (adjust vocabulary). Learning grammar and a good vocabulary is just like driving with a road map in a well-conditioned car.12 The road map provides the framework and guidance you need for your trip, but it won't tell you exactly what trees or flowers you will see, what kind of people you will encounter, or what types of feelings you will be experiencing on your journey. Here, the vocabulary makes the journey's true colors come alive! A good vocabulary enables you to enjoy whatever you see as you drive along. Equipped with grammar and a good vocabulary, you have flexibility and excellent control. While the road map guides your journey to your destination, an excellent vehicle helps you to fully enjoy all of the sights, sounds and experiences along the way.13 Effective, precise, and beneficial communication depends upon grammar and a good vocabulary, the two essential assets for students, but they are not being taught in schools.14 Just this morning, my son and I were eating breakfast when I attempted to add milk to my tea. "Dad," he said, "If I were you, I wouldn't do that. It's sour."15 "Oh my!" I said, swelling with pride toward my son, "That's a grammatically perfect sentence. You used were instead of was."16 "I know, I know," he said with a long agreeable sigh. "It's the subjunctive mood."17 I was, like, whoa!Translation一堂难忘的英语课1 如果我是唯一一个还在纠正小孩英语的家长，那么我儿子也许是对的。

Lesson 2 - Odour of Chrysanthemums by D H Lawrence (Part 1)

Name: __________________________ Section: _______Lesson 2: ‘Odour of Chrysanthemums’ by D. H. Lawrence (Part 1)WARM UP: TEST YOUR UNDERSTANDINGA.What’s the name of the protagonist? Who’s she waiting for atthe beginning of the story?B.How many children does the protagonist have?C.What are the some speculations that the protagonist haveabout her husband while waiting?ter on, the protagonist seeks help from someone during thesearch? Who does she seek help from?E.What happens to the protagonist’s husband? Who visits herhouse to inform her of the news?F.How does the protagonist feel upon the dramaticdiscovery?G.What does the protagonist realize in the end?The story is divided into three parts: (1) _________________, (2)________________ and (3) ________________.1) THE SETTINGThe time and location in which a story takes place iscalled the setting. For some stories the setting is veryimportant, while for others it is not. There areseveral aspects of a story's setting to consider whenexamining how setting contributes to a story (some,or all, may be present in a story). What are the fiveaspects of setting?___________________- geographical location. Where is the action of the story taking place?___________________- When is the story taking place? (historical period, time of day, year, etc) ___________________- Is it rainy, sunny, stormy, etc?___________________- What is the daily life of the characters like? Does the story contain local colour (writing that focuses on the speech, dress, mannerisms, customs, etc. of a particular place)?___________________- What feeling is created at the beginning of the story? Is it bright andcheerful or dark and frightening?The story opens with a landscape of the mining village where the Bates’ family reside. Pay extra attention to the use of imageries that appeal to our sense of hearing and seeing.1. In the above excerpt, you find description of both the nature and the mechanical world. Make a summary of the sound and visual imagery.2. What happens to the animals and plants? Are the natural andindustrialized world in harmony?3. All in all, how would you describe the atmosphere of town? Do you think the people are happy with their lives in this town? Why or why not?4. What kind of conflict(s) is/are revealed from the above scene?5. Are there hints in the descriptive details of the setting that reveal the plight of Walter Bates? If yes, which part? (Look for the description about the “smoke from engine” and “the large bony vine”). The details in the setting helps us predict what happens to the characters and the plot development. The literary device in which a writer gives an advance hint of what is to come later in the story is called _______________________. This device often appears at the beginning of a story and helps the reader1. Do most events of the story take place in light or darkness? Why?2. “As she dropped piece after piece of coal on the red fire, the shadows fell on the walls, till the room was alm ost in total darkness.”– What is the relationship between this portrayal of light VS darkness and Walter’s death?3. What does light enable the characters to see? What’s the significance of light?4. The public house is ‘warm and bright’, compared to Elizabeth’s house and the surroundings. What does it reveal about Walter Bates?5. “They sat down to tea. John, at the end of the table near the door, was almost lost in the darkness.”–Why do you think John, the son, is always kept in ‘darkness’ or ‘shadow’?6. What’s the relationship between darkness and Elizabeth’s vision of the reality?7. Why would Elizabeth and Walter “[meet] in the dark and[fight] in the dark”? Why is the marriage shrouded in darkness?2) CHARACTER ANALYSIS AND CHARACTERIZATIONCharacterization is the process by which the writer reveals the personality of a character. Characterization is revealed through direct characterization and indirect characterization.Direct Characterization tells the audience what the personality of the character is.Example: “The patient boy and quiet girl were both well-mannered and did not disobey their mother.” Explanation: The author is directly telling the audience the personality of these two children. The boy is “patient” and the girl is “quiet.”5 ways of Indirect Characterization:- _________________________________________- _________________________________________- _________________________________________- _________________________________________- _________________________________________1. Read how Lawrence describes Elizabeth’s appearance in para. 4. What canyou tell about her personality and attitude?2. Examine the interaction betwee n Elizabeth and her son. How’s theirrelationship?3. What’s the boy wearing? What does it tell you about the family?4. “Eh, he’ll not come now till they bring him. There he’ll stick! But he needn’t come rolling in here in his pit-dirt, for I won’t wash him. He can lie on the floor —Eh, what a fool I’ve been, what a fool! And this is what I came here for, to this dirty hole, rats and all, for him to slink past his very door.”– Why does Elizabeth consider herself ‘a fool’?5. Read the excerpt below and examine the way Elizabeth and other people in the neighborhood talk? What’s the difference in their use of language? What does the difference reveal?6. “The other sat, noting with faint disapproval the general untidiness of the room. Then she fell to counting the shoes of various sizes scattered over the floor. There were twelve. She sighed and saidto herself, “No wonder!”—glancing at the litter.” – Why would Elizabeth evaluate the condition of Rigley’s kitchen? What doe this show?7. Compare Elizabeth and Mrs. Rigley’s attitude to theirhusbands going to public house.Read the excerpt below involving Elizabeth’s innerthoughts as the corpse of her husband arrives.8. How does Elizabet h react to the arrival of her husband’s dead body? Do you think this is how a wife would normally react to the death of the husband?9. “She was grateful to death, which restored the truth.”– What ‘truth’ is being restored?10. “She knew she submitted to life, which was her immediate master. But from death, her ultimate master, she winced with fear and shame. But from death, her ultimate master, she winced with fear and shame.”–Why is ‘life’ Elizabeth’s ‘immediate master’ and ‘death’ her ‘ultimate master’? Why is Elizabeth occupied with ‘fear and shame’ at the end of the story?。

