VALENCIA INTERNATIONAL RETURNS TO PERE BOIL

Visit the on-line newspaper and listen to this article, we are in it!
http://valencia-international.com/valencia-international-returns-ies-pere-boil/

CULTURE AND TRADITIONS

An Introduction to Britain

The Chaos (Poem) to practice your pronounciation

The Chaos

 by G. Nolst Trenite' a.k.a. "Charivarius" 1870 - 1946

Dearest creature in creation Studying English pronunciation, I will teach you in my verse Sounds like corpse, corps, horse and worse I will keep you, Susy, busy, Make your head with heat grow dizzy. Tear in eye your dress you'll tear, So shall I! Oh, hear my prayer, Pray, console your loving poet, Make my coat look new, dear, sew it! Just compare heart, beard and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it's written). Made has not the sound of bade, Say said, pay-paid, laid, but plaid. Now I surely will not plague you With such words as vague and ague, But be careful how you speak, Say break, steak, but bleak and streak. Previous, precious, fuchsia, via, Pipe, snipe, recipe and choir, Cloven, oven, how and low, Script, receipt, shoe, poem, toe. Hear me say, devoid of trickery: Daughter, laughter and Terpsichore, Typhoid, measles, topsails, aisles. Exiles, similes, reviles. Wholly, holly, signal, signing. Thames, examining, combining Scholar, vicar, and cigar, Solar, mica, war, and far. From "desire": desirable--admirable from "admire." Lumber, plumber, bier, but brier. Chatham, brougham, renown, but known. Knowledge, done, but gone and tone, One, anemone. Balmoral. Kitchen, lichen, laundry, laurel, Gertrude, German, wind, and mind. Scene, Melpomene, mankind, Tortoise, turquoise, chamois-leather, Reading, reading, heathen, heather. This phonetic labyrinth Gives moss, gross, brook, brooch, ninth, plinth. Billet does not end like ballet; Bouquet, wallet, mallet, chalet; Blood and flood are not like food, Nor is mould like should and would. Banquet is not nearly parquet, Which is said to rime with "darky." Viscous, Viscount, load, and broad. Toward, to forward, to reward. And your pronunciation's O.K., When you say correctly: croquet. Rounded, wounded, grieve, and sieve, Friend and fiend, alive, and live, Liberty, library, heave, and heaven, Rachel, ache, moustache, eleven, We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the difference, moreover, Between mover, plover, Dover, Leeches, breeches, wise, precise, Chalice, but police, and lice. Camel, constable, unstable, Principle, disciple, label, Petal, penal, and canal, Wait, surmise, plait, promise, pal. Suit, suite, ruin, circuit, conduit, Rime with "shirk it" and "beyond it." But it is not hard to tell, Why it's pall, mall, but Pall Mall. Muscle, muscular, gaol, iron, Timber, climber, bullion, lion, Worm and storm, chaise, chaos, and chair, Senator, spectator, mayor, Ivy, privy, famous, clamour And enamour rime with hammer. Pussy, hussy, and possess, Desert, but dessert, address. Golf, wolf, countenance, lieutenants. Hoist, in lieu of flags, left pennants. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rime with anger. Neither does devour with clangour. Soul, but foul and gaunt but aunt. Font, front, won't, want, grand, and grant. Shoes, goes, does. Now first say: finger. And then: singer, ginger, linger, Real, zeal, mauve, gauze, and gauge, Marriage, foliage, mirage, age. Query does not rime with very, Nor does fury sound like bury. Dost, lost, post; and doth, cloth, loth; Job, Job; blossom, bosom, oath. Though the difference seems little, We say actual, but victual. Seat, sweat; chaste, caste.; Leigh, eight, height; Put, nut; granite, and unite. Reefer does not rime with deafer, Feoffer does, and zephyr, heifer. Dull, bull, Geoffrey, George, ate, late, Hint, pint, Senate, but sedate. Scenic, Arabic, Pacific, Science, conscience, scientific, Tour, but our and succour, four, Gas, alas, and Arkansas. Sea, idea, guinea, area, Psalm, Maria, but malaria, Youth, south, southern, cleanse and clean, Doctrine, turpentine, marine. Compare alien with Italian, Dandelion with battalion. Sally with ally, yea, ye, Eye, I, ay, aye, whey, key, quay. Say aver, but ever, fever. Neither, leisure, skein, receiver. Never guess--it is not safe: We say calves, valves, half, but Ralph. Heron, granary, canary, Crevice and device, and eyrie, Face but preface, but efface, Phlegm, phlegmatic, ass, glass, bass. Large, but target, gin, give, verging, Ought, out, joust, and scour, but scourging, Ear but earn, and wear and bear Do not rime with here, but ere. Seven is right, but so is even, Hyphen, roughen, nephew, Stephen, Monkey, donkey, clerk, and jerk, Asp, grasp, wasp, and cork and work. Pronunciation--think of psyche--! Is a paling, stout and spikey, Won't it make you lose your wits, Writing "groats" and saying "grits"? It's a dark abyss or tunnel, Strewn with stones, like rowlock, gunwale, Islington and Isle of Wight, Housewife, verdict, and indict! Don't you think so, reader, rather, Saying lather, bather, father? Finally: which rimes with "enough" Though, through, plough, cough, hough, or tough? Hiccough has the sound of "cup." My advice is--give it up!

