學(xué)人教版選修8Unit 4 PYGMALIONPeriod5Using language教案設(shè)計（18頁word版）.docxVIP

2018學(xué)年度人教版選修8unit 4 pygmalionperiod5using language教案設(shè)計(making the bet)introductionlanguage is learned to be used in and for communication. so in this period we shall have the students read, listen, write and speak in english, making use of the focused words, collocations, structures and topic ideas covered in this unit. the following steps are offered to the teacher for reference: warming up by learning more about pygmalion，reading and acting，copying the collocations， acting a play，closing down by learning to act.objectivesto help students read the passage making the betto help students to use the language by reading, listening, speaking and writingprocedures1. warming up by learning more about pygmalionwhen george bernard shaw wrote pygmalion more than a half century ago, no one could have predicted his play would eventually be converted into one of the great musicals of our time - my fair lady - and an academy award winning motion picture. generations of readers and theatergoers have found relevance in shaws story of speech therapist henry higgins, who successfully transforms liza doolittle, a draggle-tailed guttersnipe, into a darling of high society who momentarily upsets his hard-edged reserve. the extraordinary wit of this master dramatist of the twentieth century cuts away at the artificiality of class distinctions to reveal that human clay can be molded into wondrous shapes.2. reading and actingread the text making the bet on page 33 to: cut/ the sentence into thought groups, blacken the predicates, darken the connectives and underline all the useful collocations. 3. copying the collocationswhy do we learn collocations? your language will be more natural and more easily understood. you will have alternative and richer ways of expressing yourself. it is easier for our brains to remember and use language in chunks or blocks rather than as single words.now read the text and find the collocations.collocations from making the betsit deep in conversation坐著深切交談, fancy oneself自負(fù), pronounce twenty-four distinct vowel sounds清晰地發(fā)出24個元音, a common kind of girl with dirty nails普通的手指甲臟的姑娘, talk into對著講話, get an interesting accent夾雜很有趣的口音, a bit of luck有運(yùn)氣, make records做記錄, return shortly很快回來, come into the rooms shyly羞怯地走進(jìn)房間 ,be dirty and badly dressed穿著破舊并且臟, curtsy to向行屈膝禮, ask any favors求某人幫忙, treatlike dirt把當(dāng)下賤人看, getfor two shillings an hour from從每小時得到兩先令, have the face to do有臉做, passoff as冒充一位, pay for向付錢, burn ones horrible clothes燒掉可怕的衣服, have a bath洗澡, weep with和哭泣, in need of需要, deal with處理, begin with以為開端, fade out減弱消失, go off stage走下臺4. acting a play pygmalion(by george bernard shaw)act icovent garden at 11.15 p.m. torrents of heavy summer rain. cab whistles blowing frantically in all directions. pedestrians running for shelter into the market and under the portico of st. pauls church, where there are already several people, among them a lady and her daughter in evening dress. they are all peering out gloomily at the rain, except one man with his back turned to the rest, who seems wholly preoccupied with a notebook in which he is writing busily.the church clock strikes the first quarter.the daughterin the space between the central pillars, close to the one on her left im getting chilled to the bone. what can freddy be doing all this time? hes been gone twenty minutes.the motheron her daughters right not so long. but he ought to have got us a cab by this.a bystanderon the ladys right he wont get no cab not until half-past eleven, missus, when they come back after dropping their theatre fares.the motherbut we must have a cab. we cant stand here until half-past eleven. its too bad.the bystanderwell, it aint my fault, missus.the daughterif freddy had a bit of gumption, he would have got one at the theatre door.the motherwhat could he have done, poor boy?the daughterother people got cabs. why couldnt he?freddy rushes in out of the rain from the southampton street side, and comes between them closing a dripping umbrella. he is a young man of twenty, in evening dress, very wet around the ankles.the daughterwell, havnt you got a cab?freddytheres not one to be had for love or money.the motheroh, freddy, there must be one. you cant have tried.the daughterits too tiresome. do you expect us to go and get one ourselves?freddyi tell you theyre all engaged. the rain was so sudden: nobody was prepared; and everybody had to take a cab. ive been to charing cross one way and nearly to ludgate circus the other; and they were all engaged.the motherdid you try trafalgar square?freddythere wasnt one at trafalgar square.the daughterdid you try?freddyi tried as far as charing cross station. did you expect me to walk to hammersmith?the daughteryou havnt tried at all.the motheryou really are very helpless, freddy. go