Pratique du Shadowing: The Concept of Language (Noam Chomsky) - Apprendre l'anglais à l'oral avec la vidéo
Création de la leçon...
1
The following program is a UW -TV classic.
2
From the University of Washington in Seattle, upon reflection with Al Page.
3
Our guest is Professor Noam Chomsky from the Massachusetts Institute of Technology and a guest lecturer at the University of Washington.
4
What determines how language in a particular country evolves?
5
Why is French, for example, so different from German?
6
Well, first of all, you're assuming that French is different from German.
7
The French would probably say so.
8
There's no simple measure of how different languages are from one another.
9
In fact, if you look at the languages structurally the way a linguist would look at them, French is different from the other Romance languages in a variety of ways,
10
which make it more similar to German and other Germanic languages.
11
There are a number of features of French which are sort of Germanic in character.
12
Give us some of those features.
13
Well, just to take a simple one, in all the Romance languages,
14
except for French, you can delete the subject of a sentence.
15
You can say the equivalent of walks to the store, meaning he walks to the store.
16
We can't do that in English, but you can do it in Italian or Spanish.
17
In fact, it's common romance, because right back to Latin, French is the only romance language in which you can't do that.
18
It's like a Germanic language, pretty much, in that respect.
19
In what they call clitics, small pronouns that you attach to verbs.
20
So you say the equivalent of I, him, saw.
21
That's common romance.
22
But in the other Romance languages, you can do things like, I, him, want to see.
23
You can do that in all meaning, I want to see him, but not in French.
24
And for a variety of constructions, actually, there are quite a number of respects in which French is different from the other Romance languages.
25
Incidentally, Old French, Middle French, French in the medieval period was not.
26
It was like the other Romance languages.
27
So something happened to it that made it less like the Romance languages and more like the Germanic languages.
28
How does language change over time?
29
How did 18th century French change compared to 12th century French?
30
Well, you know, when we talk about language change, that's very misleading.
31
I mean, there is no such thing as a language in France.
32
I mean, up until, say, the turn of the century, you could find people in nearby villages in France who couldn't understand one another, virtually could not understand one another.
33
The idea of a national language is a pretty modern phenomenon.
34
It has to do with the rise of nationalism and communication and so on, or take, say, Italy today or Germany today.
35
I mean, the differences among the things that we call German are enormous, so enormous as to lead to non -mutual intelligibility.
36
You have to learn the national language when you go to school.
37
It's a different language than the one you spoke at home.
38
And when we talk about language changing, what's actually happening is that there's some—it's kind of like species changing.
39
There's a mixture of all sorts of dialects, and the mix changes over time,
40
either because of conquest or some political change
41
or boundaries are drawn in a different place or some kind of commercial interchange or whatever.
42
The mixture of these things changes over time, and you take a look at it a few centuries apart, it looks like there's a different language.
43
But what happens is that between generations, there are usually small changes having to do with other influences from the outside and so on.
44
And these things are cumulative.
45
Sometimes they lead to pretty dramatic changes.
46
I mean, within a couple of generations, the language can change structurally in quite dramatic ways.
47
And of course, in, say, lexicon, you know, the words of the language, well, that's a different matter altogether.
48
So when technology develops, you get a whole new vocabulary.
49
But if you were in France in the 12th century and you understood all the nuances of language, could you have predicted how these various languages would have evolved over time?
50
No, it's totally impossible.
51
But is it partially random?
52
It's not so much that it's random.
53
It's not actually random.
54
For all we know, it might be completely deterministic.
55
There's just too many factors involved.
56
It's like predicting the weather.
57
There's just too many things going on.
58
Human life is a pretty complicated affair.
59
And now our culture, speakers of English can be misled by this.
60
English is relatively homogeneous.
61
You can go a long way in the United States.
62
I mean, I just came from Boston, and I understand everybody in Portland and Seattle and so on.
63
But that's not true of most of the world.
64
Most of the world, language areas, you can get very different languages pretty close by.
65
And much of the world is what we would call multilingual.
66
Thank you.
67
The closer I get to the border between France and Germany would the closer the languages become.
68
Yeah, well, in particular, if you go from, say, Paris to Rome, as you go toward the Italian border, it starts to sound more like Italian.