INTERACTIVE PHONETIC CHART FOR ENGLISH PRONOUNCIATION

BERNARD SHAW “Hints on pronunciation for foreigners“

This poem  illustrates why English Language Learners have difficulties with the English language.

“Hints on pronunciation for foreigners“
By: Anonymous
I take it you already know
of tough and bough and cough and dough.
Others may stumble, but not you,
On hiccough, thorough, laugh and through.
Well done! And now you wish, perhaps,
To learn of less familiar traps.
Beware of heard, a dreadful word
That looks like beard and sounds like bird.
And dead-it’s said like bed, not bead.
For goodness sake, don’t call it deed!
Watch out for meat and great and threat.
They rhyme with suite and straight and debt.
A moth is not a moth in mother,
Nor both in bother, broth in brother,
And here is not a match for there,
Nor dear and fear for pear and bear.
And then there’s dose and rose and lose
Just look them up–and goose and choose.
And cork and work and card and ward.
And font and front and word and sword.
And do and go, then thwart and cart.
Come, come I’ve hardly made a start.
A dreadful language? Man alive,
I’d mastered it when I was five!

and another pronounciation poem for you to try:

TIPS FOR WRITING A GOOD ESSAY FOR 1ST OF BACHILLERATO

CÓMO ESCRIBIR UNA REDACCIÓN.

• Generar ideas.

Desarrolla el tema propuesto mediante brainstorming o "lluvia de ideas", que consiste en anotar cuantas ideas se te ocurran sobre el tema. Luego, establece nexos de relación a fin de organizarlas en ideas principales y secundarias. Finalmente, debes estructurarlas y ordenarlas en párrafos.

• Las frases

Escribe una serie de frases relacionadas con el tema que estén bien estructuradas gramaticalmente y con cierta lógica.

Escribe de manera clara y sencilla.

Haz frases sencillas siguiendo el orden de la oración: sujeto + verbo + complementos. Evita frases largas y rebuscadas.

Coloca la información relevante al principio de la frase.

Utiliza palabras y expresiones relacionadas con el tema de la redacción. Evita las palabras e incisos no relevantes.

Ten en cuenta los tiempos verbales.

• La estructura de la redacción.

1er párrafo: introducción. Presenta el tema de la redacción con una ideas que resuma el contenido que quieres expresar en tu redacción. Atrae la atención en la primera frase: recuerda que alguien va a leer tu redacción. Esta frase puede ser una pregunta, una reflexión provocadora, una cita, un dato etc.

2º párrafo: desarrollo. Refuerza la idea principal del tema con otras secundarias que expliquen lo expuesto anteriormente. Une las ideas mediante conectores de manera que el conjunto resulte claro y conciso.

3er párrafo: conclusión. Ésta puede consistir en un resumen de lo que has dicho, un consejo o advertencia al lector, tu opinión personal sobre el tema, etc.

Una vez escrita la redacción, debes...
1. Repasar la redacción para ver si has cometido errores en los tiempos verbales, la ortografía, la puntuación y el orden de las palabras.

2. Cambiar o corregir las palabras de las que no estés segur@ de cómo se escriben.

CONECTORES

• Conectores para expresar la opinión personal.

