1

PROGRAMA DE LA ASIGNATURA: LENGUA INGLESA 3

CARRERA/S: PROFESORADO EN INGLÉS

AÑO DE CURSADO: 4º AÑO

ORDENANZA/S PLAN DE ESTUDIOS: 0430/09

AÑO LECTIVO: 2020

RÉGIMEN DE CURSADA: ANUAL X

1º CUATRIMESTRE

2º CUATRIMESTRE

CARGA HORARIA: 7 HORAS

DEPARTAMENTO: LENGUA Y CULTURA

ÁREA: LENGUA

ORIENTACIÓN: LENGUA INGLESA

EQUIPO DE CÁTEDRA: MG. MAGDALENA ZINKGRAF (PAD 1)

MG. MA. ANGÉLICA VERDU (ASD 2)

ALUMNO GERARDO NICOLÁS FRIZ (AYS Ad Honorem)

1. MARCO REFERENCIAL Y FUNDAMENTACIÓN

Lengua Inglesa 3 is a general English course aimed to develop learners’ overall linguistic

proficiency in the foreign language for them to achieve an advanced level in all components of

their communicative competence and in all skills (reading, writing, speaking and listening). The

course, which is part of a new curriculum, has been particularly designed to provide learners

with more input and opportunities for them to reflect on their future roles as teachers through

the analysis of multiple examples of tasks and learning situations, while they themselves

develop their linguistic competence.

As teachers-to-be, Lengua Inglesa 3 learners should aim at a level of competence that

will ensure an academically suitable mastery of the foreign language to perform as models for

their own students.

Much of the course materials are designed in conjunction with learners, whose needs,

likes and opinions contribute to the choice of reading resources and speaking prompts. These

decisions are made throughout the course at various points in time during the year.

2. AIMS AND OBJECTIVES

(Marcar con una X la opción correspondiente)

2

AIMS

• To help learners develop their linguistic competence from a post-intermediate (B2) to an

advanced, C1-C2 level (CEFR, Common European Framework of Reference for

Languages).

• To draw learners’ attention to the intercultural nature of language learning, and help them

develop intercultural skills, attitudes and knowledge.

• To further develop students' communicative competence in relation to a great variety of

topics, in a wide range of situations.

• To contribute to learners’ formation in the communication strategies (verbal and non-

verbal) that will help them perform successfully in different contexts, before different

audiences and for different purposes.

• To help students achieve independence in their studies.

• To contribute to a more critical approach to spoken and written discourse and, eventually,

to other aspects in their lives.

• To help raise learners’ self-esteem in the use of the foreign language, building up their

foreign identity.

• To provide a tolerant, agreeable and non-threatening learning atmosphere for learners to

feel confident and at ease, and ready to trust their peers for support and collaborative

work.

OBJECTIVES

• To provide learners with opportunities for gaining a solid lexico-grammatical knowledge of

the language so that they can account for its use, structure and function.

• To aid them in obtaining a more complex and thorough understanding of the distinctive

structure and patterning of spoken and written discourse.

• To contribute to learners’ development of the different listening skills involved in the

recognition and understanding of meanings, as determined by sociolinguistic and

pragmatic features of the oral contexts involved (variety, intentions, register, etc.)

• To help learners develop and/or make a wider use of higher order reading strategies that

will enable them to reach understanding independently of word-meaning, resorting to

other cues in the texts assigned.

• To provide learners with opportunities for them to express their thoughts and opinions in

the oral and written modes on a number of topics, with the adequate degree of accuracy

and fluency, and the appropriateness suitable to the context in which they are speaking

and/or writing.

• To help students in their vocabulary acquisition so that they perceive and learn not only

the meaning of words but also the grammatical contexts in which they tend to appear,

the words they collocate with and their relationship to other words with similar

meanings.

• To raise learners’ awareness of the stylistic and register conventions associated with text

types and genres, as well as with features of the context of situation, so that they will

perform appropriately in the foreign language.

• To aid learners in the continuous improvement of phonological features of their spoken

discourse in order to lend their output fluency adequate for a C1-C2 CEFR level.

• To contribute to learners’ integration of their linguistic and metalinguistic skills in their

own teaching practice

3. CONTENIDOS SEGÚN PLAN DE ESTUDIOS

Lengua Inglesa 3 (Nivel Avanzado II)

3

Al alcanzar este nivel, el alumno podrá comprender una amplia gama de textos escritos y

orales sobre temas abstractos y complejos con una gran variedad de recursos idiomáticos y

estructurales que refleje un manejo adecuado de la competencia pragmática.

Podrá utilizar la lengua con precisión y fluidez tanto en la producción oral como escrita,

elaborando textos con un alto grado de cohesión y coherencia sobre una amplia variedad de

temas complejos de naturaleza general y académica. Podrá expresarse con gran precisión en

una considerable variedad de contextos comunicativos.

4. CONTENIDOS ANALÍTICOS

THE MAIN AXES

The structuring backbone of the syllabus is thematically determined by the selection of 3

units in the course-book, Objective Proficiency (Capel and Sharp, 2013) – OP hereafter. Each

thematic unit in the coursebook is complemented with materials and tasks aimed at the

development of learners’ linguistic abilities in terms of features like the macro-skills,

grammar and vocabulary and their interaction in the lexico-grammar of language, as well as

stylistic issues related to discourse and genre. Below is a table where the different additional

and thematically related materials (TBMs) are detailed per unit (Table 1).

Microfiction audiovisual Non-fiction Novel

UNIT 1 The Daily Grind

a) Waiting

b) The factory

c) Angst

Film/series marathon Introduction ‘Thrive’ by Huffington (2014)

A Hundred Names

UNIT 2

Ring the Changes

a) Back in time

b) Egalitaire

c) An

unsatisfied

customer

d) Time and

money

e) Eternal

sunshine

‘Atypical’S1, E1

Song marathon

TED: The Beauty of Being a Misfit

Dare to Lead, Part 4

Brown (2018)

Options:

The tidal zone

The Ensemble

The art of racing in the rain

This could change everything

UNIT 3

Before your very eyes

a) The rarest of all

b) Elvis in the wings

c) Zellberg d) Let’s make a

deal

Options:

The Dot

Ish

TED Talk: The Art of Asking

‘Courage’ by Gilbert (2015)

Options:

The Muse

The Music Shop

4

e) Teec Nos Pos TED: The transformative Power of Classical Music

Where the Crawdads Sing

Table 1: Additional resources per units

Each unit also determines the choice of topics for the Language in Use Practical Assignments, as

well as for the units in the grammar book (My Grammar Lab Advanced - MGL), the specific topic-

related vocabulary and the units from Academic Vocabulary in Use (AVIU). The following section

outlines such details for each unit.