69
And at some point it becomes Italian.
70
And there isn't, in fact, I mean, by now there's, you know, there's enough national unity and so on so you can really find the border.
71
But if you go back a little ways, there was no border there was just a, I wouldn't say a continuum, there's just constant changes and fluctuations and variations,
72
and you started speaking one thing in one place and another thing in another place, and they're not mutually intelligible often, but along the way there's just all sorts of changes.
73
Now, with the rise of national states, and especially national communications and national education systems and all of these things, which is a pretty modern phenomenon,
74
then you get what we call national languages.
75
Now, as I say, English is unusual.
76
The reason, after all, you go to pre -colonial times, there were just hundreds of thousands, probably, of different languages spoken in what's now called the United States.
77
Well, through the destruction of the indigenous population, and it was real destruction,
78
kind of genocidal, and the conquest by speakers of basically one group you ended up having a large homogeneous language.
79
But how could anybody have predicted that?
80
I mean, it had to do with the invention of guns and, you know, political conquest and all sorts of things.
81
And that's pretty much what human history is.
82
There are some French theorists, for example, who argue that they must work very hard to keep the French language pure.
83
What does that mean?
84
It doesn't mean anything.
85
I mean, there's an old...
86
I mean, virtually every national language, every national culture, or at least the European ones, maybe others, has a mythology that that's the only real,
87
pure language, and all the others are corrupt.
88
In France, this position is kind of extreme.
89
In fact, if you go back to its origins, it's even a little bit comical.
90
I don't know if anybody's actually studied it, but if you go back to, say, the 18th century, and you read,
91
say, Diderot, he explains Diderot very seriously that...
92
He says, here's a prediction for you.
93
He says, France is going to be the language of science, and German and English will be the languages of literature.
94
And the reason for this is that French is very clear.
95
In France, the words follow the order of the thoughts, whereas if you listen to German and English, the words don't quite follow the words of the thought.
96
So, France is good for telling, French is good for telling the truth because of its, what later came to be called its Gallic lucidity and clarity.
97
Whereas German and, I think his examples were German and English, maybe Italian, they're good languages for telling fantasies and falsehoods,
98
so they'll be the languages of literature.
99
Now you can, it's a sort of naive point of view, but you can see what was going on in his head.
100
I mean, for him, the words in French follow the order of thoughts.
101
When you hear German, it seems all confused, I mean, thinking of some other way.
102
Speaker of German looks the opposite, of course.
103
And I suspect that the mythology of the purity and lucidity and clarity of French goes back to ideas of that kind.
104
After all, French culture had a certain dominance and appeal for a long time, so these attitudes get established.
105
But what does it mean for the language to be pure?
106
Or when people say they want English to be pure, what are they talking about?
107
Was Shakespeare pure?
108
In fact, every stage of history, languages are...
109
First of all, there is no such thing as a language.
110
There are just lots of different ways of speaking that different people have, which are more or less similar to one another.
111
And some of them may have prestige associated with them.
112
For example, some of them may be the speech of a conquering group, group or a wealthy group or a priestly caste or one thing or another, and we may decide, okay,
113
those are the good ones and some other one is the bad one.
114
But if social and political relations reversed, we'd make the opposite conclusions.
115
Let's take black English today.
116
Black English is considered not quite proper English.
117
On the other hand, if blacks happened to have all the power
118
and own all the corporations and whites were working for them, it would be the other way around.
119
Black English would be the language of culture and science and so on, and the stuff that you and I speak would be considered a degenerate dialect, which you have to get people out of so that they'll be able to think.
120
But that raises an interesting question.
121
Why does language have rules?
122
Why were we taught these rules in grade school?
123
Why is bad grammar bad grammar?
124
Well, when you're taught rules of your own language in grade school, the chances are very strong that what you're being taught is false.
125
Otherwise, you wouldn't have to be taught it.
126
but I can see every grade school teacher about to throw an orange at you on the screen.
127
There's, unfortunately, well, we have to, let me be a little more nuanced.
128
One of the things you learn in grade school is the literary language.
129
Now, in English, the literary standard is not so radically different from what, say, you and I grew up with, but it's somewhat different.