First of all = en primer lugar

In my opinion/ in my view = en mi opinión

Personally = personalmente

As far as I am concerned = por lo que a mí respecta

From my point of view= bajo mi punto de vista

To begin with = para empezar

Firstly = en primer lugar

Secondly = en segundo lugar

• Conectores para expresar resultado, razón o causa.

That’s why = esto es por lo que

Therefore = por lo tanto

As a result of that = como resultado

Consequently = consecuentemente / en consecuencia

As = como

So = así que

Whereas = mientras que

So .... that... = tan ....que...

Such a ... that ... = tan ... que

• Conectores para expresar una opinión distinta.

On the one hand ... , on the other hand = por una parte..., por otra parte...
por una lado...., por otro lado...

However /Nevertheless = sin embargo

Anyhow = de todas formas

Anyway = de cualquier manera

In spite of / Despite = a pesar de...

On the contrary = por el contrario

Although = aunque

• Conectores para añadir información.

And = y

Not only ...but also ... = No sólo... sino también

As if / As though = como si

Apart from (this / that) = aparte de esto / aquello

Also = también

For example / for instance = por ejemplo

In the same way = de la misma forma

• Conectores que indican tiempo.

When = cuando

As = cuando

While= mientras

Meanwhile = mientras tanto

Previously = previamente

Since = desde

Until then =hasta entonces

Before = antes

After = después

Later = después

Then = entonces/ después

• Conectores para concluir y resumir lo expuesto.

In short = en breve/ en resumen

On the whole = total que

Finally = finalmente

To sum up = resumiendo

In the end = al final

In conclusion = en conclusion

• Expresiones más corrientes en la redacción.

according to = según
as I have already said = como ya he dicho
after all= al fin y al cabo
as I pointed out in = según quedó indicado en
all day long= todo el día
as/ so far as I know= por lo que sé
all of a sudden = de repente
as a matter of fact = en realidad
by all means = por supuesto
by no means = de ninguna manera
by that time = para entonces
by the way = a propósito
it’s obvious that = es evidente que
we have just seen that = acabamos de ver que
considering that = considerando que
it’s strange that = es extraño que
current events = sucesos de actualidad
it’s time that = es hora de que
even though = aunque
it’s true taht = es verdad que
forever = para siempre
it just so happens that = de casualidad que
for fear of = por miedo a que
it seems to me that = me parece que
it turns out that = resulta que
for some time now = de un tiempo a esta parte
I’m in favour of = soy partidario de
I ’m against of = no soy partidario de
otherwise= por el contrario
I’m referring to = me refiero a
provided that = con tal de que
if I remember correctly = si mal no recuerdo
that is to say = es decir
in addition = además
the latest news = noticias de última hora
in case = por si
in general = por lo general
the way I see it = a mi modo de ver
in order to = con la finalidad de
there is no objection to = no hay inconveniente
in this respect = a este respecto
to go into details = para entrar en detalles
it ’s said that = se dice que
it’s believed that = se cree que
it’s necessary that = es necesario que
to put it another way = dicho de otro modo
to take something for granted = dar algo por supuesto
we can conclude that = podemos concluir que

Aprende o mejora tu inglés

Ocho webs para aprender o mejorar tu inglés gratuitamente

http://www.diariodelviajero.com/utiles-de-viaje/ocho-webs-para-mejorar-tu-ingles-gratuitamente

Animal Farm Essay Questions

Animal Farm Suggested Essay Questions

1.      How is Animal Farm a satire of Stalinism or generally of totalitarianism?

Answer: A good way to answer this question is to pick a specific example of totalitarianism in any country, historical or current, and explain how the ideas Orwell puts forth in Animal Farm apply to it. Go back and forth between the historical facts and the events of the novel. Note the actions of the leaders, the mechanisms of fear and power, and the reactions of the people over time.

2.      Elucidate the symbolism inherent in the characters' names.

Answer: The symbolism ranges from the obvious to the more cryptic. Compare Napoleon with the historical Frenchman and Moses with the figure from the Bible. Take Snowball as representative of something that grows larger and more forceful. Squealer has something to do with the spoken word. Boxer suggests strength. Make sure to consider each character at various stages of the story and to use specific examples from the text.

3.      What does the narrator do, or fail to do, that makes the story's message possible?

Answer: The narrator lets the story tell itself to a large degree by relating what is said and done without moralization and reflection. The narrator speaks from the perspective of the animals other than the pigs, a kind of observer who can point out the significant details without interfering. The reader then can draw his own conclusions about the symbolism, concordance with historical events, and the awfulness of the events themselves.