UNIT I. Urban Jungle (OP, Unit 8)

Language in Use Practical Assignments

1) LUPA A1: Why stressed workers need four-day weeks – not wellness trends, The

Guardian, 28 August 2019

2) LUPA B: We help them flourish and bloom, The Guardian, 30 November 2017

3) LUPA 1: Jokers please: first human Mars mission may need onboard comedians, The

Guardian, 15 February 2019

4) LUPA 2: Asda workers stage protests against 'punitive' new contract, The Guardian, 16

September 2019

5) LUPA 3: Jamal Edwards gives back to youth clubs that helped his career, The

Guardian, 3 November 2019

6) LUPA 4

7) LUPA 52

Listening: Job expectations (OP, p. 126)

Intensive Reading: OP (p. 129/130)

Grammar

OP: The Subjunctive (p. 130)

Booklet Zero

• Inversion of Order: Emphasis (+ Unit 12 in Grammar and Vocabulary for Cambridge

Advanced and Proficiency)

• Relative Clauses (+ Unit 11 in Grammar and vocabulary for Cambridge Advanced and

Proficiency)

Vocabulary

Vocabulary

OP: expressions related to work: A GOLDEN HANDSHAKE, CUT THEIR TEETH, PROGRESS UP

THE RUNGS, A MIXED BLESSING, DOG-EAT-DOG, THE SLIGHTEST WHIFF OF, GET SNAPPED UP,

A TRACK RECORD, MINDSET, THE JURY’S STILL OUT ON STH, A QUANTUM LEAP, QUICK FIXES,

KEEP THEIR HEADS DOWN. (p. 126)

1 Lettered LUPAs (e.g. LUPA A) are for additional practice and do not constitute part of the evaluation

instances. There are two lettered LUPAs per unit which – as opposed to the numbered LUPAs (LUPAs 1-10) - are included within each TBM. 2 The texts for these LUPAS and future ones will be defined by the team in due time. Texts are selected based on topic (which have recently been published). They are specially designed for each occasion.

5

KWFF: WORK- SUCCESS- RISK -SAFETY – CONTROL – BENEFIT – RIGHT – A LOSS OF -A WASTE OF

Academic Vocabulary in Use -Advanced- (AVIU):

Activity #1

Unit 7: Key quantifying expressions

Unit 8: Words with several meanings

Unit 10: Nouns and the words they combine with

Popplet #1

Relate topics dealt with in short stories, film marathon, and A hundred Names

Concordance Exploration:

• GOLDEN HANDSHAKE, CUT THEIR/HIS TEETH, UP THE RUNGS, A MIXED BLESSING, A

TRACK RECORD, A QUANTUM LEAP, THE JURY IS STILL OUT, RUN-OF-THE-MILL

• Subordinators: LEST, FOR FEAR THAT

• Conjunctions: WHEREAS, CONVERSELY, LIKEWISE, SIMILARLY, NONETHELESS, BE THAT AS

IT MAY, BY THE SAME TOKEN

• Inversion and Fronting: RARELY, SELDOM, NO SOONER, ON NO ACCOUNT, LITTLE DID,

UNDER NO CIRCUMSTANCES, NOT ONLY, SCARCELY, NEVER

UNIT II. RING THE CHANGES (unit 1 in OP)

Language in Use Practical Assignments

1) LUPA C: Meet the 'digital nomads' who travel the world in search of fast Wi-Fi, The

Guardian, 16 June 2015

2) LUPA D: Why do relationships end? You asked Google – here’s the answer, The Guardian, 9

August 2017

3) LUPA 6: to be defined3

4) LUPA 7: to be defined

5) LUPA 8: to be defined

Intensive Reading:

Tapescript for exercise 2 (p. 8)

a) Feng-shui (p. 9)

b) The Lawns (p. 11)

c) Henri-Cartier-Bresson (p. 14)

d) It’s only skin deep (p. 15)

Extensive Reading and Speaking:

Fiction: Novel to be chosen from the options in Table 1 (p.3 above)

Non-fiction: Part 4 (Dare to Lead, by Brown (2018))

Listening and Speaking

Coursebook: Changes (p. 8)

Audiovisual:

a) S.1, E.1 Antarctica of Atypical

b) TED Talk: ‘The Beauty of Being a Misfit’

3 The texts for these LUPAS and future ones will be defined by the team in due time. Texts are selected based on topic (which have recently been published). They are specially designed for each occasion.

6

Grammar OP

• Verb patterns: verbs related to ‘change’

• Perfect tenses (p. 11)

• Phrasal verbs (p.9)

• Word formation (p. 12) Adjectives from nouns

• Inversion of Order: Emphasis (+ Unit 12 in Grammar and Vocabulary for Cambridge

Advanced and Proficiency)

• Relative Clauses (+ Unit 11 in Grammar and vocabulary for Cambridge Advanced and

Proficiency)

Vocabulary

OP: Idioms: out of the blue, fall into place, go downhill, on the cards, the rest is history,

have a change of heart, (p. 8); collocation: gain attention, head the wrong way, meet Mr

Right (p.8); adjectives

KWFF: CHANGE, CHANCE, SUGGESTION, MIND, CHOICE, TIME, CIRCUMSTANCES, A RANGE OF

AVIU

Activity #2

Unit 11: Adjective and noun combinations

Unit 12: Verbs and the words they combine with

Unit 13: Prepositional phrases

Unit 14: Verbs and prepositions

Unit 15: Nouns and prepositions

Unit 16: Fixed expressions

Popplet #2

(To be defined)

Concordance Exploration

• BARELY, MERELY, HARDLY

Unit III. BEFORE YOUR VERY EYES (Unit 7 in OP)

Language in Use Practical Assignments

1) LUPA E: Yinka Shonibare: behind the artist's new Central Park sculpture, The Guardian,

8 March 2018

2) LUPA F: Art project paints an unflattering picture of urban renewal in Rome, The

Guardian, 5 February 2017

3) LUPA 9

4) LUPA 10

5) LUPA 114

Intensive Reading

a) p. 59. “The pointillist Georges Seurat (1859-1891)”

b) p. 60-1. “Beauty written in the stars”

4 As with those LUPAs in the previous units this will depend on the time factor and a number of other issues. This is the approximate number of LUPAS learners usually complete in our course

7

c) p. 62-3. Texts on art, clichés and beauty

Listening and Speaking

OP p. 58 Extracts related to the visual arts

Audiovisual: see Options Table 1 (p.3 above)

Extensive Reading and Speaking:

Fiction: Novel to be chosen from the options in Table 1 (p.3 above)

Non-fiction: Courage (Part 1, Big Magic by Gilbert (2015))

PEDCO task

Google Art Project: Visiting a virtual museum

Select a work of art in one of the virtual museum galleries and explain why you have chosen it

Grammar

OP

• Participle clauses (Focus on Proficiency)

• The gerund

• Extended Noun phrases

• Adjective suffixes (-able, -ary, - ible, -ical, -ive, -ous, -some)

Vocabulary

OP: idioms with EYE

KWFF: RIGHT, A SERIES OF, MEASURES, RESULT, IDEA, VIEW, ATTEMPT, VALUE, ATTITUDE

AVIU: Activity #3:

