Thứ Sáu, 31 tháng 7, 2015

Language of Showbiz


The show business trade paper Variety turns 100 this year, and it continues to vex and amuse its readers with a language all its own. 
In this slanguage, as Variety staffers have dubbed it, media giant Disney is known as the Mouse, a reference to its mascot, Mickey Mouse. And a buzz can give a movie legs -- that is, if the right people are talking about a film, so it keeps drawing crowds. Reporter Gloria Hillard, filling in this week for our Wordmasters, has more: 

Listening online or download (link1);
Listening online or download (link2).
GH: They litter almost every studio and agent's office in Hollywood… issues of the instantly recognized Hollywood trade paper Variety, its bright green banner and bold headlines heralding opening box office receipts, movie deals, acquisitions, everything on the big and small screen to behind the scenes. In the competitive world of show business, Variety is almost required reading.
For the newcomer, the reading requires a certain knowledge of showbiz shorthand. Scanning the headlines at this Los Angeles newsstand, this one caught my eye: MOUSE HEADS TO COURT FOR CEO SEARCH. Now if you didn't know right away this was a story about the Walt Disney Company, don't feel bad.
TIM GRAY: "If you don't read Variety every day, it's like learning a foreign language."
As executive editor of Variety, Tim Gray is a walking dictionary of showbiz speak, or Variety slanguage.
TIM GRAY: "There is a certain amount of silly fun in slanguage because show business people take themselves so seriously."
So on the pages of Variety, it's not an award show, it's a kudocast. A director is a helmer. BevHills is short for Beverly Hills. H'w'd [pronounced H-wood], Hollywood. Girlfriend is just GF. The letters NSG stand for not so good, and so on. There are even words that have been developed to be H-wood politically sensitive. For instance, no one is ever fired in Hollywood, especially if you're a helmer's GF. That would be NSG!
So instead, as Tim Gray explains, one is simply ankled.
TIM GRAY: "Somebody ankles their job because the last thing you see when they walk out the door is their ankle. It's kind of neutral because, especially in Hollywood, you don't want to say someone is fired because they'll call and say 'No no I quit, they didn't fire me.' And so they [the former employers] will say 'He was fired, who was he kidding?' So that kind of thing we use every day. Personally, boffo is my favorite word."
GH: "Which means?"
TIM GRAY: "Terrific. Whammo is the absolute best it can be. The sixth 'Star Wars' movie is going to be whammo at the box office."
Somehow it's hard to imagine that, even in Hollywood, grown men and women might be using the word boffo in conversation. Still, says Mr. Gray:
TIM GRAY: "The Oxford English Dictionary has 20 words it attributes to Variety and that's kind of impressive. Words like striptease and payola and soap opera that Variety coined and they've become part of the daily language."
Some other words you may recognize are punch line ... and showbiz.
(RESTAURANT SOUNDS)
But does contributing to a couple of dozen words to the everyday language really make slanguage understandable? Well, maybe we should do a field test. A couple of Variety's casually tucked under my arm serve as my passport at an industry insider lunch spot. Michael Kassan is an executive in the entertainment industry. Still, this headline might stump him: KILLER TURNED FOR HUNT.
MICHAEL KASSAN: "Hmmm, Killer turned for Hunt. Killer Films is a production company and [actress] Helen Hunt is going to do a film for them."
OK, let's try one more: PILOTS READY FOR TAKE-OFF.
MICHAEL KASSAN: "It's a story about TV shows. And TV shows prepared for series are called pilots."
Clearly this crowd speaks the language. OK, heading east on Sunset, let's try the Variety headline test at the famed tourist spot Grauman's Chinese Theater. These three women are from Orlando Florida.
WOMEN: "Pilots ready for takeoff -- a movie? I have no idea."
OK, here's another: MOUSE MEN SET SAIL.
WOMEN: "Mouse men set sail. Let me see ... no, no, nope. [laughter]"
It was a story about two actors who signed on to a Disney film, probably a sea-going adventure. These tourists said they didn't think they'd subscribe to Variety any time soon.
But it's still possible to sound like an industry insider. For those who want to learn how to speak the language of showbiz, the Hollywood Dictionary, a glossary of some 200 terms, will be published this fall.
For Wordmaster, I'm Gloria Hillard in Hollywood.
MUSIC: "Variety Speak"/Animaniacs