4.      What does the windmill represent?

Answer: The windmill's symbolic meaning changes during the course of the novel and means different things to different characters. It is to be for electricity but ends up being for economic production. As it is built, it is a locus of work without benefit and a medium of the pigs' power. For the humans, it is a dangerous symbol of the growing power of the farm. Consider also the relationship between the windmill and the biblical Tower of Babel.

5.      What role does the written word play in Animal Farm?

Answer: Literacy is a source of power and a vehicle for propaganda. Some examples to consider are the Seven Commandments, "Beasts of England," the child's book, the manuals, the magazines, and the horse-slaughterer's van.

6.      Examine the Seven Commandments and the way they change during the course of the novel from Old Major's death to the banquet Napoleon holds with the farmers.

Answer: The commandments begin as democratic ideals of equality and fraternity in a common animal identity, but they end in inequality when some animals are "more equal" than others. As the pigs take more control and assume their own liberties, they unilaterally change the commandments to fit their own desires. Consider especially the interactions between Clover, Muriel, and Squealer surrounding the Seven Commandments, determining how easy it is to change the fundamental rules of society on the farm, where most of the animals can do no better than to remember that four legs are good and two legs are bad.

7.      Would Animal Farm be more effective as a nonfiction political treatise about the same subject?

Answer: Given the success of the novel, it is hard to see why Orwell might have chosen a different genre for his message. A nonfiction account would have had to work more accurately with the history, while Orwell's fiction has the benefit of ordering and shaping events in order to make the points as clear as possible from a theoretical and symbolic point of view. A political treatise could be more effective in treating the details and theoretical understandings at greater length and with more nuances, but the readership and audience for such a work would therefore become quite different as well, so the general population would be less likely to hear Orwell's warnings.

8.      Can we perceive much of Orwell himself in the novel?

Answer: Orwell seems to be most like the narrator, who tells the story from the perspective of experience with the events related. We know from Orwell's history that he was a champion of the working class and did not much like the idea of being in a role where he had to exercise power to control people under him. Orwell seems to be a realist about the prospects for the socialist ideals he otherwise would promote.

9.      Compare Animal Farm with Orwell's other famous novel, 1984.

Answer: Consider the ways in which both novels are allegories with a political message against the evils of state control and totalitarianism. How does totalitarian control affect the illiterate versus those who are educated and wish to exercise their human rights? Compare the political regimes in the two novels. Does the relative anonymity of the leaders affect the reactions of the people?

10.  Pick a classic fairy tale or fable and examine it in comparison with Animal Farm.

Answer: A good way to answer such a question is to consider the function of animals as characters. For instance, each of the Three Little Pigs expresses a different approach to planning for the future and managing risk, which can lead to an analysis of how each character represents a moral or physical quality. In terms of narration, note the degree to which the narrator lets the characters speak in their own voices and lets the plot play out without editorializing. In terms of structure, consider how critical events shatter the calm (such as getting lost in the woods or encountering an enemy) and lead to a moral once some kind of order (for better or for worse) is restored.

Animal Farm

George Orwell

Study Questions & Essay Topics

Study Questions

1. Compare and contrast Napoleon and Snowball. What techniques do they use in their struggle for power? Does Snowball represent a morally legitimate political alternative to the corrupt leadership of Napoleon?

Answer for Study Question 1 >>

2. Why do you think Orwell chose to use a fable in his condemnation of Soviet communism and totalitarianism? Fiction would seem a rather indirect method of political commentary; if Orwell had written an academic essay, he could have named names, pointed to details, and proven his case more systematically. What different opportunities of expression does a fable offer its author?

Answer for Study Question 2 >>

3. From whose perspective is Animal Farm told? Why would Orwell have chosen such a perspective?

More Essay Topics

1. How does Orwell explore the problem of rhetoric in Animal Farm? Paying particular attention to the character of Squealer, how is language used as an instrument of social control? How do the pigs rewrite history?
2. Discuss Boxer. What role does he play on the farm? Why does Napoleon seem to feel threatened by him? In what ways might one view the betrayal of Boxer as an alternative climax of the novel (if we consider Napoleon’s banishment of Snowball and the pigs’ initial consolidation of power as the true climax)?
3. Do you think Animal Farm’s message would come across effectively to someone who knows nothing about Soviet history or the conflict between Stalin and Trotsky? What might such a reader make of the story?
4. Of all of the characters in Animal Farm, are there any who seem to represent the point of view of the author? Which of the animals or people do you think come(s) closest to achieving Orwell’s perspective on Animal Farm?