Unit 30: Cause and effect

Unit 31: Talking about ideas

Unit 32: Reporting what others say

Unit 33: Talking about meaning

Unit 37: Degrees of certainty

Concordance Exploration

Idioms with eye: CATCHY SB’S EYE, NOT SEE EYE TO EYE, TURN A BLIND EYE, CAST YOUR EYE,

HAVE AN EYE FOR

5. PROPUESTA METODÓLOGICA5

LEARNING EXPERIENCES AND ACTIVITIES

a) LUPAs (Language in Use Practical Assignments)

55 Muchas de las actividades que se detallan en la propuesta metodológica han sufrido modificaciones por las circunstancias de ASPO por pandemia COVID-19. Estas modificaciones se detallan en pág. 13, luego del inciso 9. Cronograma tentativo

8

These assignments consist of two parts: a text which is thematically related to one of the

backbone units in the course, on which a set of general understanding questions and more

specific, language-focused issues are asked and an essay writing task. LUPAs typically involve a)

answering questions related to ideas in the text (content) and the way they have been conveyed,

b) explaining usually unknown lexical items and phrases whose meanings can be retrieved from

the context and c) writing an essay on an issue which is thematically related to the units and to

the text they’ve read for a) and b). The prompts are presented in the shape of thesis-statements

learners are expected to defend in argumentative essays of about 300-350 words. The whole

assignment is meant to be carried out in class, without the aid of the dictionary but with the

help of learners’ Individual Mistake Frequency Log (see c) below). Learners are presented with

the numbered LUPAs in section 4. above on the date set for the task/s ( see section 8.b, below).

The aim of these tasks is both to provide learners with exposure to authentic discourse

addressing an educated UK-set audience and to serve as an excuse for both spontaneous and

genuinely communicative language use so they can put across their interpretation of the text.

Learners’ written answers to the questions should be communicatively successful statements,

accurate and appropriate in style and register to the C1-C2 CEFR level. Their correctness in terms

of reading comprehension, however, cannot be – and is not - assessed in terms of ‘right’ or

‘wrong’.

The reading comprehension texts also serve a secondary and important function: they propose

a topic, helping students recall prior knowledge on a subject on which to base ideas for the

argumentative essay. These texts also constitute good models for writing (Richards and

Renandya, 20026: 273). Learners’ production of argumentative texts is developed and assessed

during the year through approximately ten or eleven practical assignments of this type.

These assignments are not graded at the beginning of each of the terms and only as time

progresses are learners’ marks taken into account. This is the case due to the assumption that,

at the beginning of the course they need time to develop and enhance the skills necessary to

pass the tasks successfully, and that practice in the completion of LUPAs, together with class

discussion of common errors, will help them progress in the writing skills necessary to pass.

Teachers correct and oversee each and every one of these LUPAs to keep a record of learners’

typical mistakes and overall learning process. Learners are also invited to re-write and submit

new versions of their production, using teachers’ feedback as orienting comments. Out of the

eleven practical assignments only four/five are considered as ‘graded’ assignments (see

Evaluation in section 6. below).

b) Common error analysis

A selection of 10 to 20 mistakes encountered in learners’ assignments are printed and

distributed for students to analyse and spot the mistakes in them. This activity regularly takes

place after the grading of practical written assignments and is conducive to learners’ growing

perception of their own mistakes, which may pose a major threat to accurate and successful

production in the foreign language.

c) Individual mistake frequency logs

6 “Teaching Reading” in Richards & Renandya, (Eds.) (2002), Methodology in Language Teaching. Cambridge: CUP (273-275)

9

Each learner is encouraged to keep a record of the type and number of impeding mistakes in

their production, provide the correct version and use these logs as aids in the editing phase of

future written assignments. These logs are recorded in a table every time a LUPA has been

graded. Each learner is allowed to have the table with them as a checklist during the writing of

a following assignment, so that they will search the draft copy for similar mistakes, spot them

and correct them, before handing in the assignment.

d) Concordance-line analysis

Learners are encouraged to analyse, with their peers, print-outs of concordance lines obtained

through the online applications, especially when doubts arise in class or in their use of a special

structure, collocation, verb pattern or even vocabulary item. As mentioned above, they are

invited to discover recurrent patterns, collocations and colligations in the samples analysed.

Tasks such as gapped concordance lines or interactive quizzes on selected lines may also be

presented.

e) Small-group discussion of short-short stories, short videos, songs, films and novels

Through a set of questions, learners are guided in the discussion of the main events and topics

dealt with in the chapters of novels or short-short stories read for that session. Later, with the

whole class, the crucial issues are taken up and doubts arising from the reading are cleared up.

The lessons that involve the discussion of novels and micro-fiction are special opportunities for

learners’ practice of their oral skills to convey their ideas spontaneously and meaningfully.

The issues referred to in the films are also discussed in relation to similar, related topics found

in the novels and the micro-fiction analysed in class. Learners are expected to draw connections

among the themes dealt with in these materials.

As with the individual mistake log, learners are given an Oral Feedback Form where feedback on

their oral performance in class (during these small-group discussions) and for the oral mock-

exams is recorded.

f) Grammar revision and tests

The grammar book My Grammar Lab (advanced) (Foley & Hall 2012) has been adopted to further

develop learners’ grammatical competence as an essential tool in their performance in the

foreign language. The whole book has been divided into twelve sets of different units (containing

varied topics and not following the authors’ organization) to guarantee the recycling of topics.

Learners analyse these units at home according to the schedule set at the beginning of the term,

do the exercises in preparation for a revision lesson, where doubts as to the grammatical

features studied are clarified. A few days after, they take a test on those units7. Tests last

approximately 30 minutes and consist of a) a transformations exercise and b) a cloze test both

based the units and exercises in the explanation and exercise sections of the book. Learners are

assessed through these grammar tests, which constitute part of the practical assignments with

a mark, essential to the course requirements (See Evaluation in section 6. below).

g) Article, film and song marathons

7 Originally (2015-2017) there used to be six tests a year, but, at learners’ request, -from previous cohorts- the number of units covered per test was reduced to six/seven and tests were subdivided into more and shorter assessment instances.