130
The literary standard is not what I learned in the streets.
131
It's not very different, but it's a little different.
132
And when I went to school, I was taught the literary standard.
133
Now, the literary standard has some principles associated with it, some of which are those of a real language, some of which are completely artificial.
134
They were made up by people who had crazy ideas about language.
135
And they're all given names you never heard of before.
136
And in fact, the reason you have to teach them is because they are not the person's language.
137
Your actual language, nobody teaches you.
138
Your language just grows in your head.
139
You can't stick a young child in an environment where people are speaking language,
140
and that child can no more help knowing that language than the child can help growing.
141
It's just part of human growth is for some component of the brain to pick up the language.
142
You can't learn it, and you don't learn it anymore than you learn to see.
143
Now, the fact is that the system that grows in the brain is sometimes different from a system which is regarded,
144
for whatever reason as necessary or appropriate or approved or something, some prestige dialect.
145
And it may be different from what grew in your brain.
146
It typically is.
147
Or it may be a way of trying to get us to have a common bond through language.
148
Well, it's possible.
149
I mean, I think that's a problem in places like, say, Italy.
150
In Italy, if somebody grows up in the Piedmont area and somebody else grows up in the Naples area,
151
They're speaking totally different languages.
152
They can't, neither can understand a word the other's saying.
153
So there, when you teach what they call Italian, which is the language roughly of the area of Florence, of Tuscany, you're teaching people what amounts to a second language,
154
and it's the national language.
155
Same is true in Germany and China.
156
Well, China's even worse, because what we call Chinese is a set of languages
157
which are as different from one another as the different Romance languages.
158
They just happen to be all yellow on the map or something, and they happen to be a unified political area, but there's no sense in which they're the same language.
159
We call them Chinese dialects, but that would be like calling French and Romanian two different dialects of the same language, Latin or something.
160
I mean, these terms have no linguistic meaning.
161
They have only sociopolitical meaning of a very complex sort, and the way in which they interact with authority structures is crucial.
162
So what we call good English is a system which is partly artificial, I should say, which is taught to people because it was legislated to be good English.
163
Now, some of what it's taught, it breaks the rules of any conceivable human language.
164
That's why it has to be taught over and over again.
165
So I don't know if people still do it in school, but when I was in school, you had to learn all sorts of complicated nonsense about shall and will, which nobody could ever remember.
166
I mean, I forget what it was, I shall, you will, or some strange thing.
167
That violates...there's no...I mean, there are certain principles of human biology which determine what a language can be, and no language can be like that.
168
So that had to be...in fact, you can trace that back and you can find out who invented it.
169
You know, some bishop in the 17th century or something invented it and decided that's the way it's supposed to be.
170
Now, that kind of thing, of course, has to be taught because it's totally artificial.
171
Or you have to teach people how to say, he and I, instead of him and me.
172
Well, English sort of works the other way.
173
I mean, if nobody was bothering you in English, you'd probably say him and me are here or something like that.
174
But you're taught in the standard language not to do that.
175
There's some other invented language, which is called the literary standard, in which you don't do it.
176
And you ask the question, why do you have to teach people?
177
Well, you have to teach them because it's artificial.
178
It's not their language.
179
And often it's not just not their language.
180
Sometimes it's not even any possible language.
181
Why is pronunciation and intonation so important to language?
182
Why aren't words themselves sufficient to convey meaning?
183
Well, you have to understand somebody else's words.
184
I mean, if you go to central London and somebody's speaking cockney
185
and the words happen to match errors at some abstract level, you still may not understand them.
186
The pronunciation may be different enough so
187
that part of your knowledge of language is a way of decoding noises
188
that you hear and converting them into a system that matches your own representations.
189
Sometimes, in order for that decoding system to work, the systems have to be close enough.
190
You and I can do it.
191
Actually, if you listen to us closely, we're speaking different languages, but they're close enough so that we don't have any, I don't have a problem decoding you and you don't have a problem decoding me.
192
But again, that's a little artificial.
193
That's because of the artificial unity of the English language.
194
spoken in the United States.
195
I happened to be in England last week
196
and I confine myself in places in England where I don't understand what they're saying.