READING ANIMAL FARM - INTRODUCTION

Animal Farm
A Fairy Story

INTRODUCTION

The fairy-story that succeeds is in fact not a work of fiction at all; or at least no more so than, say, the opening chapters of Genesis. It is a transcription of a view of life into terms of highly simplified symbols, and when it succeeds in its literary purpose, it leaves us with a deep indefinable feeling of truth; and if succeeds also, as Orwell set out to do, in a political as well as an artistic purpose, it leaves us also with a feeling of rebelliousness against the truth revealed. It does so not by adjuring us to rebel, but by the barest economy of plain description that language can achieve; and lest it should be thought guilty of a deliberate appeal to the emotions, it uses for characters not rounded, three-dimensional human beings that develop psychologically though time, but fixed stereotypes, puppets, silhouettes—or animals. [...] In these respects Animal Farm is after all correctly labelled a fairy-story. Its message (which is by no means a moral) is that of all the great fairy-stories: “Life is like that—take it or leave it.” 
George Orwell
http://www.levity.com/corduroy/orwell.htm

Interpretation of characters
http://www.newspeakdictionary.com/go-animal_farm.html

How did George Orwell's life potentially influence his novel Animal Farm?

George Orwell wrote the manuscript in 1943 and 1944 subsequent to his experiences during the Spanish Civil War, which he described in his 1938 Homage to Catalonia. In the preface of a 1947 Ukrainian edition of Animal Farm, he explained how escaping the communist purges in Spain taught him "how easily totalitarian propaganda can control the opinion of enlightened people in democratic countries." This motivated Orwell to expose and strongly condemn what he saw as the Stalinist corruption of the original socialist ideals.

Immediately prior to his writing, the Ministry of Information had put out a booklet for propagandists with instructions on how to quell ideological fears of the Soviet Union, which included directions to claim that the Red Terror was a figment of Nazi imagination, and Orwell had quit the BBC.

http://en.wikipedia.org/wiki/Animal_Farm…

Orwell came into direct contact with Stalin’s men while he and his wife were fighting in the 1930s the Spanish Civil War (a proxy war between the communists and the fascists). Orwell, a socialist, went to Spain to fight against the fascist takeover of the country, but he found himself nearly as disturbed by the antidemocratic tendencies of the communists he fought alongside. In the Preface to the Ukrainian edition, Orwell says that his time in Spain made him realize “how easily totalitarian propaganda can control the opinion of enlightened people in democratic countries.” He set out to write Animal Farm with this idea in mind. He wanted to pull back the curtain on Russia, to reveal the Stalinist version of communism as a brutal farce, a betrayal of the socialist values Orwell held dear. As Orwell said, “it was of the utmost importance that people in Western Europe should see the Soviet regime for what it really was" (source).

After seeing a young boy whipping a carthorse, Orwell had the idea to make his story a fable, to link it with proud tradition of Aesop and Jonathan Swift. As he puts it in his Preface, “It struck me that if only such animals became aware of their strength we should have no power over them, and that men exploit animals in much the same way as the rich exploit the proletariat.” The fable form allowed Orwell to depict the Soviet Union in simpler terms, to explain it clearly to common readers and to endow it with his own unique perspective. In short, the Soviet Union became Animal Farm.
http://www.shmoop.com/animal-farm/

PICTURES FOR YOUR ORAL INDIVIDUAL PRESENTATION

PICTURES FOR YOUR ORAL INDIVIDUAL PRESENTATION

www.boston.com/bigpicture

www.msnbc.msn.com

www.burnmagazine.org

www.deviantart.com

TOPICS: Mass Media, Advertising, Environment, Natural Disasters, Globalization, Travelling, Food, Culture, Festivals and Traditions, Sports and Leisure, Hobbies and Relationships.