10

Learners develop the oral skills necessary to summarise the content of an article by giving brief

presentations to a small group of peers on news items from British and American newspapers

online. The value of this task resides in the brevity of the texts, which allows many topics to be

dealt with in a group and simultaneously in the class. One of the strongest points of this task is

the spontaneous use of language generated. Learners are warned against lifting sentences or

phrases from the original text to this purpose. In each small group learners are to find similarities

and differences among the articles discussed and report back to the whole class or write a one-

sentence-long summary. Additionally, a list of suggested titles for argumentative writing derived

from the discussion of the articles is put forward by each group. The same procedure is followed

with possible films learners are to watch (each a different one) in relation to the corresponding

units. In some cases learners are invited to select a song and add them to an album on Facebook

and present it to their classmates in class, explaining why they consider it is related to the unit,

what issues of work, for example, it deals with and which of its aspects are portrayed.

h) Microfiction

For each unit a set of stories are selected to be dealt with and whose discussion is oriented to

issues related to the unit. The tasks learners are expected to carry out contribute to raising their

awareness as to the multiplicity of interpretations microfiction triggers and encouraging

tolerance of ambiguity and of others’ points of view.

i) Popplets

For learners to work on the vocabulary from the selected units and materials in each TBM, they

are encouraged to use Popplets (popplet.com.), a web tool that contributes to mindmap design,

in order to visually present an interesting presentation where the vocabulary is structured and

organised according to their own criteria. Learners select the vocabulary items and expressions

from the units which they believe are significant to them and design a presentation of these

words in context to be shared with teachers and other learners in the course. For each thematic

unit in the course an individual popplet is designed and published in an album on the Facebook

support group.

j) Tutorials

Individual tutorials are offered, in which learners can consult teachers. They are invited

to submit written assignments which are analysed by both learner and teacher, in an attempt to

draw their attention to typical mistakes they tend to make. These sessions are also open to the

practice of oral skills, so learners can be tutored in the oral presentations of the selected articles.

Learners can choose to attend in groups as well.

On-line tutorials are offered for those who cannot enrol for the other types of tutorials. Learners

contact the teacher and send their written work on-line. Within days feedback is returned with

comments as to what could be improved.

k) Forums, chats, diaries and tasks on the University’s Educational Platform (PEDCO)

and/or Facebook

Learners will be required to engage in online forums on the discussion of the novels, films or

short-short stories. Extra tasks will be up-loaded on the platform/ Facebook for learners to write

more freely and practise the language perceived in the input they receive. They share articles

11

found on the web in relation to the units and topics derived from the novels, and they also

comment on their mates’ selection of pictures, articles, songs, etc.

6. CRITERIOS DE EVALUACIÓN Y CONDICIONES DE ACREDITACIÓN (ver sección al final del

documento por COVID-19)

Since this course aims at the development of a C1/C2 level as described in the Common

European Framework of Reference for Languages, learners need to meet the following criteria,

quoted below as the descriptors for the corresponding level, language component and skill:

Spoken Interaction

▪ Can express him/herself fluently and spontaneously, almost effortlessly. Has a good

command of a broad lexical repertoire allowing gaps to be readily overcome with

circumlocutions. There is little obvious searching for expressions or avoidance strategies;

only a conceptually difficult subject can hinder a natural, smooth flow of the language

(Overall Spoken Interaction for C1, The CEFR Illustrative Descriptor Scales8, p. 83)

▪ Can backtrack when he/she encounters a difficulty and reformulate what he/she wants to

say without fully interrupting the flow of speech (Monitor and Repair for C1, The CEFR

Illustrative Descriptor Scales, p. 80)

▪ Can correct slips and errors if he/she becomes conscious of them or they have led to

misunderstandings. (Monitor and Repair for B2,The CEFR Illustrative Descriptor Scales, p.

80)

▪ Can argue a formal position convincingly, responding to questions and comments and

answering complex lines of counter argument fluently, spontaneously and appropriately.

(Formal discussion for C1, The CEFR Illustrative Descriptor Scales, p. 87)

▪ Can make critical remarks or express disagreement diplomatically. (Formal discussion for

C1, The CEFR Illustrative Descriptor Scales, p. 87)

▪ Can follow up questions by probing for more detail and can reformulate questions if these

are misunderstood. (Formal discussion for C1, The CEFR Illustrative Descriptor Scales, p.

87)

COHERENCE AND COHESION

▪ Can produce clear, smoothly flowing, well-structured speech, showing controlled use of

organizational patterns, connectors and cohesive devices. (Coherence and Cohesion for

C1, The CEFR Illustrative Descriptor Scales, p. 142)

Written Production

▪ Can write clear, well-structured expositions of complex subjects, underlining the relevant

salient issues. Can expand and support points of view at some length with subsidiary

points, reasons and relevant examples. Can write a suitable introduction and conclusion

to a longer report, article, or dissertation on a complex academic or professional topic

provided that the topic is within his/her field of interest and there are opportunities for

8 2018. Common European Framework of Reference For Languages: Learning, Teaching, Assessment Companion Volume With New Descriptors, Council of Europe. Last retrieved Dec. 2019 at https://rm.coe.int/cefr-companion-volume-with-new-descriptors-2018/1680787989

12

redrafting and revision. (Written Reports and essays for C1, The CEFR Illustrative

Descriptor Scales, p. 77)

GRAMMATICAL ACCURACY

▪ Consistently maintains a high degree of grammatical accuracy, errors are rare and

difficult to spot. (Grammatical Accuracy for C1, The CEFR Illustrative Descriptor Scales,

p. 133)

▪ Good grammatical control. Occasional ‘slips’ or non-systematic errors and minor flaws in

sentence structure may still occur, but they are rare and can often be corrected in

retrospect. (Grammatical Accuracy for B2, The CEFR Illustrative Descriptor Scales, p. 133)

VOCABULARY CONTROL

▪ Uses less common vocabulary idiomatically and appropriately. Occasional minor slips, but

no significant vocabulary errors. (Vocabulary control for C1, The CEFR Illustrative

Descriptor Scales, p. 134)

With the following criteria in mind, learners’ written production in the course should not

present more than four serious errors in graded LUPAS, in the second term especially. The

following are some of the types of errors considered serious: S-V agreement, double subject,

sentence structure, word- and constituent- order and punctuation, word-formation and word-

category mistakes, verb tenses and verb forms in complex verb phrases.

EVALUATION

I. Regular students

For students to become “regular” they need to have

• passed 70% of graded practical assignments (LUPAs), with the possibility of making up

for one or two at the end of the year),

• passed 70% of the grammar tests administered (with the possibility of making up for the

failed ones by sitting for an integrative grammar test at the end of the year),

• submitted 70% of practical assignments which do not take a mark,

• passed both term-exams or their make-ups.

The final exam for these learners will consist of two parts:

a. a qualifying written part where they will complete reading-comprehension activities

and an essay-writing task on one of the topics dealt with in the units of the syllabus

(in the same format as the one of the LUPAs),

b. an oral part, on the subsequent day to the written exam, which consists of two

sections: 1) a content-focused presentation of a news article of the learner’s

choice, thematically related to the topics dealt with in the units (the article must

be up-dated and, if possible, from British or American on-line newspapers) and,

2) an all-encompassing discussion of the general topics/ themes and characteristics

found in the novels, the micro-fiction stories, videos, songs and the films worked

on in class (see chart on pp 3-4 above). This part takes no longer than 15-20 minutes

in all and resembles the Oral Mock-Exam/s learners have had during the year.

