Shadowing Practice: HISTORY OF IDEAS - Loneliness - Learn English Speaking with Video
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What is difficult in the modern world?
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When we think about what's difficult in the modern world, we're liable to think about meal times.
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How seldom they now take place communally.
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How rare it is for whole families to gather.
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How much technology can intrude.
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In paintings of communal meals from the olden days,
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we can appreciate how all ages used to come together around one table and how welcoming the atmosphere seems to have been.
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Even the family horse might have been invited to join in.
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The modern condition appears so bleak by comparison.
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Rather than a family around the hearth, the emblematic image is of a single person with a tray on their knees in front of the television.
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It was the Swanson Corporation, originally a poultry producer in Omaha, Nebraska, that launched the frozen TV dinner in 1954,
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the same year coloured television was introduced in the US.
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It is a short distance in time, but a long way in spirit,
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from Norman Rockwell's laughter-filled family Thanksgiving celebration to Swanson's industrially produced Turkey Meal for One.
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The modern world is surely a lonelier place than the one that preceded it.
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The question is why.
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It isn't ultimately technology that has made us lonely.
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It's an identifiable set of ideas.
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We've rendered ourselves lonely first and foremost because of certain stories we've started to tell about what loneliness means.
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Most eras before our own knew that solitude did not, per se, have to be a sign of wretchedness.
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In the fourth century, the The greatest saint of early Christianity, Saint Anthony, was said to have spent more than 40 years by himself in Egypt's western desert,
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not saying a word, eating only bread and salt, and communing with God.
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So impressed were some with Anthony's life, they came to join him in the desert and became collectively known as the Desert Fathers.
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Their philosophy of solitary piety would go on to have a decisive influence on the founding of monasteries.
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At the height of monasticism in the Middle Ages, a million people across Europe
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and North Africa chose to forego the bustle of family in order to dwell in some of the most rugged
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and remote to reign in the world in silent contemplation of God.
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However, in the wake of the reformation and the destruction of the monasteries, solitary piety began to lose its prestige and receded as a practical option.
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Those who had previously lived alone at the tops of mountains were now encouraged to serve God by remaining in the community, finding a spouse and starting a family.
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To this newly social religious impetus was added the influence of Romanticism, a movement of ideas that, with different ends in view,
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similarly encouraged people to give up on commitments to their own company.
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For the Romantics, happiness lay in identifying one exceptional soulmate,
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to whom one could surrender one's independence and with whom one might fuse mind and body.
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The Romantic movement turned solitude from a respectable choice to evidence of pathology.
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When the Beatles released Eleanor Rigby in 1966, the song that more than any other defined what loneliness meant for the modern age,
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it was at once clear why Eleanor was a pitiful figure.
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The famous face that she kept in a jar by the door had been intended for an enchanting partner that,
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like all single people, she must surely have longed to find.
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Only with romantic love could there be a decent life.
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So ran the philosophy of the song, of all the Beatles' works and, in fact, of pretty much every pop song ever written.
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Failed to fall completely in love and, romanticism warned, one would soon enough be picking up rice in the church where a wedding had been or,
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rivalling for strangeness, the very odd Father Mackenzie, around whom there seemed to be so little of the glamour that had once attended the Desert Fathers.
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The modern world not only made it mandatory to have a partner,
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it's also made it feel essential to have a vibrant gang of friends and to enjoy seeing them regularly at parties.
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An empty diary has become an emblem of deformity.
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But there is not the slightest admission that it might, all things considered, be a bit of a curious thing to stand in a crowded room full of status-panicked,
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often socially anxious people, every one of them terrified of honesty or failure.
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In 1921, Carl Jung, in his book Psychological Types, introduced the terms extroverted and introverted to divide humanity.
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The former referred to a sort of person who could best realise their potential in the company of others.
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The latter were those who needed to move away from crowds in order to regain their integrity.
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Everyone possesses both mechanisms, wrote Jung, but it was evident where the spirit of the modern age has resided.
