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Kisame Johnson, 138 women dancingKrsanne hson} Bridgeman: p66 (Ven GohiGozh, ‘Vincent van 185390}National Gallery o A Washington DC USA} Data Cusine: pp. 114 (ase of MigationDsh: leonora anova, Susanne Jaschko, Moritz Seraner— Data Cusine (pdataculsine neta dsbesfaste-ofmigation, 116{Sea Changeli Chern, Alex Dosh, Susanne Jasco Moet Sttaner — Data Cuisine (ht latacsnenejatacishese-change) David McCandless: 115 [David Mecandes David McCandless 115 (David MeCandess visualisation] Davi Mcandessginformatonisbeautifl nt: Encyclopaedia of Aesthetics 116 measuring cupMeasuring Cup Syne 18592009 2010, Mitchell White Eugene Minogue: p.40 (Eugene MinogefEugene Minogue: Getty pp ping ong tableBloomberg) 6 Anna Pekunova), 7 (ake smileblmage) 7 (woman ffowning/Tim Graham) 14 women talkngier Image), 16 abandoned residential area/ApMadoc), 16 (Detroit 5209Poppefoo, 16 Detri 9503Uderwood Archives) 18 (EaglemansexperimentJohn 8. 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StckStulo, 5 phone) Qualty Stock Ars 9§ (woman with headseyProtiage Coste. 404 (globe Ralamurzing, 104 hotel entrancefDatourdumonde Photogsphy), 404 (Stephani Mets) 112 (deity Chetrank_ peer) 14 infrmation ‘Kakimulin Aleksandr) 117 {women whisperingjesadaphor) 22 (ack camera) jeci 122 (pink camerajoman Spohn), 134 (aunt and nieces mages Grou 143 onan DovisAser Romero, 146 balalakaSereSmas) Superstock p. 6 2+ickson Production ne) 16 (Detroit ira 190fGrca Images(Glasshouse Images), 25 (dawingan Cook/image Source, 64 [FarthyNASA 103 ursefcala Images) 104 (bed and breakfast}Ouo StadlerofinazeBROKER, ‘Tinkersbubble org: .5(Tinker’sBubbleDavid Spr [BH aunentic Content Provide by Oxford Reference ‘The ule isa he who hase person ows tetas nd decison 7 adapted fom facial expression" In The Of Comput the Bay ited ‘byBlskerore, Colin. and Jeet Shella: Oxford Univerity Pes. 200 tp ‘worwoxfrdreferencecomlew/i 1083acre'3730198524038. 00% 001 ‘SPeoisesas0ave-360 ‘p19 adapted rom “aj "In Te fr Cmponton te Minded by Richard Gregory: Oxford University Press, 2004 pwmoeoxfrdeference cm) ‘eb sonjcr9780 15865242001 00 ste 97901 986622¢26 209 38 selected fom Henry Miler Infor Diciary of tats edited by Knowles, Elizabeth: Oxbrd Universi Pres, 2014 hap. wwwoxordeerence comew10099}cre)9740195468700 001.003 f¢suthor 0001090002298 4 adapted fom “Climate Conon Bop Ciel and Weather, cited by Schnee Stephen Hoot Ten Ly an Mastandee hal. ‘Oxford Univesity Press, 2011 hp fwrwanfordeference com 10.108 scef9 7609976532400 oper 7H017ESI24e-084 65 apt fom “Space Fao nT Of yf Fd nd Drink ‘naoer eed by Anirew Sith: Oxford University ress, 201. ti ‘Tarren ie e570 7 S501 00 rt ‘p82 apt fom “loanword” In Gc nid Compan othe gh guage eed by MeArhur To: Oxford Univer ress, 1998 hpww cxtoedreference com) iew010sjare(978019280 "0619001000 ‘Sreoisason6ie737 ‘p91 adapted fom “Organi Food” In The Of gap of Fd an Drink ‘naoner ede by Andrew Sith: Oxford Univer Pres, 2012 tp ‘worwaxfdreterenceconjiew/10093ere3790199734963 00.001 ‘SPeoiosraseae3t ‘101 adapted rom “inerviews"In he OxbredCompuno tthe Mi, edited by Richard Gregory: Oxford Univeity Press, 2008 hpwwwatoreferene om ‘eu sone 79019866243 00 00 are 790198662242e 465 ‘116 adap om formation Theory tn Enea eied by ‘Mice Kelly: Oxford University Pes, 2014p ewwoxfordreference com) ‘ew sonar e0 19974708 00% 00st 9701987471086 407 ‘p04 adapted rom "Hemingway Eres” tn The Oot Ppa erature eat by Jy Pari aa Philip W.eninger: Oxford University res, 2008 hy ewewonordefrencecomvcw01095cre780195136539 00001) Scxef97809815653900117 $142 sped fom Prine’ Deum” nina oft Sxl Soe, {yyCralg Calhoun: Oxford Universi Press, 2002 hp swnanfordeference om eof 0109249790 195123715 001. 000%]ucet 9780195423716 1998 ‘2.14 selected fom Ralph Waldo Emerson In Od Esa Quan, eed ‘byRaeif, Susan! 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Hizabeth: Oxford Universi Pres, 201. ht frrwoxtordreference, ‘comjiew/10109ref9780199668700.00 001g author 0010 40001079 34 selets rom "Shopping." In Of itor of arr Quan, edited by Sheri, Ned: Oxford University Press, 2012 hitp/wwwoxforreference.com) ‘hew/10.109crf9740199570024 003 001) subje. 