II. Non-attending learners (Alumnos libres)

Following Ordenanza 273/2018, Art. 33, exams for these learners will consist of

13

a. a qualifying written part consisting of a) in-depth reading-comprehension activities

(similar to the LUPAs during the course but with a few more questions) and an

essay-writing task on one of the topics dealt with in the units of the syllabus; b) a

transformations exercise and a cloze test both based on the corresponding Grammar

book (MGL).

b. Learners need to have passed the totality of the sections of this written part. Once this

written part of the exam has been passed, non-attending students will sit the oral

part of the exam on the subsequent day to the written part of the exam, which

is the same as that of regular students (see I, b. above).

7. DISTRIBUCIÓN HORARIA (clases y horarios de consulta)

Lessons: Mondays from 8 to 10, Wednesdays from 8 to 11 and Fridays from 11 to 13

Tutorials: Mondays 12-13 (Zinkgraf), Wednesdays 12-13 (Verdú and Zinkgraf), Thursdays 9-10

(Verdú), and Fridays 9-10 (Zinkgraf).

If learners cannot make it for these possible timeframes, they can re-schedule and meet the

teacher at a more convenient time to them. Learners can also send their written production

for practice by email for the Ts to correct and send back feedback.

8. CRONOGRAMA TENTATIVO primer cuatrimestre

VOCABULARY

ACTIVITY Units included

in…

Activity # 1: June TBM 1 (novel,

stories and films)

Activity # 2: ………. TBM 2

Academic Vocabulary in Use (AVIU) –

Advanced - (McCarthy, M. & O’Dell)

Activity # 1: ………… Units 6, 7, 8, 9 &

10

Activity # 2: ………… Units 11, 12, 13,

14, 15 & 16

My Grammar Lab – Advanced - (Foley & Hall)

Test # 1: March 25th Units 1, 6, 20, 21,30, 58,72

Test # 2: April 15th Units 2, 3, 9, 22, 26, 31,

62

Test # 3: April 29th Units 5, 19, 23, 24, 47, 63

Test # 4: May 20th Units 4, 8, 12, 32, 41, 45

Test # 5: June 8th Units 10, 14, 27, 48, 53, 76

Test # 6: August … Units 11, 15, 28, 33, 38,

42, 43

LUPA DATE PART A DATE PART B

LUPA 1 April 24th (11-13) April 25th

LUPA 2 May 13th (8-11) May 14th

LUPA 3 May 27th (8-11) May 28th

LUPA 4 June 10th (8- 9-30) June 11th (midday)

LUPA 5 June 24th (8- 9-30) June 25th (midday)

14

CURSADA Y ACREDITACIÓN EN LENGUA INGLESA 3– “Plan de Acción para la continuidad de

actividades académicas COVID-19”, aprobado por Res. 164/2020

En el marco de del ASPO por COVID-19, en la cátedra se han tomado las siguientes medidas

para garantizar la continuidad del cursado de la asignatura:

Clases:

Se han implementado por lo menos dos reuniones por zoom por semana, donde se trabajan

materiales del libro de texto, libro de gramática, la novela seleccionada y material de clase

(TBM1). A tal efecto, se ha publicado a través del grupo soporte de Facebook y a través del

foro de la asignatura de Pedco, las fechas y horarios de dichas reuniones y sistemáticamente

se han subido sus grabaciones a pedco a través de uncoma.videos para que aquellos que no

hayan podido participar puedan ver las grabaciones en su propio tiempo.

Tests de gramática:

Los tests de gramática (basados en la práctica de unidades temáticas organizadas según

cronograma) se están llevando a cabo a través de la plataforma Pedco. A partir del test 3

contarán las notas para la acreditación de la asignatura. Como en todas las oportunidades,

serán considerados ‘aprobado’ si el 70% de las dos actividades que los componen (Cloze y

Transformations) están correctos. Ambas secciones serán realizadas (Cloze) o entregadas

(Transformations) a través de Pedco y están diseñadas para completarse online en un período

estipulado de una hora. Si por cuestiones de conectividad u otros inconvenientes, algunos

estudiantes no pueden realizarlas sincrónicamente, se les habilitan otras opciones. Se prevé

para el segundo cuatrimestre por lo menos una instancia de recuperación para aquellos Tests

desaprobados en aislamiento.

Language in Use Practical Assignments (LUPAs)

Los LUPAs constituyen una práctica contextualizada de lectura crítica y escritura, tanto de

interpretaciones personalizadas en base a un texto temáticamente relacionado con la unidad,

en este primer cuatrimestre TBM1 (Work), como de escritura de ensayos argumentativos. Esta

tarea, que en la presencialidad se realiza en clase durante tres horas, será dividida y ha sido

adaptada para realizarse en dos momentos: PARTE A durante una hora (y media) en “horario

de clase” – se entregan las respuestas a través de la plataforma PEDCO en carpetas a tales

efectos- y PARTE B para entregar hasta un día después (nótese las dos fechas incluidas para

cada uno de los LUPAS en las tablas de arriba). Las fechas para estas actividades se publican

por mes a través de Facebook y del foro de novedades de la asignatura de Pedco.

Para garantizar el proceso de aprendizaje, y ofrecer múltiples instancias de práctica que

permitan a los estudiantes desarrollar habilidades en el tiempo, hasta fin de mayo estas

15

actividades serán considerados prácticos ‘entregados’ pero sin nota. Serán corregidos y se

ofrecerá feedback a través de Pedco también pero las mismas no serán computadas a los

fines de acreditación de la cursada. A partir de LUPA 4 inclusive (10 de junio), estos

prácticos llevarán una nota (aprobado/desaprobado) y contarán para la acreditación. La

aprobación del práctico dependerá del número de errores serios que presente la totalidad del

escrito de los estudiantes (más de 5 errores en el primer cuatrimestre implica ‘desaprobado’).

Se prevé para el segundo cuatrimestre por lo menos una instancia de recuperación para

aquellos LUPAs desaprobados en aislamiento. Si, ante eventuales problemas de conectividad o

de otra índole, algún estudiante no pudiera cumplir con la actividad en la fecha u horario

estipulado, se ofrecerán alternativas para asegurar su realización y entrega.

Parciales

En abril se decidió postergar el parcial (similar en formato a un LUPA) hasta tanto estén

dadas las condiciones para volver a clases presenciales. En las presentes circunstancias y

ante la posibilidad de que no se regrese por el momento a la presencialidad, se prevé

consensuar una fecha del primer parcial para septiembre, luego de que los estudiantes

hayan tenido suficiente práctica escrita (sin nota) luego del receso invernal. Este parcial

respetará la modalidad en que se llevan a cabo los LUPA en el marco de ASPO, es decir, una

parte durante horario de clase y la otra a entregar al día siguiente, ambas a través de Pedco.

Su recuperatorio probablemente tendrá lugar a fines de octubre y el segundo parcial será

definido probablemente para mediados de noviembre, según calendario académico para ese

segundo cuatrimestre.