(Source: VOA/WORDMASTER)



Thứ Năm, 30 tháng 7, 2015

How will you measure your life? Clayton M. Christensen

Khi đi làm, lúc nào bạn cũng đặt ra những mục tiêu nhất định để đánh giá hiệu quả công việc đạt được. Vậy bạn dựa trên những tiêu chí nào để đánh giá cuộc đời mình?

How will you measure your life là một trong những tựa sách được đánh giá cao cuả Clay Christensen bên cạnh The Innovator’s Dilemma. Thông điệp xuyên suốt của toàn quyển sách là công việc có thể dạy ta rất nhiều về cuộc sống riêng của mỗi người. Nhiều ví dụ từ các tập đoàn lớn như IKEA, Intel, Disney, Honda… được đề cập theo dạng lý thuyết, sau đó là những áp dụng vào cuộc sống đời thường như: chọn nghề để làm, gìn giữ mối quan hệ tốt đẹp và nuôi dạy con cái.



Quyển sách ra đời từ sau buổi nói chuyện của Clay Christensen trong lễ tốt nghiệp của sinh viên Khoa Kinh doanh trường Đại học Harvard (Harvard Business School), xoay quanh ba câu hỏi lớn:
1.    Làm sao tôi biết được rằng tôi sẽ hài lòng với công việc của mình?
2.    Làm sao tôi đảm bảo rằng mối quan hệ giữa tôi với vợ (chồng) và gia đình tôi luôn là nguồn hạnh phúc vô bờ?
3.    Làm sao để tôi không bị tống vào tù?
Clay Christensen chỉ ra rằng quyết định phân bổ thời gian, năng lượng và tài năng của bạn sẽ hình thành nên chiến lược cuộc đời mà bạn vạch ra cho mình. Những đam mê của bạn sẽ quyết định những ưu tiên cho bản thân, và những ưu tiên này sẽ xác định bạn có hài lòng hay cảm thấy hạnh phúc trong cuộc đời mình hay không.
Thêm vào đó, sự khiêm tốn là một trong những đức tính mà theo ông là đồng nghĩa với lòng tự trọng. Những người khiêm tốn thực ra là những người làm việc cực kỳ hiệu quả và sẽ là những người luôn hài lòng về sự nghiệp và cuộc sống, bởi vì họ có tinh thần ham học hỏi và không khoa trương về việc người khác phải cảm thấy là họ tài năng đến mức nào.
Câu hỏi cuối cùng có vẻ như không liên quan, nhưng hai trong số 30 người bạn rất giỏi của Clay Christensen đã phải vào tù. Năng lực họ có thừa nhưng một số việc xảy ra trong cuộc đời đã làm họ đi lệch hướng và phải vào tù. Trong cả công việc lẫn cuộc sống cá nhân, ông luôn đề cao việc sống một cách chính trực, không bội tín và luôn luôn phải trung thực. Mỗi cá nhân phải luôn gạt bỏ hết những cám dỗ  “chỉ làm sai lần này thôi” khi đưa ra bất cứ quyết định gì thì họ sẽ tránh xa được cảnh tù tội.
Clay Christensen cho rằng việc chọn những tiêu chí nào để đánh giá cuộc đời mỗi người là rất quan trọng. Khi ông phải đối mặt với căn bệnh ung thư đã giết chết cha ông, ông nhận ra rằng tiền bạc không mang lại nhiều niềm vui bằng việc ông đã giúp đỡ những ai và đã biến mình thành một người tốt hơn cho xã hội và cộng đồng như thế nào.
How Will You Measure Your Life? là một quyển sách tràn đầy cảm hứng và sự khôn ngoan, và sẽ giúp sinh viên, người đi làm và các bậc cha mẹ vượt lên khó khăn trong quá trình hoàn thiện bản thân.