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It has been the achievement of a few, often ignored artists of the modern period, to make a case for introversion,
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to try to coat solitude in glamour.
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In a painting by the German artist Caspar David Friedrich, we are invited to trust that the lonely figure in the landscape is privy to insights
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that might be lost in the crowd down in the lowlands.
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The man is needed to travel up to the mountains in order to put the bluster and envy of humans in perspective.
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should dare to follow him in his trajectory.
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Separated by many decades, Gwen John's young woman doesn't seem to belong to an official religion,
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but if there was one dedicated to the appreciation of solitude, then she would be one of its saintly and legendary figures.
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Her expression – kind, gentle,
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melancholy – is an advertisement for all that the modern world has neglected in its promotion of active, cheery lives.
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Isolation isn't a particular curse.
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It's just where good people tend to end up.
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We should dare to believe that we are in solitude not because we are mentally ill, but because we are noble of spirit.
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We don't hate company, it's just
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that we would prefer to stay home rather than accept the counterfeit tokens of community that are too often on offer.
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The way to make people feel less alone isn't to pull them out of their musings in the forest
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or in the diner, in the library or the desert and force them to go bowling.
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It's to reassure them that being alone is no sign of failure.
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To lessen modernity's crisis of loneliness, we need for solitude to be rehabilitated and for singlehood to regain its dignity.
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There is nothing catastrophic about eating dinner, many dinners, on our own.
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Those Swanson TV dinners might have been capable of improvement, but it is ultimately far better to be eating a basic
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meal in peace than to be in a ballroom surrounded by false smiles and oppressive judgements.
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When we do so, we aren't in fact on our own at all.
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We are, as the modern world fails to remind us, dining with some of the finest, most elevated spirits who have ever lived.
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We are, though ostensibly by ourselves, in the very best company.
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One of the trickiest tasks we ever have to face is that of working out who we really are.
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This book is designed to help us create a psychological portrait of ourselves, with the use of some unusual, oblique, entertaining and playful prompts.
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Click the link on screen now to find out more.
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Vocabulario y notas de pronunciación para esta lección
Esta lección de conversación de nivel C1 se basa en el vídeo “HISTORY OF IDEAS - Loneliness”. Las palabras que más se repiten: modern, solitude, desert. Este vídeo tiene 79 frases y 1247 palabras para practicar shadowing. La parte hablada dura 8:00. El hablante habla a un ritmo natural de unas 156 palabras por minuto, cercano a una conversación cotidiana. Solo el 79 % de las palabras está entre las 3.000 más comunes del inglés, por lo que el vocabulario es exigente.
Vocabulario clave de este vídeo
Las 15 palabras más avanzadas del vídeo, con su pronunciación y significado:
| Palabra | Pronunciación | Significado |
|---|---|---|
| solitude sustantivo | /ˈsɑlɪˌtud/ | soledad, solitud |
| loneliness sustantivo | /ˈloʊnlinəs/ | soledad |
| piety sustantivo | /ˈpaɪ̯ɪti/ | piedad |
| romanticism sustantivo | /ɹəʊˈmæntɪsɪzəm/ | romanticismo |
| glamour sustantivo | /ˈɡlæmɚ/ | glamur, glamour |
| monastery sustantivo | /ˈmɑnəˌstɛɹi/ | monasterio |
| solitary adjetivo | /ˈsɑlɪˌtɛɹi/ | solitario |
| regain verbo | /ɹiːˈɡeɪn/ | reconseguir |
| bluster sustantivo | /ˈblʌs.tɚ/ | bravatas, fanfarronadas |
| bustle sustantivo | /ˈbʌsəl/ | ajetreo |
| commune sustantivo | /ˈkɑmjuːn/ | comuna |
| contemplation sustantivo | /ˌkɑntəmˈpleɪʃən/ | contemplación |
| counterfeit adjetivo | /ˈkaʊn.tɚˌfɪt/ | contrahecho, falsificado |
| deformity sustantivo | /dɪˈfɔɹməti/ | deformidad, disformidad |
| elevate verbo | /ˈɛləveɪt/ | elevar, levantar |
Phrasal verbs que vas a escuchar
| Palabra | Pronunciación | Significado |
|---|---|---|
| come together verbo | /ˈkʌm tʊˈɡɛðɚ/ | juntarse, concitarse |
| end up verbo | terminar, ir a parar | |
| find out verbo | averiguar, anoticiarse | |
| pick up verbo | coger, asir |
Gramática en este vídeo
Las estructuras que más usa el hablante, con las palabras exactas del vídeo:
| Estructura | En el vídeo |
|---|---|
| Voz pasiva be + participio pasado — importa lo que ocurre, no quién lo hace | have been invited · was introduced · was said |
| Present perfect have/has + participio pasado — una acción pasada que sigue importando ahora | has made · We've rendered · has become |
| Oraciones de relativo who / which + oración — información extra sobre una persona o cosa | Those who had · person who could · those who needed |
Pronunciación a tener en cuenta
El hablante usa 9 contracciones y formas reducidas, como isn't, we've, aren't. Dilas en su forma corta, tal como las oyes.