Lesson 2 - Odour of Chrysanthemums by D H Lawrence

Name: __________________________ Section: _______Lesson 2: ‘Odour of Chrysanthemums’ by D. H. Lawrence (Part 1)WARM UP: TEST YOUR UNDERSTANDINGA.What’s the name of the protagonist Who’s she waiting for atthe beginning of the storyB.How many children does the protagonist haveC.What are the some speculations that the protagonist haveabout her husband while waitingter on, the protagonist seeks help from someone during thesearch Who does she seek help fromE.What happens to the protagonist’s husband Who visits herhouse to inform her of the newsF.How does the protagonist feel upon the dramatic discoveryG.What does the protagonist realize in the endThe story is divided into three parts: (1) _________________, (2)________________ and (3) ________________.1) THE SETTINGThe time and location in which a story takes place is called the setting.For some stories the setting is very important, while for others it is not. There are several aspects of a story's setting to consider when examining how setting contributes to a story (some, or all, may be present in a story). What are the five aspects of setting___________________- geographical location. Where is the action of the story taking place___________________- When is the story taking place (historical period, time of day, year, etc) ___________________- Is it rainy, sunny, stormy, etc___________________- What is the daily life of the characters like Does the story contain local colour (writing that focuses on the speech, dress, mannerisms, customs, etc. of a particular place) ___________________- What feeling is created at the beginning of the story Is it bright andcheerful or dark and frighteninga. The mining villageThe story opens with a landscape of the mining village where the Bates’ family reside. Pay extra attention to the use of imageries that appeal to our sense of hearing and seeing.1.The small locomotive engine, Number 4, came clanking, stumbling down from Selston — with seven full waggons. It appeared round the corner with loud threats of speed, but the colt that it startled from among the gorse, which still flickered indistinctly in the raw afternoon, outdistanced it at a canter.A woman, walking up the railway line to Underwood, drew back into the hedge, held her basket aside, and watched the footplate of the engine advancing. The trucks thumped heavily past, one by one, with slow inevitable movement, as she stood insignificantly trapped between the jolting black waggons and the hedge; then they curved away towards the coppice where the withered oak leaves dropped noiselessly, while the birds, pulling at the scarlet hips beside the track, made off into the dusk that had already crept into the spinney. In the open, the smoke from the engine sank and cleaved to the rough grass. The fields were dreary and forsaken, and in the marshy strip that led to the whimsey, a reedy pit-pond, the fowls had already abandoned their run among the alders, to roost in the tarred fowl-house. The pit-bank loomed up beyond the pond, flames like red sores licking its ashy sides, in the afternoon’s stagnant light. Just beyond rose the tapering chimneys and the clumsy black head-stocks of Brinsley Colliery. The two wheels were spinning fast up against the sky, and the winding-engine rapped out itslittle spasms. The miners were being turned up.2.The engine whistled as it came into the wide bay of railway lines beside the colliery, where rows of trucks stood in harbour.3.Miners, single, trailing and in groups, passed like shadows diverging home. At the edge of the ribbed level of sidings squat a low cottage, three steps down from the cinder track. A large bony vine clutched at the house, as if to claw down the tiled roof. Round the bricked yard grew a few wintry primroses. Beyond, the long garden sloped down to a bush-covered brook course. There were some twiggy apple trees, winter-crack trees, and ragged cabbages. Beside the path hung dishevelled pink chrysanthemums, like pink cloths hung on bushes. A woman came stooping out of the felt-covered fowl-house, half-way down the garden. She closed and padlocked the door, then drew herself erect, having brushed some bits from her white apron.summary of the sound and visual imagery.Imagery of the nature Imagery of the mechanical world Descriptions of plants Descriptions of animals2. What happens to the animals and plants Are the natural andindustrialized world in harmony3. All in all, how would you describe the atmosphere of town Doyou think the people are happy with their lives in this town Whyor why not4. What kind of conflict(s) is/are revealed from the above scene5. Are there hints in the descriptive details of the setting thatreveal the plight of Walter Bates If yes, which part (Look for thedescription about the “smoke from engine” and “the large bonyvine”).The details in the setting helps us predict what