2IB Assessment Overview: Language B

Assessment Overview: Language B
Standard Level	Higher Level
Reading Test – 25% Exam Paper 1  (1hr 30mins)
-         Comprehension test -         4 texts from the Core -         Students answer Questions	-         Comprehension test -         5 texts from the Core (perhaps one is literary) -         Students answer Questions
Writing Test – 25% Exam Paper 2 (1hr 30mins)
-         250-400 wds -         5 choices from the Options; Choose one -         Text types / identify social purpose/ use register -         Eg: write a letter, email, blog, diary, article	Section A: -          As for Standard Level, plus Essays Section B: -         Read Stimulus text from Core -         Write 150-200wd personal response
Writing Assignment (during class time) – 20%
-         Read 3 sources from Core -         Write 300-400 wds (Transform info into a Text Type) -         Write a 100wd Rationale	Read 2 Literary Sources Rationale 100wds Creative Writing 500-600 wds -         Based on one of the 2 Literary Texts studied -         Eg: new ending, character interview/diary, news report
Individual Oral – 20 %
-         Receive 2 photos from 2 Options topics -         Choose photo and Prepare (15mins); write short notes -         Present (3-4mins) -         Discuss with T (5-6mins)
Interactive Oral – 10%
-         3 classroom activities based on Core (one activity is listening) -         Highest mark entered as final

WELCOME BACK TO CLASS

And remember: there´s no elevator to success you have to climb the stairs...

ANNA KENDRICK "Cups" OFICIAL VIDEO AND TUTORIAL

Cups (Pitch Perfect's When I'm Gone)

[Verse 1:]
I got my ticket for the long way ‘round
Two bottle ‘a whiskey for the way
And I sure would like some sweet company
And I’m leaving tomorrow, wha-do-ya say?
[Chorus 1:]
When I’m gone
When I’m gone
You’re gonna miss me when I’m gone
You’re gonna miss me by my hair
You’re gonna miss me everywhere, oh
You’re gonna miss me when I’m gone
[Verse 2:]
I’ve got my ticket for the long way ‘round
The one with the prettiest of views
It’s got mountains, it’s got rivers, it’s got sights to give you shivers
But it sure would be prettier with you
[Chorus 2:]
When I’m gone
When I’m gone
You’re gonna miss me when I’m gone
You’re gonna miss me by my walk
You’re gonna miss me by my talk, oh
You’re gonna miss me when I’m gone

Tazas ( Sonará perfecto cuando me haya ido)

[Estrofa 1:]
Tengo mi billete para el largo viaje de vuelta
dos botellas de whiskey para el camino
y claro que me gustaría tener algo de dulce compañía
y me voy mañana, ¿Qué dices?
[Estribillo 1:]
Cuando me haya ido
cuando me haya ido
 vas a extrañarme por mi pelo
me vas a extrañar por todas partes, oh
me vas a extrañar cuando me haya ido

[Estrofa 2:]
Tengo mi billete para el largo viaje de vuelta
el que tiene las vistas más hermosas
tiene montañas, tiene ríos, tiene paisajes que te harán estremecer
pero seguro seran más bonitas contigo
[Coro 1:]
Cuando me haya ido
cuando me haya ido
me vas a extrañar cuando me haya ido
vas a extrañarme por mi forma de caminar
me vas a extrañar por mi forma de hablar, oh
me vas a extrañar cuando me haya ido.

VALENCIA INTERNATIONAL in our school

Our future journalists for Valencia International

http://valencia-international.com/valencia-international-visits-pere-boil-manises/

VALENCIA INTERNATIONAL 

in our High School

on Friday 14th February 2014

http://valencia-international.com/ 

IB Online Textbook (sample)

Cambridge University Press IB onlinebook

Curiosities about London

32 things you might not know about London

English Language Media in Valencia TO PRACTISE YOUR ENGLISH

local-english-media

English Language Radio Stations in Valencia

Satellite and Cable TV in Valencia

Valencia English-Language Print Media

Valencia Online New

Valencia Online Magazines

Valencia Cinemas Showing English-language Films

"HINTS ON PRONOUNCIATION"

"HINTS ON PRONOUNCIATION" BY BERNARD SHAW

http://www.youtube.com/watch?v=z5myI9TDFDw&feature=related

http://www.youtube.com/watch?v=Y-GDoVBlVeA&feature=related

http://www.youtube.com/watch?v=fxjK_rGepio&feature=related

http://www.youtube.com/watch?v=AZqESl-0OkA