0000200000200 155 selected rom “Diane Ravitch In Ord Eset Quotations, ete by Rati Susan: Oxford University Pres, tpwewaxTordreerence come 1093) _cre9780191885730 00.000 j¢or<85 0001763 136 adapted from “Wikipedia In Dior of oun by Tony Hare: Ovford University Press, 2014. hp oxfodreerece comew)10.1099) acre9780199646241,001,001creF9780199646241-6 1488, 136 selected hom “Nel Galman” In ifr set Qua edited by Rai, Susan: Oxford University Pres. pew xfodreerencecomiew10.108 _cref9780191685730.001.0001}¢or0 500017943 157 adapted ftom fan ficionIn The Oxi Companion to Che's Lert ated by Hahn. Dane: Oxford University Press, 2015. ep. wweofordreference com ew 083er9780199695140.001,00011cr9701996951404-1106| [p157 selected rom “Oscar Wide” In Oxford Don of uations edited by Knowles. lzabeth= Oxford University Press, 2014. tp:/wrw.xfondreerence ‘ome. L0nacref)780199668700.001 000 aor ao040-00000421 258 adapted from “emotional appeal" In A DcioyafBushessand Management. ‘edited by Law jonathan Onford Unversity ress, 2016 hapwwwoxorreference fompiew)0 oagucrefa780199684964001000{ bert 7s0L9s6849842172, [p258 selects from “LAUGH and the word laughs with you weep a you ‘weep alone" In Oxford Dito of Pres, eitedby Speake, Jennie: (Onforl University Press, 2015. tpewewtonfordreerence ce 10.1095) ‘acre9780158724901 01.0001 ref 97H0198734901-61226 1127 Batract fom Oxford Bookworms Factiles, Stage John F. Kennedy by Anne Colins. © Oxford University Pres 2014 Reproduced by permision, “The publisher and author would keto hank the following forthe ime and ‘Annie Hudson | Davie Mccandss Eugene Minogue ‘with special thanks wo Robert Campbell Lindsay Ganateka r SEL E Skimming Guessing meaning from context Showing interest Facial Expressions A ie Py Scanning Previewing Telling and en responding mB OS toastory Recognizing and | Understanding a Describing Understanding speaker's purpose experiences synonyms and events Could a robot do your job? 5 we al) Separating fact and | Recognizing ‘Asking for and pinion reductions with to giving directions Travel around Central America: Day 28 Recognizing cause | Distinguishing levels _ Describing places and eect of formality The Secret ofa a Happy Home O Tinkers Bubble Recognizing prefixes | Listening for specific information Ye Space Food From Selt-Portraiture to Sele Using informal expressions in emails Using time expressions Using addition linking words Using the right tone in text messages Using synonyms Giving a presentation | Writing opening Using visuals sentences ESSN © Starting and ending a conversation © Apotogizing O simply enthusiastic ful -»faly ‘There are some iegular adverbs of manner. The adverb for goods wel. A small numberof adverbs of manner have the same form as the adjective like early, fast, hard, and late. oxford 3000 BUILD Write the adverbs for these adjectives. happy loud dangerous fast good painful gentle USE Complete the text. Change the adjectives in parentheses into adverbs To have good friends, you need to be a good friend. You need to take your friendship" Gerious) and work (hard) to support each other through ‘good times and bad. It isa two-way relationship, where you give your time» (willing) and * (generous). Exchanging gifts is a way to thank your friends ‘and to show you appreciate them. Giving a * (Heautifu wrapped gift allows you to connect and can ‘ (reat) strengthen your relationship. What's more, research also shows that giving a gift makes you feel happier! ed (aneincuun ie ees nee When we write emails to people we know well, such as friends and family, we use informal expressions. You can appear angry, rude, or upset if you use expressions that are too formal Informal expressions are usually shorter, and can often be sed in speech as well as writing, Hello! / Hit How are you? 42 APPLY Write each word or phrase below the correct, heading ti How's it going? Kind regards Dear Hey Lots of ove I would ike to ask it Well, that'll fr now. Best wishes Lope this email finds you wel Vim wating because. Please get in touch at your earliest convenience. Hope to hea from you soon, Justa quicknote to How ae things? Greeting Formal or informal? opening, Formal or informal? Reason for writing Formal or informal? Closing Formal or informal? Saying goodbye Formal or informal? 