happens to thecharacters and the plot development. The literary device in which awriter gives an advance hint of what is to come later in the story is called _______________________. This device often appears at the beginning of a story and helps the reader develop expectations about the coming events in a story.b. Light VS DarknessDarkness was settling over the spaces of the railway and trucks: the miners, in grey sombre groups, were still passing home.The kitchen was small and full of firelight; red coals piled glowing up the chimney mouth. All the life of the room seemed in the white, warm hearth and the steel fender reflecting the red fire.cups glinted in the shadowsHe was almost hidden in the shadow.The garden and fields beyond the brook were closed in uncertain darkness.she saw the yellow lamps were litIndoors the fire was sinking and the room was dark red.She opened the door once more and looked out across the darkness of the lines.They sat down to tea. John, at the end of the table near the door, was almost lost in the darkness. Their faces were hidden from each other. The girl crouched against the fender slowly moving a thick piece of bread before the fire. The lad, his face a dusky mark on the shadow, sat watching her who was transfigured in the red glow.Soon the room was busy in the darkness with the crisp sound of crunchingAs she dropped piece after piece of coal on the red fire, the shadows fell on the walls, till the room was almost in total darkness.proceeded to light the lamp that hung from the ceiling in the middle of the roomact of putting the lamp glass over the flame. The copper reflector shone handsomely on her, as she stood with uplifted arm, turning to face her daughter.“You’ve got a flower in your apron!” said the child, in a little rapture at this unusual event.“Goodness me!” exclaimed the woman, relieved. “One would think the house was afire.” She replaced the glass and waited a moment before turning up the wick. A pale shadow was seen floating vaguely on the floor.“Go along, silly!” said the mother, turning up the lamp. The light revealed their suspense so that the woman felt it almost unbearable.The night was very dark. In the great bay of railway lines, bulked with trucks, there was no trace of light, only away back she could see a few yellow lamps at the pit-top, and the red smear of the burning pit-bank on the night.she saw the lights in the houses; twenty yards further on were the broad windows of the ‘Prince of Wales’, very warm and bright2. “As she dropped piece after piece of coal on the red fire, the shadows fell on the walls, till the room was almost in total darkness.” – What is the relationship between this portrayal of light VS darkness and Walter’s death3. What does light enable the characters to see What’s the significance of light4. The public house is ‘warm and bright’, compared to Elizabeth’s house and the surroundings. What does it reveal about Walter Bates5. “They sat down to tea. John, at the end of the table near the door, was almost lost in the darkness.” – Why do you think John, the son, is always kept in ‘darkness’ or ‘shadow’6. What’s the relationship between darkness and Elizabeth’s vision of the reality7. Why would Elizabeth and Walter “[meet] in the dark and [fight] in the dark” Why is the marriage shrouded in darkness2) CHARACTER ANALYSIS AND CHARACTERIZATIONCharacterization is the process by which the writer reveals the personality of a character. Characterization is revealed through direct characterization and indirect characterization.Direct Characterization tells the audience what the personality of the character is.Example: “The patient boy and quiet girl were both well-mannered and did not disobey their mother.” Explanation: The author is directly telling the audience the personality of these two children. The boy is “patient” and the girl is “quiet.”5 ways of Indirect Characterization:- _________________________________________- _________________________________________- _________________________________________- _________________________________________- _________________________________________4.She was a till woman of imperious mien, handsome, with definiteblack eyebrows. Her smooth black hair was parted exactly. For a few moments she stood steadilywatching the miners as they passed along the railway: then she turned towards the brook course. Her face was calm and set, her mouth was closed with disillusionment. After a moment she called:5.“John!” There was no answer. She waited, and then said distinctly:6.“Where are you”7.“Here!” replied a child’s sulky voice from among the bushes. The woman looked piercingly through the dusk.8.“Are you at that brook” she asked sternly.9.For answer the child showed himself before the raspberry-canes that rose like whips. He was a small, sturdy boy of five. He stood quite still, defiantly.10.