again; and dont come back until you have found a cab.freddyi shall simply get soaked for nothing.the daughterand what about us? are we to stay here all night in this draught, with next to nothing on. you selfish pig-freddyoh, very well: ill go, ill go. he opens his umbrella and dashes off strandwards, but comes into collision with a flower girl, who is hurrying in for shelter, knocking her basket out of her hands. a blinding flash of lightning, followed instantly by a rattling peal of thunder, orchestrates the incident.the flower girlnah then, freddy: look wh y gowin, deah.freddysorry he rushes off.the flower girlpicking up her scattered flowers and replacing them in the basket theres menners f yer! te-oo banches o voylets trod into the mad. she sits down on the plinth of the column, sorting her flowers, on the ladys right. she is not at all an attractive person. she is perhaps eighteen, perhaps twenty, hardly older. she wears a little sailor hat of black straw that has long been exposed to the dust and soot of london and has seldom if ever been brushed. her hair needs washing rather badly: its mousy color can hardly be natural. she wears a shoddy black coat that reaches nearly to her knees and is shaped to her waist. she has a brown skirt with a coarse apron. her boots are much the worse for wear. she is no doubt as clean as she can afford to be; but compared to the ladies she is very dirty. her features are no worse than theirs; but their condition leaves something to be desired; and she needs the services of a dentist.the motherhow do you know that my sons name is freddy, pray?the flower girlow, eez ye-ooa san, is e? wal, fewd dan y de-ooty bawmz a mather should, eed now bettern to spawl a pore gels flahrzn than ran awy athaht pyin. will ye-oo py me fthem? here, with apologies, this desperate attempt to represent her dialect without a phonetic alphabet must be abandoned as unintelligible outside london.the daughterdo nothing of the sort, mother. the idea!the motherplease allow me, clara. have you any pennies?the daughterno. ive nothing smaller than sixpence.the flower girlhopefully i can give you change for a tanner, kind lady.the motherto clara give it to me. clara parts reluctantly. now to the girl this is for your flowers.the flower girlthank you kindly, lady.the daughtermake her give you the change. these things are only a penny a bunch.the motherdo hold your tongue, clara. to the girl. you can keep the change.the flower girloh, thank you, lady.the mothernow tell me how you know that young gentlemans name.the flower girli didnt.the motheri heard you call him by it. dont try to deceive me.the flower girlprotesting whos trying to deceive you? i called him freddy or charlie same as you might yourself if you was talking to a stranger and wished to be pleasant. she sits down beside her basket.the daughtersixpence thrown away! really, mamma, you might have spared freddy that. she retreats in disgust behind the pillar.an elderly gentleman of the amiable military type rushes into shelter, and closes a dripping umbrella. he is in the same plight as freddy, very wet about the ankles. he is in evening dress, with a light overcoat. he takes the place left vacant by the daughters retirement.the gentlemanphew!the motherto the gentleman oh, sir, is there any sign of its stopping?the gentlemanim afraid not. it started worse than ever about two minutes ago. he goes to the plinth beside the flower girl; puts up his foot on it; and stoops to turn down his trouser ends.the motheroh, dear! she retires sadly and joins her daughter.the flower girltaking advantage of the military gentlemans proximity to establish friendly relations with him. if its worse its a sign its nearly over. so cheer up, captain; and buy a flower off a poor girl.the gentlemanim sorry, i havnt any change.the flower girli can give you change, captain.the gentlemenfor a sovereign? ive nothing less.the flower girlgarn! oh do buy a flower off me, captain. i can change half-a-crown. take this for tuppence.the gentlemannow dont be troublesome: theres a good girl. trying his pockets i really havnt any change-stop: heres three hapence, if thats any use to you he retreats to the other pillar.the flower girldisappointed, but thinking three halfpence better than nothing thank you, sir.the bystanderto the girl you be careful: give him a flower for it. theres a bloke here behind taking down every blessed word youre saying. all turn to the man who is taking notes.the flower girlspringing up terrified i aint done nothing wrong by speaking to the gentleman. ive a right to sell flowers if i keep off the kerb. hysterically im a respectable girl: so help me, i never spoke to him except to ask him to buy a flower off me. general hubbub, mostly sympathetic to the flower girl, but deprecating her excessive sensibility. cries of dont start hollerin. whos hurting