(Theo ebooktienganh.com)


Thứ Sáu, 24 tháng 7, 2015

Expressions in spoken American English


AA: I'm Avi Arditti with Rosanne Skirble, and this week on Wordmaster: we talk with English teacher Nina Weinstein about some expressions in spoken American English that you might not find in a dictionary. 

RS: But if you are a good listener, you'll hear them. They give people time to think while helping connect one thought to the next.

NINA WEINSTEIN: "One of the useful links, I think, is the expression 'let's see,' which means 'let me think.' Often my students will use a kind of word like that from their own language. And so they'll be speaking Japanese or Spanish or whatever with their linking word and THEN they'll continue the rest of the sentence in English. And so I give them 'let's see' as a way to bridge their thoughts and also give them time to think."
AA: "'Let's see' also has a meaning in itself, though, too, doesn't it? Where, for example, you're not sure which way you've decided on something so you'll say 'OK, let's see' -- let's see what happens. 'Let's see.'"
NINA WEINSTEIN: "I think you're right. I think it could indicate that you're not sure of the answer. It has a lot of meanings. And a lot of these have dual meanings, like the simple expression 'uh huh.' Uh huh can mean that we're listening to what the person is saying, so this is a way of keeping them talking. It can also mean yes, or it can be pronounced 'um hmm.'"
RS: "What about no?"
NINA WEINSTEIN: "'Unh unh.' And my students often have a problem distinguishing between uh huh and unh unh."
AA: "Give us an example of how to use them correctly."
NINA WEINSTEIN: "'Do you want to go to the movie?' 'Uh huh.' Do you think that the movie will start after nine?' 'Unh unh.'"
RS: "You say your students have trouble distinguishing between the two?"
NINA WEINSTEIN: "Right."
RS: "Now, do you reinforce them with facial expressions or shaking your head, or nodding your head [yes] or shaking your head no?"
NINA WEINSTEIN: "I talk about the beat. If you listen to 'uh huh,' the accent is on the second syllable. If you listen to 'unh unh,' it's equal. So 'unh unh' is more staccato. And I tap my hand on the desk to kind of reinforce this. And then I usually asked them if they sing karaoke or something like that, so they get the idea of the beat. But I don't sing for them!"
AA: "Unh unh."
RS: "So you give them a couple of examples and they're tapping out on their desk whether it's yes or no?"
NINA WEINSTEIN: "Exactly."
RS: "I want to go back to unh unh, uh huh and a third one, 'uh oh.'"
NINA WEINSTEIN: "Uh oh."
RS: "They sound very similar. We have three here and if you could go over them again for us, I think that would be very useful because they sound so similar, but they're used in such different contexts."
NINA WEINSTEIN: "Well, I think if we look at the rest of the sentence or listen to the rest of the sentence, that gives us a big clue. If someone asks a question and the answer is uh huh, then it has to be either yes or no, so that pretty much narrows it. If there's a situation -- for instance, if a person spills some coffee or something like that, and the person says 'uh oh,' I think there's a kind of feeling that the situation gives us that something bad has happened, and uh oh means 'oh no,' there's a problem, something bad has happened, there's trouble or something like that. So often the situation will give us the idea."
AA: "It's a synonym for 'oops,' right?"
NINA WEINSTEIN: "It can be oops. We also say 'whoops.'"
AA: "What about a word like 'hey'?"
NINA WEINSTEIN: "Hey is actually a conversational strategy and it's used to draw attention to what you're talking about: 'Hey, did you see the movie on Channel 3 last week?' So I can delete the hey and still have a good sentence, but hey adds a kind of attention focus to the sentence."
RS: "What would you suggest to do to teach these things? Is it just to listen a lot?"
NINA WEINSTEIN: "I think that often what I read in the literature is a kind of lumping together of all of these strategies. But just in what we've spoken about today, you can see that they're very complicated, or they can have multi-purposes, each one. So I think that we need to give students systematic practice in hearing them and in distinguishing when the differences can be confusing, such as uh huh/unh unh."
AA: Nina Weinstein is an English teacher in Southern California and author of the book "Whaddaya Say? Guided Practice in Relaxed Speech." She's put together a list of conversational strategies including the ones we talked about today, which we'll post on our Web site, voanews.com/wordmaster.
RS: And that's Wordmaster for this week. Our e-mail address is word@voanews.com. With Avi Arditti, I'm Rosanne Skirble.
MUSIC: "Uh Huh Oh Yeh"/Paul Weller.