Tutorials

Desde abril se ofrecen horarios de consulta individuales a los estudiantes, quienes pueden

anotarse en un documento de drive para solicitar horarios disponibles. Se ofrecen doce

turnos de media hora por semana en los horarios de consulta que se estipulan en la sección

7. Distribución horaria para trabajar vía Zoom en los aspectos que los estudiantes soliciten.

9. BIBLIOGRAFÍA OBLIGATORIA Y DE CONSULTA

Reference Books and material

▪ Capel, A. and W. Sharp. 2013 (2005). Objective Proficiency. Cambridge: CUP.

▪ Foley, M. & D. Hall. 2012. My Grammar Lab Advanced C1/C2, Harlow: Pearson Education

Limited.

▪ McCarthy, M. & O’Dell, F. 2008. Academic Vocabulary in Use. Cambridge: CUP.

▪ Woolard, G. 2004. Key Words for Fluency. London: Thomson Heinle.

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2019. Booklet Zero. Manuscript published on

PEDCO and the Facebook support group

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2020. Topic-Based Materials Unit 1: The

Daily Grind. Manuscript uploaded on PEDCO at

https://pedco.uncoma.edu.ar/mod/resource/view.php?id=233347

16

Novels

▪ Ahern, Cecelia. 2013. One Hundred Names. London: Harper Collins.

Options9

▪ Burton, J. 2016. The Muse. Croydon: Picador

▪ Gable, A. 2019. The Ensemble. Croydon: Headline Review.

▪ Joyce, R. 2017. The Music Shop. London: Penguin Random House.

▪ Mansell, J. 2018. This could change everything. Croydon: Headline Review.

▪ Moss, S. 2016. The tidal zone. London: Granta.

▪ Owens, D. 2018. Where the crawdads sing. London: Corsair.

▪ Stein, G. 2008. The art of racing in the rain. New York: Harper.

Microfiction

▪ Baker, J. and J. Bogner 2000. “Back in time” in Moss, S. & Daniel, J.M. (eds.), The

World’s Shortest Stories of Love and Death, Philadelphia: Running Press, p. 209.

▪ Dilworth, M. 1986. “The factory”, Westerly vol. 31 no. 3, September, pp. 43-44

▪ Eagleman, D. 2009. “Angst”, in Sum: Forty tales from the afterlives. Pantheon, pp. 36-7

▪ Eagleman, D. 2009. “Egalitaire”, in Sum: Forty tales from the afterlives. Pantheon, pp.

5-7

▪ Geraci, J. 2000. “The rarest of all” in Moss, S. & Daniel, J.M. (eds.), The World’s Shortest

Stories of Love and Death, Philadelphia: Running Press, p. 199

▪ Long, D. 2000. “Time and Money” in Moss, S. & Daniel, J.M. (eds.), The World’s Shortest

Stories of Love and Death, Philadelphia: Running Press, p. 52

▪ Macmillan, T. 2019. “Eternal Sunshine”. Smokelong Quarterly, 66 at

http://www.smokelong.com/eternal-sunshine/

▪ Martin, P.R. 2000. “Let’s make a deal” in Moss, S. & Daniel, J.M. (eds.), The World’s

Shortest Stories of Love and Death, Philadelphia: Running Press, p. 112

▪ McNally, P. 1996. “Waiting” in Stern J. (Ed.), An Anthology of Really Short Stories, New

York: W.W. Norton& Company. pp. 118-119

▪ Parker, T. 2000. “Elvis in the wings” in Moss, S. & Daniel, J.M. (eds.), The World’s

Shortest Stories of Love and Death, Philadelphia: Running Press, p. 207.

▪ Pinkerton, A. 2017. “Zellberg”, in Smokelong Quarterly, 58, last consulted on Nov. 26th

2018 at http://www.smokelong.com/zelberg/

▪ Roberts, A. 2000. “An Unsatisfied Customer”, in Moss, S. & Daniel, J.M. (eds.), The

World’s Shortest Stories of Love and Death, Philadelphia: Running Press, p. 80.

▪ Thomas, B. 2007. “Teec Nos Pos” (Circle of Cottonwoods). Smokelong Quarterly, 19, Dec.

at http://www.smokelong.com/teec-nos-pos-circle-of-cottonwoods/

Non-fiction

▪ Brown, B. (2018). Dare to Lead: Brave Work. Tough Conversations. Whole Hearts. New

York: Random House.

▪ Gilbert, E. (2015). Big Magic: Creative Living Beyond Fear. London: Riverhead Books

▪ Huffington, A. (2014). Thrive: The Third Metric to Redefining Success and Creating a Life

of Well-Being, Wisdom, and Wonder. New York: Harmony.

Other audiovisual material

9 Los estudiantes selecciónarán una o dos (dependiendo del ritmo de lectura y las circunstancias en este aislamiento) en relación a las temáticas de los dos TBMs previstos para el segundo cuatrimestre.

17

▪ Palmer, A. 2017. “The art of asking”, TED Talks, last retrieved on

https://www.ted.com/talks/amanda_palmer_the_art_of_asking

▪ Reynolds, P.H Ish (read out loud) at https://www.youtube.com/watch?v=8pX9i2EXFSg

▪ Reynolds, P.H. The Dot (read out loud) at

https://www.youtube.com/watch?v=Clpw7PG7m1Q

Yuknavitch, L. 2016. “The beauty of being a misfit”, TED Talks, last retrieved on Nov. 26th

2018 from https://www.ted.com/talks/lidia_yuknavitch_the_beauty_of_being_a_misfit

▪ Zandler, B. 2008. “The transformative Power of Classical Music”, TED Talks,

https://www.ted.com/talks/benjamin_zander_the_transformative_power_of_classical_m

usic/transcript

Reference bibliography (additional)

▪ Bell, J. and R. Gower. 2008. Advanced Expert CAE, Pearson-Longman.

▪ Biber, D., S. Johansson, G. Leech, S. Conrad, & E. Finegan. (Eds.) 1999. Longman’s

Grammar of Spoken and Written English. Harlow: Longman.

▪ Evans, V. & J. Dooley. 2002. Upstream Proficiency. Express Publishing

▪ Harrison, M. 1994. Proficiency Testbuilder. Oxford: Heinemann English Language

Teaching.

▪ Maurer, J. 2000. Focus on Grammar: An advanced course of reference and practice.

Longman.

▪ May, P. & M. Sayer. 2002. Towards Proficiency (workbook). New York: Oxford University

Press.

▪ McCarthy, M. & O’Dell, F. 2002. English Vocabulary in Use (advanced). Cambridge: CUP.

▪ McCarthy, M. & O’Dell, F. 2014. English Vocabulary in Use (advanced). Cambridge: CUP.

▪ Newbrook, J. and Wilson, J. 2001. New Proficiency Gold. Harlow: Longman.

▪ O'Connell, S. 1984. Focus on Proficiency. Edinburgh: Nelson.