“Oh!” said the mother, conciliated. “I thought you were down at that wet brook — and you remember what I told you —”11.The boy did not move or answer.12.“Come, come on in,” she said more gently, “it’s getting dark. There’s your grandfather’s engine coming down the line!”13.The lad advanced slowly, with resentful, taciturn movement. He was dressed in trousers and waistcoat of cloth that was too thick and hard for the size of the garments. They were evidently cut down from a man’s clothes.14.As they went slowly towards the house he tore at the ragged wisps of chrysanthemums and dropped the petals in handfuls along the path.15.“Don’t do that — it does look nasty,” said his mother. He refrained, and she, suddenly pitiful, broke off a twig with three or four wan flowers and held them against her face.personality and attitude2. Examine the interaction between Elizabeth and her son. How’s theirrelationship3. What’s the boy wearing What does it tell you about the family4. “Eh, he’ll not come now till they bring him. There he’ll stick! But he needn’tcome rolling in here in his pit-dirt, for I won’t wash him. He can lie on the floor— Eh, what a fool I’ve been, what a fool! And this is what I came here for, tothis dirty hole, rats and all, for him to slink past his very door.” – Why doesElizabeth consider herself ‘a fool’5. Read the excerpt below and examine the way Elizabeth and other people inthe neighborhood talk What’s the difference in their use of language Whatdoes the difference reveal1.“Mr Rigley — Yes! Did you want him No, he’s not in at this minute.”2.The raw-boned woman leaned forward from her dark scullery and peered at the other, uponwhom fell a dim light through the blind of the kitchen window.3.“Is it Mrs Bates” she asked in a tone tinged with respect.4.“Yes. I wondered if your Master was at home. Mine hasn’t come yet.”5.“‘Asn’t ‘e! Oh, Jack’s been ‘ome an ‘ad ‘is dinner an’ gone out. E’s just gone for ‘alf an hourafore bedtime. Did you call at the ‘Prince of Wales’”6.“No —”7.“No, you didn’t like —! It’s not very nice.” The other woman was indulgent. There was anawkward pause. “Jack never said nothink about — about your Mester,” she said.8.“No! — I expect he’s stuck in there!”9.Elizabeth Bates said this bitterly, and with recklessness. She knew that the woman across theyard was standing at her door listening, but she did not care. As she turned:10.“Stop a minute! I’ll just go an’ ask Jack if e’ knows anythink,” said Mrs Rigley.11.“Oh, no — I wouldn’t like to put —!”12.“Yes, I will, if you’ll just step inside an’ see as th’ childer doesn’t come downstairs and settheirselves afire.”13.Elizabeth Bates, murmuring a remonstrance, stepped inside. The other woman apologized forthe state of the room.counting the shoes of various sizes scattered over the floor. There were twelve. She sighed and said to herself, “No wonder!”— glancing at the litter.” – Why would Elizabeth evaluate the condition of Rigley’s kitchen What doe this show7. Compare Elizabeth and Mrs. Rigley’s attitude to theirhusbands going to public house.Read the excerpt below involving Elizabeth’s innerElizabeth’s thoughts were busy elsewhere. If he waskilled — would she be able to manage on the littlepension and what she could earn — she counted uprapidly. If he was hurt — they wouldn’t take him to thehospital — how tiresome he would be to nurse! — but perhaps she’d be able to get him away from the drink and his hateful ways. She would — while he was ill. The tears offered to come to her eyes at the picture. But what sentimental luxury was this she was beginning — She turned to consider the children. At any rate she was absolutely necessary for them. They were her business.She turned away, and calculated whether there would be room to lay him on the floor, between the couch and the chiffonier. She pushed the chairs aside. There would be room to lay him down and to step round him. Then she fetched the old red tablecloth, and another old cloth, spreading them down to save her bit of carpet. She shivered on leaving the parlour; so, from the dresser-drawer she took a clean shirt and put it at the fire to air. All the time her mother-in-law was rocking herself in the chair and moaning. One of the men had knocked off a vase of chrysanthemums. He stared awkwardly, then they set down the stretcher. Elizabeth did not look at her husband. As soon as she could get in the room, she went and picked up the broken vase and the flowers.would normally react to the death of the husband9. “She was grateful to death, which restored the truth.” –What ‘truth’ is being restored10. “She knew she submitted to life, which was herimmediate master. But from death, her ultimate master, shewinced with fear and shame. But from death, her ultimatemaster, she winced with fear and shame.” – Why is ‘life’Elizabeth’s ‘immediate master’ and ‘death’ her ‘ultimatemaster’ Why is Elizabeth occupied with ‘fear and shame’ atthe end of the story。