197
I mean, if I listen to them for a while, we can establish communication, but you have to kind of retune your system in some manner that's not understood
198
so that you can begin to decode what you're hearing.
199
What role does slang have in language?
200
Why does slang exist?
201
Well, people are, why, I don't know, but the fact is people are very innovative and they like to do things differently, and especially teenage cultures.
202
Why do teenagers wear different clothes?
203
Well, you know, whatever the reason is, they want to be different.
204
They like to be innovative.
205
They're creative.
206
So there's a lot of fashions in language?
207
Oh, sure.
208
And in fact, there are styles of different groups.
209
Some of them change very rapidly.
210
The words that are in one era are archaic, and in another era can be three years or something like that.
211
And people are playing with their languages often.
212
Again, this is not too common in our societies.
213
Our societies, remember, are basically technological societies.
214
Our intelligence and creativity and so on goes into other things.
215
But if you go to, say, Central Australia, where you're finding basically Stone Age tribes, there's a lot of innovation in language.
216
A lot of the cultural wealth has to do with playing games with languages
217
and constructing elaborate kinship systems and things which probably have no or little functional utility.
218
It's just the creative mind at work.
219
So you get very complex language games, a special language system taught as a puberty rite, and only a particular group of people speak it, and nobody else understands it.
220
How does language differ in the way that it's used in the arts?
221
First of all, there's a variety of conventions,
222
of formal conventions that are humanly created but undoubtedly reflect our aesthetic capacities.
223
that set a framework within which they set a framework of rule, humanly imposed rule, within which people create.
224
So if you find an extreme case, if you write a sonnet, you have to come pretty close to a fixed frame.
225
And while that's an extreme case, the same is true of other literary conventions.
226
I mean, part of human creative intervention has been to create forms,
227
aesthetic forms, which are somehow either appealing to us or challenge our intelligence or whatever, and you work within them.
228
I mean, after all, painting on a piece of canvas that has a boundary, that's pretty recent in human history,
229
and that itself imposes a framework which determines the kind of art
230
that you can produce
231
and in the literary use of language is just everything from
232
the structure of a novel to the metric character of a poetic form is one or another human invention.
233
Do you respond to poetry? Do I?
234
Sure.
235
I have time to read it.
236
Does it make you think differently?
237
What goes on in your thought process?
238
Well, you know, I don't feel competent to say, but it's a topic that has been discussed quite intelligently.
239
So, for example, if you read, say, not by me, I have nothing to say about it, no one will pretend to, but if you read, say, William Amson's Seven Types of Ambiguity,
240
you get an intriguing account of why poetry makes you think, in part because it's so compressed, and you only get hints,
241
so the reader has to impose a lot of structure You have to put your own self into it.
242
And in part because the formal structure itself imposes a challenge to the intelligence.
243
If you're just throwing paint around randomly, it's not a work of art.
244
But when it's done within the framework of a humanly constructed system of rule,
245
at least you've got the prerequisites for a work of art, it still may not be.
246
whatever it takes, whatever creativity is, and that's not understood, that has to be there too.
247
But I, certainly I have nothing to say about these topics.
248
I wouldn't pretend to.
249
We bring up another area you can claim you have no expertise in, and that's the use of humor.
250
We respond to people who use humor in communication, yet it's not taught in grade school.
251
We don't, we're not taught how to be comedians, but we respond to it, and that seems to be the case in almost every language.
252
Well, see, I don't think that has too much to do with language.
253
We can be humorous in other ways, too.
254
A clown can be humorous without using language, and nobody teaches a child how to laugh at a clown.
255
Now, I think we're going here to interesting topics, but topics where nothing is understood.
256
There's no doubt in my mind that there's something about human nature the basic structure of the human mind -brain,
257
which makes certain things comical and other things not.
258
Just as there are certain things about the human brain
259
that make some things come out to be a human language and others not, although they could be a Martian language or something.
260
And at its root, it's, I don't think, fundamentally different from the fact that we grow arms and not wings.
261
Now, we don't know why we grow arms and not wings, but you assume that it's got something to do with the human genetic endowment.
262
And I think the comparable assumption is true in all these cases.
263
Part of the fascination of the study of language is
264
that it's one of the few examples where you can really get some insight into how it works.