(Source: VOA/WORDMASTER)





Chủ Nhật, 19 tháng 7, 2015

Talking To Teen


AA:   I'm Avi Arditti with Rosanne Skirble, and this week on Wordmaster: advice about talking to teenagers. 
RS: Our friend Ali the English teacher in Iran told us about a book called "Raising Children with Character." 
AA: He suggested we talk to the author, Dr. Elizabeth Berger, a child psychiatrist in Pennsylvania.  So we took his advice.

Listening online or download (link1);
Listening online or download (link2).
RS: "Now how is it different, the interaction between two teenagers and the teenager and his or her parents?
ELIZABETH BERGER: "I think what makes it different is not the words, per se, but that teenagers are extremely sensitive to feeling that they have a hostile audience or a judgmental audience.  And parents often are conveying that they're exasperated, and that has a tendency to shut down communication from kids who are really craving the parents' good graces as much as they may not seem to be."
AA: "Now I know expressions like, for a parent to begin a sentence with, 'What I'm hearing is' and 'What I'm feeling is,' things like that -- you see that in the popular literature sometimes -- I mean that, to me personally, that kind of gives me the creeps [feel uneasy]. But, on the other hand, are those the sorts of ways to broach a conversation with a teenager? I mean, what advice do you give?"
ELIZABETH BERGER: "I have to say I share your 'creeps' there, because it's a little too politically correct or psychobabble -- therap-ese.  I think that parents need to be honest with themselves first about recognizing that often they want to control and badger and nag and preach at and scold and sort of beat the kid into line. And in order to have a respectful conversation you have to lay that aside."
RS: "So what's the best approach?"
ELIZABETH BERGER: "I think the best approach is to be a good listener."
RS: "So how do you start a conversation?"
AA: "Yeah, you can't listen till they actually are saying something! [laughter]"
ELIZABETH BERGER: "Well, first maybe you have to have a physical setup in which there are expectations on both sides that they are going to be communicating with one another. Car rides are good places for this in our automobile-dominated society, oftentimes the one place that people really have a chance for an intimate exchange."
RS: "Also, for me what works is right before bed, I don't know why -- or right after exercise or sports. There seems to be a little bit of ... "
ELIZABETH BERGER: "I think the bed thing is very telling because little children, especially, become very inspired and chatty at bedtime. It's often transparent that they don't want the grownup to go. They're lonely. You're all alone in that bed."
AA: "What about for older kids, for teenagers?
ELIZABETH BERGER: "Well, even there, it's an opportunity to say, 'Well, what's going on with you, catch me up, what is going through your mind lately?' You know, to put it in a neutral way, in a curious way, in an appreciative spirit works better, of course, with anyone."
AA: "Now how should you not approach a conversation with, let's say, a 14-year-old?"
ELIZABETH BERGER: "Well, I think American parents are unfortunately highly brainwashed by the idiom of the personnel department, the head nurse, the math teacher. These are great approaches for keeping a disorganized group together. Right? The sort of military, you know, 'we got a task, we're going to do the task and you got to fly right because we're organized around a task.' You can't teach math class without that premise, or have everybody sing on key in a glee club or whatever the group activity is. But intimate relationships are not like that.
"Parents sometimes feel fearful of their teenager, so they hang on to what they learned when they got their M.B.A. They hang on to a whole administrative set of rules and consequences. But a child is not a corporation. It just does not work that way."
RS:   Child psychiatrist Elizabeth Berger is author of the book "Raising Children With Character: Parents, Trust, and the Development of Personal Integrity."

