Anglistics Study Programme

CONTEMPORARY ENGLISH LANGUAGE 6

Integrated Skills
Week 10

Lecturer: Valentina Gavranović

Anglistics Study Programme

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PLAN

- Module 9: Topic: issues related to design and art

- Grammar: Causative Have
- Vocabulary: word formation (verb suffixes, derivatives), collocations with
hold, turn, go and catch, vocabulary describing shapes
- Reading: Function and Affect: Rewriting the golden rule of interior design.

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Lead-in
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Causative Form

The causative form is used:

- when we do not do something ourselves, but hire someone else to do it for us,
and
- to express an accident that happened to us.

Compare:
1a I cut my hair.
1b I had my hair cut.
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Causative Form

The causative form has the following structure:

Subject + have / get + object + past participle

e.g. I will have my room painted next week.

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Causative Form – other constructions

Get sb to do sth – to persuade sb to do sth

e.g. I got my brother install surveillance cameras in his house.

Have sb do sth – to make sb do sth or ask sb to do sth

e.g. I had my brother install surveillance cameras in his house.

won’t have sb doing sth – won’t allow sb to do sth

e.g. I won’t have you sitting around doing nothing all day long.
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Causative Form – practice

Coursebook, page 161, task B, C

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Causative Form – practice

Task. Rewrite the sentences using the words given in bold.

1. Inger is translating the book into Swedish for me. am

2. A dressmaker made Margaret’s wedding dress. had

3. I remember that Paul fixed the air conditioner for us last summer. having

4. If asked, the chefs at this Japanese restaurant will prepare the food in front of
customers. have
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Vocabulary practice

Task. Complete the sentences with synonyms of the words/phrases in bold.

1. The bus a ——— l ————— d so as to overtake the cyclist. sped up

2. Without a strong f ——— d ———— n in mathematics, you will find a degree
in economics challenging. base
3. Despite the couple’s attempt at n ——— t ————— g a better deal on the
house sale, the owner remained unwilling to lower the price. agreeing by
discussion
4. As a trainee teacher, I spent many hours in the classroom as an o ——— r ——
—, paying close attention to how more experienced teachers delivered the
lesson. onlooker
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Vocabulary practice

Task. Complete the sentences with synonyms of the words/phrases in bold.

5. Apparently, it was the building a — j ———— t to the café which was broken
into last night. next to
6. Very often, the Andersons can be heard q ——— r ————— g loudly
amongst themselves. arguing
7. There was a ——— e opportunity to sample local cuisine during our tour of
France. plenty of
8. The l — y —— t of the rooms in the property was designed to maximise space.
arrangement
9. As y ——— g ———— s, my brother and I were forever playing pranks on
one another. children
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Reading comprehension

The 19th-century author and designer William Morris famously declared, ‘If you want a
golden rule that will fit everybody, this is it: have nothing in your house that you do not
know to be useful, or believe to be beautiful.’ While these words were uttered well over
one hundred years ago, the relationship between function and form in the buildings and
objects we surround ourselves with is still a topic of much discussion. I recently met up
with Karen Ward, herself a prominent interior designer, to discuss this much-debated
issue at William Morris’s recently renovated former home, now a publicly funded art
gallery and museum celebrating his life and work.

1. Why does the writer include a statement by the designer William Morris?
a. It poses a question no one until now has been willing to discuss.
b. It introduces the person the writer will be interviewing.
c. It introduces the topic that will be discussed in the interview.
d. It raises a topic that has been abandoned by modern designers.
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Reading comprehension

As we strolled around the elegantly furnished rooms admiring the exhibits, I began by asking
Ward to what extent she agreed with Morris’s statement — and was rather intrigued by
her answer. ‘If you’d asked me that question a year ago, I would have said I agreed
wholeheartedly,’ she replied, ‘but now I find myself, at least in part, straying from his
position.’ We paused to examine the contours of a superbly carved armchair before
continuing the conversation. ‘I always used to hold that beauty, to repeat Hungerford, is
in the eye of the beholder; accepting it was simply enough for someone to believe a thing
to be beautiful for it to convey a positive affective charge. Now I’m not so sure.’