▪ Side, R. And G. Wellman. 2002. Grammar and vocabulary for Cambridge Advanced and

Proficiency. Harlow: Longman.

▪ Sunderland, P. and E. Whettem. 2014. Objective Proficiency: workbook. Cambridge: CUP.

Dictionaries

▪ 2001. Roget's International Thesaurus, 6th Edition. Collins.

▪ 2005. Oxford Advanced Learner’s Dictionary7th Edition, Oxford: Oxford University

Press.

▪ 2006. Collins Cobuild Dictionary of Phrasal Verbs. Heinle ELT.

▪ 2006. Longman Exams Dictionary – Your key to exam success-, Pearson Education ESL.

▪ 2008. Collins Cobuild Advanced Dictionary. China: Heinle Cengage Learning.

▪ 2009. Longman Dictionary of Contemporary English 5th Edition. Pearson Longman.

▪ 2013. Cambridge Advanced Learner’s Dictionary. (4th Edition). Cambridge: Cambridge

University Press.

Collocations Dictionaries

• 1998. Longman Idioms Dictionary. Longman Publishing Group.

• 2002. Oxford Collocations dictionary for students of English, Oxford: Oxford

University Press.

• Benson, M., E. Benson and R. Ilsen. 1997. The BBI Dictionary of English Word

Combinations. John Benjamins Publishing Company

18

• Cowie, A. P. and Mackin, R., 1986. Oxford Dictionary of Current Idiomatic English,

Oxford: OUP.

• McCaig and Manser, A Learner's Dictionary of English Idioms. Longman.

Online Newspapers

▪ The Guardian

▪ The Observer

▪ BBC News

▪ The Washington Post

▪ The New York Times

Online Concordancers and applications

▪ BNC (British National Corpus) at http://www.itri.bton.ac.uk/~Adam.Kilgarriff/bnc-

readme.html

▪ COCA (Corpus of Contemporary American English) at http://corpus.byu.edu/coca/

▪ Plataforma Educativa de la Universidad del Comahue PEDCO, Facultad de Lenguas,

Lengua Inglesa III at http:/ /pedco.uncoma.edu.ar/course/view.php?id= 722

Mg. Magdalena Zinkgraf

PROGRAMA DE LA ASIGNATURA (ADENDA): LENGUA INGLESA 3

CARRERA/S: PROFESORADO EN INGLÉS

AÑO DE CURSADO: 4º AÑO

ORDENANZA/S PLAN DE ESTUDIOS: 0430/09

AÑO LECTIVO: 2020

RÉGIMEN DE CURSADA: ANUAL X (Marcar con una X la opción correspondiente)

1º CUATRIMESTRE

2º CUATRIMESTRE

CARGA HORARIA: 7 HORAS

DEPARTAMENTO: LENGUA Y CULTURA

ÁREA: LENGUA

ORIENTACIÓN: LENGUA INGLESA

EQUIPO DE CÁTEDRA: MG. MAGDALENA ZINKGRAF (PAD 1)

MG. MA. ANGÉLICA VERDU (ASD 2)

ALUMNO GERARDO NICOLÁS FRIZ (AYS Ad Honorem)

Si bien en el programa 2020- Covid- para esta asignatura se habían planteados los

contenidos específicos en cuanto a contenidos (unidades temáticas y materiales), en ese

documento también se ofrecían opciones que quedarían libradas a decisiones de los

docentes y estudiantes. Es así que, a los efectos de dejar constancia lo realizado a

ciencia cierta durante 2020, y en virtud de la modalidad virtual que caracterizó el

dictado de la asignatura en 2020, se presenta esta adenda con especificaciones respecto

de los materiales de lectura (ficción y no-ficción) trabajados fehacientemente y una

descripción de las modificaciones en la forma de evaluar tanto en los prácticos escritos

(LUPAs) como en los exámenes finales virtuales.

1. CONTENIDOS ANALÍTICOS – MATERIALES TRABAJADOS

Microfiction Audiovisual Non-fiction Novel

UNIT 1 The

Daily Grind

a) Waiting

b) The factory

c) Angst

Film/series marathon

Introduction ‘Thrive’ by Huffington (2014)

A Hundred Names (Ahern, 2012)

UNIT 2

Ring the Changes

a) Back in time

b) Egalitaire

c) An unsatisfied customer

d) Time and money

e) Eternal

sunshine

‘Antarctica’ (E1, S1 of Atypical)

Song marathon

TED: The Beauty of Being a Misfit

Dare to Lead, Part 4

Brown (2018)

This could change everything (Mansell, 2016)

UNIT 3

Before your very eyes

a) Elvis in the wings

Film ‘Maudie’ (2016)

‘Courage’ in Big Magic by Gilbert (2015)

--

Trabajos prácticos por unidad1:

Due to recurrent issues in learners’ productions of plagiarism and unacknowledged quoting

from web pages and sources, the prompts for essays in LUPAs and in the written final exam

have been modified. The prompt now includes a general topic or thesis which learners are

asked to relate to or exemplify by reference to specific materials read and/or watched during

the course. An example is included below:

▪ How going downhill can open doors to new opportunities. Draw on the experiences of

any of the characters from A hundred Names (Ahern, 2012) to illustrate this argument.

(Unit 2- Changes)

UNIT I. The Daily Grind (OP, Unit 15)

1) LUPA A: Why stressed workers need four-day weeks – not wellness trends, The

Guardian, 28 August 2019 (TBM1)

2) LUPA B: We help them flourish and bloom, The Guardian, 30 November 2017 (TBM1)

3) LUPA 1: Jokers please: first human Mars mission may need onboard comedians, The

Guardian, 15 February 2019

4) LUPA 2: Asda workers stage protests against 'punitive' new contract, The Guardian, 16

September 2019

5) LUPA 3: Jamal Edwards gives back to youth clubs that helped his career, The

Guardian, 3 November 2019

6) LUPA 4: Which is the world’s hardest-working city?, The Guardian, 20 September 2019

7) LUPA 5: Women in lower-grade jobs hit by pension change 'at greater risk of depression, The Guardian, 13 May 2020

UNIT II. RING THE CHANGES (unit 1 in OP)

1 En el aula de Pedco correspondiente a 2020 puede encontrarse un archivo con todos estos prácticos recopilados en https://pedco.uncoma.edu.ar/mod/resource/view.php?id=419737

1) LUPA C: Meet the 'digital nomads' who travel the world in search of fast Wi-Fi, The

Guardian, 16 June 2015 (TBM2)

2) LUPA D: Why do relationships end? You asked Google – here’s the answer, The Guardian, 9

August 2017 (TBM2)

3) LUPA 6 = LUPA C (for practice)

4) LUPA 7: Lifestyle changes could delay or prevent 40% of dementia cases – study, The Guardian, 30 July 2020

5) LUPA 8: Same-sex love is an intimate joy our fiction still neglects, The Guardian, 29

September 2018

Unit III. BEFORE YOUR VERY EYES (Unit 7 in OP)