AA:   And that's Wordmaster for this week.  You can find our segments on American English, dating back to 1998, on our Web site, voanews.com/wordmaster.  And our e-mail address is word@voanews.com. With Rosanne Skirble, I'm Avi Arditti.

(Source: VOA/WORDMASTER)



Thứ Tư, 15 tháng 7, 2015

Tips to Remember About Improving Memory


AA: I'm Avi Arditti with Rosanne Skirble, and this week on WORDMASTER some ways to help you improve your memory. 

ELDH: "We don't forget, we just haven't learned it in the first place."
RS: That's Wendi Eldh. She's a communications trainer who teaches memory skills. One technique she uses she calls the three R's -- record, retain and retrieve.
ELDH: "That is, you have to say, what is the piece of information I want to learn, and you record that. Then you have to figure out where you're going to put it. I don't just throw it in my brain. Am I going to put it with car information, will I put it with insurance information. So you actually get disciplined enough to organize the information you retain in some kind of filing system. And then when you're ready to retrieve it, you know where to get it, just like filing information in a filing cabinet."
RS: "But this is your head." [laughter]
ELDH: "Exactly."
AA: "Is your brain set up that way?"
ELDH: "Sometimes. It takes a lot of work. And I would say that in addition to the epiphany of learning that until you learn it you can't forget it, I think the other thing to realize about memory is that it takes a tremendous amount of discipline."
RS: "Well, how do you go about doing that?"
ELDH: "Well, there are many different memory techniques. I would say that the majority of them have to do with using very intense visual images. The more elaborate, the more bright, the more it draws on all your senses, the better you'll remember. Let's say somebody's name is Campbell. How are you going to remember Campbell? Well, break it up -- camp bell. You want to see that person at a campsite. He's got a huge bell in his hand and he's ringing it. And you see that in your mind, and you hear the bell ringing, very loudly, and you smell the pine needles. Now, you're never going to forget Mister Campbell."
AA: "So you file that, what file do you put that under?"
ELDH: "I'm going to put that under names, and I would probably file it -- depending on the scenario -- under a workplace name. Now that is a danger, though, because then we have what is called 'queue dependency."
RS: "Aren't you at risk of forgetting your cue?" [laughter]
ELDH: "You definitely are, and in fact that is one of the ways that we forget. We forget from decay. If you've studied another language, you know that if you don't use it, you lose it. And we've all heard that. Another is depression. When we have either a mental or a physical illness, our ability to remember and retain information goes down dramatically."
RS: "How would you apply these techniques that you've been talking about, the three R's -- record, retain and retrieve -- to learning a foreign language?"
ELDH: "I think that I would use a lot of the pneumonic devices where you make associations with words. I would also use the device that we use where you use the first letter of each of the words that you have to memorize. I'll give you an example: In America, we have what are known as the Great Lakes. Of course, we all know that. How do we remember the Great Lakes. Can either one of you remember how you ... "
AA: "Let's see, Huron, Michigan, Superior -- what are the other two?" [laughter]
RS: "Erie."
AA: "Erie, right, of course."
ELDH: "Now, I'll tell you an easier way to memorize this. You take the H for Huron, the O for Ontario, the M for Michigan, the E for Erie and the S for Superior and you make the word homes. Now you don't stop there -- and this is what I really want people to get from this information, that you don't just stop at homes, you don't just stop at an acronym, you take it further. You see homes -- it can be floating homes, on the lake, and you see people talking about their homes on the lake, and they're saying 'aren't these lakes beautiful that we float around on in our homes.' And so you can see you deepen the image that you have."
RS: "At one point in my life, I really, really wanted to be good at telling jokes. I never told many jokes and I thought it would be really fun to do that. And so what I did is -- but I could never remember the punch lines of the jokes that I'd hear. So I would write the punch lines down or a word or two, and all of a sudden I had a repertoire of jokes. So I think that writing down reinforces in some ways the things you're trying to remember."
AA: "Assuming you can remember where you put the paper. You know that situation ... "
ELDH: "Absolutely."
AA: "You write something down and you can't -- is there a simple way to remember where you put the paper?"
ELDH: "Ahhh ... "
RS: Memory and communications trainer Wendi Eldh. Now let's see if you can remember some addresses.
AA: The first address is our Web site: voanews.com/wordmaster. Next, our e-mail address. That's word@voanews.com. And, finally, our postal address. It's VOA Wordmaster, Washington DC 20237 USA.
RS: With Avi Arditti, I'm Rosanne Skirble.
MUSIC: "Thanks for the Memory"/Bob Hope and Shirley Ross, from the film "The Big Broadcast of 1938"