265
These other topics that you're mentioning, say humor, should be subjected to the same kind of study, but so far it hasn't been clear how to do it.
266
Words are endlessly fascinating, I think, because it's amazing how somebody can walk in a room,
267
hear a few words and walk out crying or angry or this whole series of emotions simply with a few words.
268
Doesn't that constantly amaze you?
269
It's not just words again.
270
It could be a fleeting picture.
271
Take a caricature.
272
You see a few lines and it brings to your mind a person in a situation,
273
maybe a tragic situation or a comical situation or whatever.
274
I mean, the human mind is a very marvelous thing.
275
It's got an extremely intricate and complex structure, which, at least at a scientific level, we understand very little about.
276
But what you're pointing to is a central part of it.
277
Little hints here and there succeed in evoking in us very rich experience and interpretation.
278
And what's more, it's done surprisingly uniformly for different people.
279
And it's, of course, done without any training or very minimal training.
280
Nobody would know how to train people to do this.
281
So it somehow must be the only logical possibility, aside from angels or acts of God, is it's something rooted in our nature.
282
I mean, qualitatively speaking, these phenomena are very much like physical growth.
283
The nutrition that's given to an organism, to an embryo, is not what determines that it's going to be a human or a bird.
284
What determines that it's going to be a human
285
or a bird is something about its internal structure and what determines
286
that we are going to be the kind of creature
287
that can speak and that can interpret a sign
288
or a couple of lines or something as evoking an emotional experience or whatever, that's something in our nature.
289
But it's so far beyond what we know how to study
290
that you can only wave your hands at it at the moment.
291
How should parents react with respect to exposing their children to language? should they expose them to all aspects of language, or should they simply let them develop any way they develop?
292
I suspect there's very little that parents can do to change the course of language development.
293
I mean, you can, we know from experience.
294
Again, let me say I'm not speaking about this from any expertise.
295
I don't have any more expertise than personal experience.
296
There's nothing in linguistic theory that gives answers to this question.
297
but experience suffices to indicate, in no cases, that you can create an environment in
298
which a five -year -old will sound like a college professor and it's kind of comical, but they'll use big words and, you know, complicated sentences and so on.
299
I suspect you're probably harming the five -year -old, but it's possible to do that.
300
Children can be molded.
301
On the other hand, if you just leave them alone, they're going to pick up the language of their culture.
302
Typically, they'll pick up the language of their peers.
303
Quite typically, there are exceptions, but typically children will learn the language they heard in the streets.
304
So take me, my father spoke with a Ukrainian accent
305
and my mother spoke with a mixed New York -Lithuanian accent
306
and I spoke urban Philadelphia because that's what the kids were talking in the streets.
307
And undoubtedly if you really took my speech patterns and
308
so on aside you'd find influences from the parents and the uncles and so on, but overwhelmingly it's you pick up the peer culture.
309
Why this happens nobody knows, but there's something about humans,
310
children, that gets them to grow the language that's roughly that of their peers.
311
And it's a very rich system.
312
It's an extremely rich system.
313
They don't try.
314
They can't prevent themselves from doing it.
315
They can't make it happen.
316
The parents can enrich the.. anyone who has a two -year -old knows that
317
the kid is running around all over the place trying to find out what the name of everything is.
318
What's that?
319
What's that?
320
What's that?
321
And you can help them.
322
And you can read the children and show them pictures.
323
And they're all fascinated with it.
324
They're periods very rapid language growth where you just can't satiate the curiosity fast enough.
325
Amazingly so.
326
It's unbelievable, in fact.
327
What actually happens is really astonishing.
328
I mean, there have been, for example, at the peak periods of a, forget the structure of language, which is complicated enough, but just take vocabulary acquisition, the simplest part.
329
At peak periods of acquisition of vocabulary, learning new words, children are picking them up at maybe a rate of one an hour or something,
330
which means that they're essentially learning a word on one exposure.
331
And the adults go into adult education and die trying to learn a new language.
332
Oh, yeah.
333
But, you know, if you think what it means to learn a word on one exposure, the way to understand how amazing an achievement this is, is to try to define a word.
334
So suppose you had an organism that wasn't equipped to learn the words of human language, and you really had to teach it those words by training.