- Los sonidos de “th”: hearth /ˈhɑɹθ/, pathology /pəˈθɒləd͡ʒi/
- Los sonidos de “sh” y “zh”: contemplation /ˌkɑntəmˈpleɪʃən/, introversion /ɪntɹəˈvəɹʒən/, reassure /ˌɹi.əˈʃʊɹ/, reformation /ˌɹɛf.əɹˈmeɪ.ʃən/, socially /ˈsoʊʃəli/
- Palabras largas — cuida el acento: romanticism /ɹəʊˈmæntɪsɪzəm/, monastery /ˈmɑnəˌstɛɹi/, solitary /ˈsɑlɪˌtɛɹi/, contemplation /ˌkɑntəmˈpleɪʃən/, deformity /dɪˈfɔɹməti/
Sonidos difíciles para hispanohablantes:
- /v/ — no es /b/: los dientes tocan el labio inferior: elevate /ˈɛləveɪt/, extroverted /ˈɛkstɹəˌvəɹtɪd/, introversion /ɪntɹəˈvəɹʒən/, introverted /ˈɪn.tɹəˌvɜːɹ.təd/, oppressive /əˈpɹɛs.ɪv/
- /z/ — sonora, no /s/: romanticism /ɹəʊˈmæntɪsɪzəm/, fuse /fjuːz/, reside /ɹɪˈzaɪd/, advertisement /ˈædvɚˌtaɪzmənt/, possess /pəˈzɛs/
- /dʒ/ — no es la “y” ni la “ch”: pathology /pəˈθɒləd͡ʒi/, trajectory /tɹəˈd͡ʒɛktəɹi/, prestige /pɹɛsˈtiːd͡ʒ/
Cómo practicar con este vídeo
- Escucha el vídeo entero una vez sin hablar y anota las palabras que no conoces.
- Empieza a velocidad 0,75×, haz shadowing frase por frase y vuelve a la velocidad normal cuando te resulte fácil.
- Grábate y compara con el original, prestando atención a palabras como solitude, loneliness, piety.
¿Qué es la Técnica de Shadowing?
Shadowing es una técnica de aprendizaje de idiomas respaldada por la ciencia, desarrollada originalmente para la formación de intérpretes profesionales y popularizada por el políglota Dr. Alexander Arguelles. El método es simple pero poderoso: escuchas audio en inglés nativo y lo repites en voz alta de inmediato, como una sombra que sigue al hablante con solo 1-2 segundos de retraso. A diferencia de la escucha pasiva o los ejercicios de gramática, el shadowing obliga a tu cerebro y músculos de la boca a procesar y reproducir simultáneamente patrones de habla reales. Las investigaciones muestran que mejora significativamente la precisión de la pronunciación, la entonación, el ritmo, el habla conectada, la comprensión auditiva y la fluidez al hablar, convirtiéndola en una de las metodologías más efectivas para la preparación del IELTS Speaking y la comunicación en inglés en el mundo real.