(Source: VOA/WORDMASTER)



Thứ Ba, 14 tháng 7, 2015

The Greatest Salesman In The World

The Greatest Salesman in the World is a tiny book, and it is a treasure. First published in 1968, Og Mandino’s classic remains an invaluable guide to a philosophy of salesmanship. 

 
Mandino’s clear, simple writing style supports his purpose: to make the principles of sales known to a wide audience. A parable set in the time just prior to Christianity, The Greatest Salesman in the World weaves mythology with spirituality into a much needed message of inspiration in this culture of self-promotion. 
Read online or Download Ebook (pdf);

Mandino believes that to be a good salesperson, you must believe in yourself and the work you are doing. It is a simple but profound spiritual philosophy about how to succeed in the world’s marketplace, easily understood and easy to take to heart. –Jodie Buller.

(ST&TH)



Thứ Ba, 7 tháng 7, 2015

Ảnh trong CV tiếng Nhật - 日本語





Trong loạt bài viết ngắn rất hữu ích này mà tôi nhận được chia sẻ từ Vietnamworks.com, thiết nghĩ nó một mặt giúp chúng ta tích lũy kinh nghiệm tìm việc từ đội ngũ chuyên gia uy tín của Nhật, mặt khác các nó cũng giúp nâng cao kỹ năng viết tiếng Nhật. 



Hôm nay tôi muốn nói với các bạn một điều khá đơn giản. Đó là khi ứng tuyển cho công ty Nhật, bạn hãy đính kèm hình của mình vào CV nhé. Hôm trước, sau khi xem qua nhiều hồ sơ, tôi phát hiện ra rất nhiều CV không có hình. Ở Nhật, việc dán hình vào CV đã trở thành thói quen nên người Nhật thường cảm thấy không hài lòng khi xem CV không có hình. Ngoài ra, khá nhiều công ty Nhật rất chú ý đến vẻ ngoài chỉn chu và cách ăn mặc chuyên nghiệp của ứng viên. Nhà tuyển dụng chỉ có thể đánh giá điều này dựa vào ảnh cá nhân trong CV nên ảnh trong CV rất quan trọng.

Ngoài ra, tôi cho rằng các bạn nên chọn trang phục lịch sự và sáng sủa trong ảnh của mình. Dù tôi là một người khá thoải mái và thường mặc áo thun quần jeans khi đi làm (các đồng nghiệp của tôi ăn mặc cũng khá đơn giản), tôi vẫn muốn các bạn khi chụp ảnh để dùng trong CV hãy chú ý chọn trang phục phù hợp với môi trường kinh doanh nhé. Khi đó, bạn sẽ cho nhà tuyển dụng thấy bạn hiểu được công ty Nhật và bạn là người mà họ có thể yên tâm dễ dàng làm việc chung.

Hãy chú ý những điểm trên để không bị mất điểm vì hình trong CV, các bạn nhé! 