you? nobodys going to touch you. whats the good of fussing? steady on. easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. less patient ones bid her shut her head, or ask her roughly what is wrong with her. a remoter group, not knowing what the matter is, crowd in and increase the noise with question and answer: whats the row? what she do? where is he? a tec taking her down. what! him? yes: him over there: took money off the gentleman, etc. the flower girl, distraught and mobbed, breaks through them to the gentleman, crying wildly oh, sir, dont let him charge me. you dunno what it means to me. theyll take away my character and drive me on the streets for speaking to gentlemen. they-the note takercoming forward on her right, the rest crowding after him there, there, there, there! whos hurting you, you silly girl? what do you take me for?the bystanderits all right: hes a gentleman: look at his boots. explaining to the note taker she thought you was a coppers nark, sir.the note takerwith quick interest whats a coppers nark?the bystanderinapt at definition its a-well, its a coppers nark, as you might say. what else would you call it? a sort of informer.the flower girlstill hysterical i take my bible oath i never said a word-the note takeroverbearing but good-humored oh, shut up, shut up. do i look like a policeman?the flower girlfar from reassured then what did you take down my words for? how do i know whether you took me down right? you just shew me what youve wrote about me. the note taker opens his book and holds it steadily under her nose, though the pressure of the mob trying to read it over his shoulders would upset a weaker man. whats that? that aint proper writing. i cant read that.the note takeri can. reads, reproducing her pronunciation exactly cheer ap, keptin; n baw ya flahr orf a pore gel.the flower girlmuch distressed its because i called him captain. i meant no harm. to the gentleman oh, sir, dont let him lay a charge agen me for a word like that. you-the gentlemancharge! i make no charge. to the note taker really, sir, if you are a detective, you need not begin protecting me against molestation by young women until i ask you. anybody could see that the girl meant no harm.the bystanders generallydemonstrating against police espionage course they could. what business is it of yours? you mind your own affairs. he wants promotion, he does. taking down peoples words! girl never said a word to him. what harm if she did? nice thing a girl cant shelter from the rain without being insulted, etc., etc., etc. she is conducted by the more sympathetic demonstrators back to her plinth, where she resumes her seat and struggles with her emotion.the bystanderhe aint a tec. hes a blooming busybody: thats what he is. i tell you, look at his boots.the note takerturning on him genially and how are all your people down at selsey?the bystandersuspiciously who told you my people come from selsey?the note takernever you mind. they did. to the girl how do you come to be up so far east? you were born in lisson grove.the flower girlappalled oh, what harm is there in my leaving lisson grove? it wasnt fit for a pig to live in; and i had to pay four-and-six a week. in tears oh, boo-hoo-oo-the note takerlive where you like; but stop that noise.the gentlemanto the girl come, come! he cant touch you: you have a right to live where you please.a sarcastic bystanderthrusting himself between the note taker and the gentleman park lane, for instance. id like to go into the housing question with you, i would.the flower girlsubsiding into a brooding melancholy over her basket, and talking very low-spiritedly to herself im a good girl, i am.the sarcastic bystandernot attending to her do you know where i come from?the note takerpromptly hoxton.titterings. popular interest in the note takers performance increases.the sarcastic oneamazed well, who said i didnt? bly me! you know everything, you do.the flower girlstill nursing her sense of injury aint no call to meddle with me, he aint.the bystanderto her of course he aint. dont you stand it from him. to the note taker see here: what call have you to know about people what never offered to meddle with you? wheres your warrant?several bystandersencouraged by this seeming point of law yes: wheres your warrant?the flower girllet him say what he likes. i dont want to have no truck with him.the bystanderyou take us for dirt under your feet, dont you? catch you taking liberties with a gentleman!the sarcastic bystanderyes: tell h i m where he come from if you want to go fortune-telling.the note takercheltenham, harrow, cambridge, and india.the gentlemanquite right. great laughter. reaction in the note takers favor. exclamations of he knows all about it. told him proper. hear him tell the toff where he come from? etc. may i ask, sir, do you do this for your living at a music hall?the n