335
Well, you'd first have to define a word.
336
What is the meaning of table, for instance?
337
Nobody can do that.
338
You have to define the definition you're using to define the word.
339
But, you see, what we call definitions are not definitions.
340
They're just hints.
341
If you take the Oxford English Dictionary, you know, the one you read with the magnifying glass, and they give you a long, detailed thing, which they call the definition of a word.
342
In fact, it's very far from the definition of a word.
343
It's a few hints that a person who already knows the concept can use to understand what's going on.
344
But remember, the child is picking that up not from the Oxford English Dictionary with its whole array of hints.
345
The child is picking it up from seeing it used once or twice.
346
Now, that can only mean one thing.
347
It can only mean that the concept itself, in all of its richness and complexity, is somehow sitting there waiting to have a sound associated with it.
348
Now, that can't be quite true, but something very much like that is probably true.
349
That's why you and I will have essentially the same concept of table and the same concept of person and of,
350
you know, nation or all sorts of things.
351
And not complicated things.
352
I mean really simple things like person, for instance, or thing.
353
We'll have that even though we all have very limited experience because basically we started with those concepts.
354
We're getting down to the end of the show.
355
Do you ever see a time when the study of language and linguistics will not fascinate you?
356
Well, I suppose it must come sometime when your mind deteriorates to the point where you can't deal with hard questions, I guess that'll happen.
357
Professor Noam Chomsky from the Massachusetts Institute of Technology and a guest lecturer at the University of Washington.
358
Upon reflection.
359
To see more UW -TV classics, visit uwtv .org slash classics.
✨ Vidéo recommandée
C123
17 phrases
Noam Chomsky on Language Aquisition
University StudentsWorking Adults
C11
238 phrases
The Problem with ANGLISH (the de-Frenchified Version of English)
Cambridge Exam PrepUniversity StudentsWorking Adults
C11
598 phrases
Husserl: Phenomenology and the Life World
University StudentsWorking Adults
C12
56 phrases
Phonetics and Phonology: Introduction
University StudentsWorking Adults
B21
51 phrases
Apprendre une langue, c’est s’y habituer
Daily ConversationUniversity StudentsWorking Adults
C18
114 phrases
Contemporary Topics 3 Unit 1 COMMUNICATION STUDIES Slang ang language change
Daily ConversationUniversity StudentsWorking Adults
C111
58 phrases
The different levels of how Claude thinks
University StudentsWorking Adults
A23,173
19 phrases
Why You Cannot Understand Native Speakers Even When You Know The Words
Daily ConversationUniversity StudentsWorking Adults
C12
233 phrases
Are we WRONG about most FAMOUS LINGUISTICS experiment??
IELTS PrepTOEFL PrepCambridge Exam Prep
C11
74 phrases
LangChain in 5 Minutes (Explained Clearly)
Business EnglishUniversity StudentsWorking Adults
C16
230 phrases
Why a Language Map of the World is Impossible
IELTS PrepTOEFL PrepUniversity Students
C119 phrases
Why is the English Language So Standardized — Ocean Vuong
University StudentsWorking Adults
Vocabulaire et conseils d’expression pour cette leçon
Cette leçon d’expression orale de niveau C1 s’appuie sur la vidéo « The Concept of Language ». Les mots qui reviennent le plus souvent : language, word, French, English. Cette vidéo contient 359 phrases et 4878 mots à répéter en shadowing. La partie parlée dure 27:41. Le locuteur parle à un rythme naturel d’environ 176 mots par minute, proche d’une conversation courante. 86 % des mots font partie des 3 000 mots les plus courants en anglais ; le reste mérite d’être vu avant de commencer.