Morio Nakatsuka (JapanWorks Career Advisor)
本日はとてもシンプルな話です。日系企業に応募する際は出来るだけレジュメに写真をつけてください。先日沢山レジュメを見ていて、写真がついてないレジュメが意外と多いことに気づきました。でも、日本ではレジュメに写真をつけることが習慣になっているので、写真がついていないと日本人にとって違和感があるんですね。また日系企業は清潔な格好や、ビジネス向きのだらしなくないファッションを重視する場合が多いです。レジュメの段階では写真しかその判断材料がないため、写真の雰囲気は重要です。



なお、写真は少なくともビジネスカジュアルで、明るく、清潔な雰囲気のものをオススメします。私はいつもTシャツにジーンズで働いていて、チームもみんなカジュアルですが、そんな私でもレジュメにはある程度ビジネスシーンに相応しい格好で撮った写真をつけてほしいと思います。そういう場合「ああこの人は日系企業のこと分かってるな」と思えて、一緒に働きやすそうだという安心感を得られます。



 写真で損をするのはもったいないですから、ぜひ上記を心がけてください!
中塚森生 (JapanWorks キャリアアドバイザー)

(Theo Vietnamworks.com)











Thứ Bảy, 4 tháng 7, 2015

TESOL


AA: I'm Avi Arditti with Rosanne Skirble, and today on Wordmaster -- it's TESOL time! 

RS: Next week is the thirty-eighth annual convention of the group known as TESOL: Teachers of English to Speakers of Other Languages. TESOL says there are one-point-three billion non-native speakers of English around the world. 

Listening online or download (link1);
Listening online or download (link2).
AA: TESOL has fourteen-thousand members across the globe. About half are expected to gather at the convention. This year the convention is in Long Beach, California, with more than a thousand lecture and discussion sessions on the program.
TESOL President Amy Schlessman says the convention will give teachers from the United States and more than one-hundred other countries the opportunity to meet and network with each other.
RS: They will also get a sense of the worldwide interest in the study of multiple intelligences. The convention will open with performances of music, dance and other creative arts -- all to make a point.
SCHLESSMAN: "Of course, we focus on how people talk. But our expression of intelligence can be in multiple ways. Like we have the dance, which is a kinesthetic approach, and we have the music which is a musical approach, and then there are other types of things like intrapersonal intelligence, which is knowing yourself, or interpersonal, which is getting along with others -- which is the whole networking opportunity.
"I recently talked to someone in Bahrain and he's doing research in multiple intelligences. In fact, they did a conference over there about critical thinking in English language teaching. I was also recently in Puerto Rico and they've added a fifth skill area. You're probably both familiar with teaching language often identifies listening, speaking, reading and writing and the four skill areas, and they've added a fifth area which is thinking.
"I think it was (Ludwig) Wittgenstein the philosopher (British, born in Austria, 1889-1951) that said 'the limits of my language are the limits of my world.' We're always interested in people learning another language, but we get to that because we think by increasing their use of language, we increase the options that they have to them for thinking."
AA: "And when we're applying, when English teachers apply these sorts of modern notions of multiple intelligences in their classrooms -- "
RS: "How does that practically work?"
AA: "I was going to say: what do they do this with? With music or with stories or with getting kids out of their seats, if you're going to talk about the kinesthetic intelligence?"
AS: "Exactly. And the example that I'm giving in my presentation on creativity is for us to think about taking what we do a step beyond what we're usually competent in. So the example I'm going to use is a deck of cards. If you think about a straight activity, (it) would be sorting the cards, because you wanted to create a pattern.
"Then the creative step would be, could you use the cards for something other than their original context. Like you would expect the card sort to be by suit or by number or by the type of face card -- face cards versus number cards. But if you give that as the activity to your class, you would kind of get the 'ahhh!' reaction if suddenly a student responded by making a clock out of the cards -- "
RS: "Or a house."
AS: " -- or use the numbers for a clock."
RS: "Or building a house."
AS: "Exactly. Actually that's one that I'm going to use. What we'd like to do is teach that to people so that they can have it as an option. So that's the kind of thing with teaching creativity, you can do it either multiple ways by encouraging different ways to be creative, but then the next step is to identify the principle that you're using, so that that becomes part of the repertoire that students have."
 

RS: Professor Amy Schlessman of Northern Arizona University is the outgoing president of TESOL. She'll get to present the TESOL President's Award at the convention next week in California. The award this year honors Howard Gardner at Harvard University for his theories on multiple intelligences.

(Source: VOA/WORDMASTER)