43 IDENTIFY Look again at the expressions in Exercise 12, Waite F (formal) oF I (informal) next to each expression. Some expressions can be both formal and informal 14. ASSESS Look at the emails again. Which expressions can you find? 45 WRITE choose one type of friend from Exercise 1. Think ‘of a person you know, and write an informal email to invite this person to an event, Use the expressions in Exercise 12 to help you. 16 DEVELOP Exchange emails with a partner. Read your partner's email Identify the type of friend your partner is, ‘writing to, and then use the checklist to help you review their work ils the email well organized? [ils the invitation clear? [ils the language appropriate? Are there any grammar, vocabulary, or punctuation errors? 47 IMPROVE Ask your partner to suggest improvements to your email. Then write your email again, making any necessary changes MB WHAT'S YOUR ANGLE? Think about an invitation you received, Who was i rom? What was the invitation? Did you accept it? " Hello and Goodbye 1 Talk about the pictures witha partner. What's happening? Where are the people? In what ways are the situations the same or different? 20 Watch the video and answer the questions. What reason does Kevin give for leaving? Why is Max surprised to see Andy? What is causing the bad smel? Where is Professor Lopez going next? Why is Andy worried? 3 Think about Max's relationship with the people in the video. With a partner, choose your answers to these questions Very well Not at all a How well does Max know Andy and Kevin? 1 io Be 4S bb How well does he know Professor Lopez? 1 2 3 4 5 Relaxed Formal How does Max feel speaking with Kevin and Andy? 1-234 d How does he feel speaking with Professor lopez? 12-23 4S Conversations often begin with a greeting and a question about how the other person is. Asking how the other person is helps to build the conversation or keep it short if the pperson has no time to chat. How you respond to this lets the other person know the direction you would like the conversation to take. To finish a conversation, iis polite to let the other person know you have to go before you say goodbye, People often give a reason for wanting or needing to go. Welt it's get 4 Q@INTEGRATE Watch the video again. Who says each 7 EXPAND Match each expression in Exercise 6 with expression? reply. Seene 1 Tk To start the conversation B: Sure. Take it easy. 2k prea B: Of course. It was nice to see you. 1 Howsitgoing? |] o o A 2 What's up? dg g Oo 8: It going OK, thanks. 4k To end the conversation ae Max | andy | Kevin SA 1 Hreach pws — = 8: mvery wel thank you. ater ue 8 INTERACT Practice each dialogue with a partner. 2 See you gd g 3 Bye. oO o 9 INTEGRATE With a partner, prepare to role-play a short conversation between two people. Use the questions to Seene2 help you decide the context. Co Who are the speakers? (What are their names?) 1 Professor 2. What the relationship between them? Mi and x Andy “Lopez 3. How well do they know each other? 1 Good afternoon, | C] o Oo 4 Where does the conversation take place? 2. Howare you? 0 og oO 5. Should the language be careful and polite or relaxed and informal? To end the conversation 6 How can you start and end the conversation? max | andy P*PIEESOT 10. INTERACT Role-play your conversation forthe cas. = Your classmates can refer to the questions in Exercise 9 to Heras a a o analyze the context 2 Take cre gd g o 3 Nice to se you a Oo Oo 5 ANALYZE With a partner, compare the two scenes How isthe language aifferent? Why? In what way are the conversations similar? 6 DEVELOP Which expressions below would you use with these people? Why? Discuss your answers with a partner ‘a co-worker aneighbor your teacher aclosefriend family member your boss Hello. How are you? Hey. How's it going? What’s up? twas great to see you, but it’s getting late I really should go. Got to go. See you around. co-worker | don't know well: Hello. How are you? co-worker | know well: Hey. How's it-going?

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