1) LUPA E: Yinka Shonibare: behind the artist's new Central Park sculpture, The Guardian,

8 March 2018 (TBM3)

2) LUPA F: Art project paints an unflattering picture of urban renewal in Rome, The

Guardian, 5 February 2017 (TBM3)

3) LUPA 9: Margaret Atwood: It's the Best of Times, It's the Worst of Times. Make

the Most of It, The Guardian, 16 April 2020

4) LUPA 10: Woman, 93, arrested as a dying wish after being ‘good all her life’, The Guardian, 25 June 2019

5) TERM EXAM: Brené Brown knows what makes a great leader — and most politicians wouldn’t make the cut, The Washington Post, 16 Oct. 2018

6) TERM EXAM (MAKE-UP): Review: In ‘Maudie,’ a Painter Spins Beauty from Despair, The New York Times, 15 June 2017

EVALUATION – VIRTUAL FINAL EXAMS 2

I. Regular students

The final exam for these learners will consist of two parts:

a. a qualifying written part where they will complete reading-comprehension activities

and an essay-writing task on one of the topics dealt with in the units of the syllabus (in

the same format as the one of the LUPAs),

b. an oral part, two days after the written exam, which consists of two sections: 1) a

content-focused presentation of a news article of the learner’s choice, thematically

related to the topics dealt with in one of the units (the article must be up-dated

and, if possible, from British or American on-line newspapers) and, 2) an all-

encompassing discussion of the general topics/ themes and characteristics found in

the novels, the micro-fiction stories, videos, songs and the films worked on in class

(see chart on page 1 above). This part takes no longer than 15-20 minutes in all and

resembles the Oral Mock-Exam/s learners have had during the year.

II. Non-attending learners (Alumnos libres)

a. Following Ordenanza 273/2018, Art. 33, exams for these learners will consist of a

qualifying written part consisting of a) PART A - in-depth reading-comprehension

activities (similar to the LUPAs during the course) consisting in six questions and

three paraphrases and PART B- an essay-writing task on one of the topics dealt with

2 Los exámenes se llevarán a cabo de acuerdo con lo estipulado en el Protocolo de Exámenes Finales y el Instructivo para Exámenes finales virtuales Lengua Inglesa 3, subidos en el aula de exámenes virtuales de Pedco para la asignatura en cuestión.

in the units of the syllabus; PART C - a cloze test- and PART D - a transformations

exercise, both based on the corresponding Grammar reference book (MGL).

b. Learners need to have passed the totality of the sections of this written part. Once

this written part of the exam has been passed, non-attending students will sit the oral

part of the exam TWO DAYS AFTER THE WRITTEN PART, which is the same as that

of regular students (see I, b. above).

9. BIBLIOGRAFÍA OBLIGATORIA

Reference Books and material

▪ Capel, A. and W. Sharp. 2013 (2005). Objective Proficiency. Cambridge: CUP.

▪ Foley, M. & D. Hall. 2012. My Grammar Lab Advanced C1/C2, Harlow: Pearson Education

Limited.

▪ Woolard, G. 2004. Key Words for Fluency. London: Thomson Heinle.

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2019. Booklet Zero. Manuscript published on

PEDCO and the Facebook support group

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2020. Topic-Based Materials Unit 1: The

Daily Grind. Manuscript posted on PEDCO at

https://pedco.uncoma.edu.ar/mod/resource/view.php?id=233347

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2020. Topic-Based Materials Unit 2:

Ring the Changes. Manuscript posted on PEDCO at

https://pedco.uncoma.edu.ar/mod/resource/view.php?id=349092

▪ Zinkgraf, M. & Verdú, Ma. Angélica (comp.). 2020. Topic-Based Materials Unit 3: The

Arts. Manuscript posted on PEDCO at

https://pedco.uncoma.edu.ar/mod/resource/view.php?id=409926

Novels

▪ Ahern, Cecelia. 2012. One Hundred Names. London: Harper Collins.

▪ Mansell, J. 2018. This could change everything. Croydon: Headline Review.

Microfiction

▪ Baker, J. and J. Bogner 2000. “Back in time” in Moss, S. & Daniel, J.M. (eds.), The

World’s Shortest Stories of Love and Death, Philadelphia: Running Press, p. 209. ▪ Dilworth, M. 1986. “The factory”, Westerly vol. 31 no. 3, September, pp. 43-44

▪ Eagleman, D. 2009. “Angst”, in Sum: Forty tales from the afterlives. Pantheon, pp. 36-7

▪ Eagleman, D. 2009. “Egalitaire”, in Sum: Forty tales from the afterlives. Pantheon, pp.

5-7

▪ Long, D. 2000. “Time and Money” in Moss, S. & Daniel, J.M. (eds.), The World’s Shortest

Stories of Love and Death, Philadelphia: Running Press, p. 52

▪ Macmillan, T. 2019. “Eternal Sunshine”. Smokelong Quarterly, 66 at

http://www.smokelong.com/eternal-sunshine/

▪ McNally, P. 1996. “Waiting” in Stern J. (Ed.), An Anthology of Really Short Stories, New

York: W.W. Norton& Company. pp. 118-119

▪ Parker, T. 2000. “Elvis in the wings” in Moss, S. & Daniel, J.M. (eds.), The World’s

Shortest Stories of Love and Death, Philadelphia: Running Press, p. 207.

▪ Roberts, A. 2000. “An Unsatisfied Customer”, in Moss, S. & Daniel, J.M. (eds.), The

World’s Shortest Stories of Love and Death, Philadelphia: Running Press, p. 80.

▪ Thomas, B. 2007. “Teec Nos Pos” (Circle of Cottonwoods). Smokelong Quarterly, 19, Dec.

at http://www.smokelong.com/teec-nos-pos-circle-of-cottonwoods/

Non-fiction

▪ Brown, B. 2018. Dare to Lead: Brave Work. Tough Conversations. Whole Hearts. New

York: Random House.

▪ Gilbert, E. 2015. Big Magic: Creative Living Beyond Fear. London: Riverhead Books

▪ Huffington, A. 2014. Thrive: The Third Metric to Redefining Success and Creating a Life

of Well-Being, Wisdom, and Wonder. New York: Harmony.

Audiovisual materials

▪ Yuknavitch, L. 2016. “The beauty of being a misfit”, TED Talks, last retrieved on Nov. 26th

2018 from https://www.ted.com/talks/lidia_yuknavitch_the_beauty_of_being_a_misfit

▪ Cooper, B., Leckie, M.Y., Sexton, M. & Sullen, S. (producers) and Walsh, A. (director).

2016. Maudie. Ireland and Canada: Rink Rat Productions, Screen Door & Parallel Films

▪ Rashid, R. 2017. ‘Antarctica’ (Season 1, Episode 1) in Atypical. USA: Weird Brain, Exhibit

A & Sony Pictures Television

Mg. Magdalena Zinkgraf