七年级英语下册Unit1ATriptotheSilkRoadLesson2习题课件新版冀教版

1. I'd like to give my thanks to Alice for sharing her _e_x_c_it_in__g_(令人兴奋的) experiences in Africa.
2. We are ____A____ about the ________ news that
11. —You can take ____B____ bus to the museum.
—No, I will go there by ________ bike.
【改编•攀枝花】
A. /; the
B. a; /
C. the; the
D. a; a
12. We can take a plane to go there.(改为同义句) We can go there ____b_y___ __p_l_a_n_e__.
B. clear enough
C. enough clearly
D. clearly enough
二、用所给单词的适当形式完成句子 11. There are three __h_u_n_d_r_e_d__ (hundred) and sixty-five books.
12. The Smiths w__il_l_l_e_a_v_e (leave) for Sichuan next week.
—____A_____ exciting the news is! 【中考•武威】
A. How
B. What
C. What an
D. How an
7. They will ____A____ Beijing in two days.
A. arrive in
B. arrive

高级英语第二册Lesson2Marrakech

Influence
Orwell's works have had a prospective impact on contemporary literature and political thought, making him one of the most influential writers of the 20th century
Techniques for using tension and voice
Mastering different tensions
Understand the use of present, past, and future tensions to express actions or states of being at different times
Advanced English Volume 2 Lesson 2 Marrakech
目录
• Background of the text and introduction of the author
• Detailed explanation of vocabulary and phrases
Haggle
To negotiate the price of goods in a marketplace, a common practice in Marrakech
Mosque
A place of war for Muslims, an important part of Marrakech's territory
Tourism
Marrakech is a popular tourist destination, attracting visitors from all over the world with its unique chart and hospitality

英语教学法第2章Unit 2

Not having
Not having The language form is right or wrong control
Having
Having The task is finished or not free
Correct the error or mistake
Exchange information
The difference between TASK and EXERCISE
Exercise Form Not having Task Focus Communicative desire Meaning Having
Communicative purpose
Communicative purpose Assessment means Language controlling
＊Used to perform
certain communicative functions ＊ All skills used ＊ Used in a certain context ＊ Learning language throw using language
＊ Taught as
language knowledge ＊ Focus on one or two language skills ＊ Isolate language from its context ＊ Being taught through learning language knowledge
Four main components of a task.
A purpose: making sure the students have a reason for understanding the task.