2. In the second paragraph, what do we learn about Karen Ward’s understanding of

beauty?
a. She now knows that her former opinion was entirely wrong.
b. She thinks beauty is defined differently by each person.
c. Her views on beauty have changed, but perhaps not completely.
d. Her views differ widely from the writer’s.
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Reading comprehension

I wondered at what would make Ward have doubts. We stood gazing out from one of the
large windows at four lanes of congested traffic and at what can only be described as a
line of hideous buildings on the opposite side of the road. ‘I began looking into what
science had to say about the way the human brain responds to environmental
stimulation,’ she said, ‘especially to the things surrounding us in the home. And what I
read made me realise the degree to which both our mental abilities and emotional states
are affected by these objects.’ She then went on to cite an experiment in which
participants observing smoothly curved designs as opposed to hard-edged linear designs
had considerably more activity in the part of the brain responsible for attention,
motivation, and the regulation of emotional responses. Another report showed that, when
participants viewed images of objects with pointed or jagged features, the section of the
participants’ brains which processes the emotion of fear was activated.

3. What is the writer’s purpose in the third paragraph?

a. to indicate how ugly buildings made Ward change her opinions
b. to exemplify Ward’s view on how household objects shape our ideas on beauty
c. to describe the scientific reports that changed Ward’s views
d. to explain what made Ward question her ideas on beauty
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Reading comprehension

I wondered at what would make Ward have doubts. We stood gazing out from one of the
large windows at four lanes of congested traffic and at what can only be described as a
line of hideous buildings on the opposite side of the road. ‘I began looking into what
science had to say about the way the human brain responds to environmental
stimulation,’ she said, ‘especially to the things surrounding us in the home. And what I
read made me realise the degree to which both our mental abilities and emotional states
are affected by these objects.’ She then went on to cite an experiment in which
participants observing smoothly curved designs as opposed to hard-edged linear designs
had considerably more activity in the part of the brain responsible for attention,
motivation, and the regulation of emotional responses. Another report showed that, when
participants viewed images of objects with pointed or jagged features, the section of the
participants’ brains which processes the emotion of fear was activated.

4. According to Ward, people with developed artistic tastes

a. may not be aware of the effects some objects have.
b. need interior designers more than other people do.
c. cannot truly tell whether something is beautiful or not.
d. believe form is more important than function.
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Reading comprehension

At the cafeteria I chose a small round cake with delicately arranged berries on top instead of
the large square piece of chocolate cake I would have preferred, and began secretly
watching the other visitors. I contemplated whether they were unintentionally living
lives of terror because they had swords on the walls or angular patterns on their rugs and
sofas. I mused that perhaps the large man eating doughnuts with his fingers was having a
superior aesthetic experience to the thin lady cutting an apple into small regular pieces
with an ominously sharp knife. Ward stared at me inquisitively over the brim of a large
mug of unusual-smelling tea, probably wondering whether there would be any more
questions.

5. In the fifth paragraph, the writer

a. doubts that people realise they make wrong aesthetic choices every day.
b. reveals her scepticism of Ward’s principles.
c. draws a comparison between herself and the people around her.
d. wonders whether Ward’s views can drastically change her own life.
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Reading comprehension

6. Over the text as a whole, we are given the impression that Ward
a. believes science can help designers improve their craft.
b. thinks the sciences are more important than the arts.
c. has a fairly low opinion of William Morris and his work.
d. is desperately trying to get the writer to agree with her.
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Vocabulary tasks

Coursebook, page 154, 156, tasks B, C, D, E, F, G

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Further practice
Almost everyone who communicates digitally uses emoticons to complement their
messages. These little ____ of smiling (or otherwise) faces, created from standard text
characters and punctuation marks, leave our words less open to 2 ___, and are often all
that distinguishes a rude comment from a witty joke. There is some uncertainty about
when 3 ___ emoticons originated. Emoticons that we would recognise as such today do
appear in sources as 4 ___ back as the 1800s, but there is no evidence that these were
deliberate marks rather than just 5 ____ printing errors. The idea of representing an
emotion through combinations of punctuation marks and other symbols never officially
became more than an abstract concept until 1982, when a university professor suggested
that, to avoid confusion, digital message board participants use sideways smiling and sad
faces (either :- ) for a smile or :-( for a frown) to specify when they were joking.
1 a depictions b illusions c replicas d impressions
2 a transformation b interpretation c explanation d regulation
3 a definitely b accurately c rightly d exactly
4 a long b far c away d much
5 a innovative b hazardous c random d gradual
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Further practice

These emoticons were created using Latin characters. Other scripts, which have a greater
number of separate characters, have greater flexibility when it 6 ____ creating
emoticons. Japanese emoticons or kaomoji, which incorporate both Latin and Japanese
characters, can be incredibly 7 _____ , and among other things, readers do not need to
turn their heads to one side to read them. The greater variety of characters available also
allows users to 8 ___ more complicated gestures, such as a confused shrug or even entire
scenes that require a little more imagination to interpret. Care to have a go?

6 a carries on b makes for c puts off d comes to

7 a coincidental b elaborate c adjacent d dimensional
8 a replicate b liberate c pinpoint d resemble