Vocabulaire clé de cette vidéo
Les 15 mots les plus avancés de la vidéo, avec leur prononciation et leur sens :
| Mot | Prononciation | Sens |
|---|---|---|
| hint nom | /hɪnt/ | indice |
| comical adjectif | /ˈkɑmɪkəl/ | comique |
| decode verbe | /dɪˈkəʊd/ | décoder |
| humanly adverbe | /ˈhjuːmənli/ | humainement |
| invent verbe | /ɪnˈvɛnt/ | inventer |
| conquest nom | /ˈkɑnkwɛst/ | conquête |
| vocabulary nom | /vəˈkæb.jə.lə.ɹi/ | vocabulaire, lexique |
| humour nom | /ˈhjuːmɚ/ | humour |
| expertise nom | /ˌɛkspɜːˈtiːz/ | compétence, expertise |
| evoke verbe | /ɪˈvoʊk/ | évoquer, remémorer |
| homogeneous adjectif | /ˌhoʊ.moʊˈd͡ʒi.ni.əs/ | homogène |
| lucidity nom | /l(j)uːˈsɪdɪti/ | lucidité |
| sling nom | /ˈslɪŋ/ | fronde, bricole |
| structurally adverbe | structurellement, structuralement | |
| pronunciation nom | /pɹəˌnʌn.siˈeɪ.ʃən/ | prononciation |
Les verbes à particule que vous entendrez
| Mot | Prononciation | Sens |
|---|---|---|
| pick up verbe | soulever | |
| find out verbe | découvrir, savoir | |
| bring up verbe | élever | |
| end up verbe | se terminer, se finir | |
| go back verbe | rentrer, retourner | |
| make up verbe | /ˌmeɪk ˈʌp/ | constituer, composer |
| run around verbe | courir partout |
Des phrases à répéter
Des phrases courtes et complètes de la vidéo, à réutiliser dans la conversation de tous les jours :
- Why were we taught these rules in grade school?
- Do you respond to poetry?
- Does it make you think differently?
- What goes on in your thought process?
- Doesn't that constantly amaze you?
La grammaire de cette vidéo
Les structures que le locuteur utilise le plus, avec les mots exacts de la vidéo :
| Structure | Dans la vidéo |
|---|---|
| Phrases conditionnelles if + proposition, will/would + verbe — une condition et son résultat | if social and political relations reversed, we'd make |
| Voix passive be + participe passé — l’accent est mis sur ce qui arrive, pas sur qui le fait | are drawn · can be misled · be called |
| Propositions relatives who / which + proposition — une précision sur une personne ou une chose | French which are · things, which is · have, which are |
| Present perfect have/has + participe passé — une action passée qui compte encore maintenant | have predicted · has been · has been discussed |
Prononciation à surveiller
Le locuteur utilise 78 contractions et formes réduites, comme don't, they're, you're. Prononcez-les sous leur forme courte, telles que vous les entendez.
- Les sons « th »: mythology /mɪˈθɑ.lə.d͡ʒi/, aesthetic /ɛsˈθɛ.tɪk/, altogether /ɔl.tuˈɡɛð.ɚ/
- Les sons « sh » et « zh »: pronunciation /pɹəˌnʌn.siˈeɪ.ʃən/, invention /ɪnˈvɛnʃən/, nationalism /ˈnæʃ(ə)nəˌlɪzəm/, prediction /pɹɪˈdɪkʃən/, assumption /əˈsʌm(p).ʃ(ə)n/
- Mots longs — placez bien l’accent: vocabulary /vəˈkæb.jə.lə.ɹi/, homogeneous /ˌhoʊ.moʊˈd͡ʒi.ni.əs/, lucidity /l(j)uːˈsɪdɪti/, pronunciation /pɹəˌnʌn.siˈeɪ.ʃən/, organism /ˈɔɹ.ɡəˌnɪz.əm/
Comment s’entraîner avec cette vidéo
- Écoutez la vidéo en entier une fois sans parler et notez les mots que vous ne connaissez pas.
- Commencez à la vitesse 0,75×, répétez phrase par phrase, puis revenez à la vitesse normale quand cela devient facile.
- Enregistrez-vous et comparez avec l’original, en faisant attention à des mots comme hint, comical, decode.
Qu'est-ce que la technique du Shadowing ?
Le Shadowing est une technique d'apprentissage des langues fondée sur la science, développée à l'origine pour la formation des interprètes professionnels. Le principe est simple mais puissant : vous écoutez de l'anglais natif et le répétez immédiatement à voix haute — comme une ombre suivant le locuteur avec un décalage de 1 à 2 secondes. Les recherches montrent une amélioration significative de la précision de la prononciation, de l'intonation, du rythme, des liaisons, de la compréhension orale et de la fluidité.