Shadowing Practice: The Lonely World of Edward Hopper ๐Ÿฅฒ - Learn English Speaking with Video

ื‘ื—ืจ ืžืฆื‘ ืชืจื’ื•ืœ

ื›ืœ ืžืฆื‘ ืคื•ืชื— ื—ื“ืจ ืชืจื’ื•ืœ ื‘ืžืกืš ืžืœื.

14 ืžืฉืคื˜ื™ื
ืื ื”ืžืฉืคื˜ื™ื ืงืฆืจื™ื ืื• ืืจื•ื›ื™ื ืžื“ื™, ืœื—ืฅ ืขืœ ืขืจื•ืš ื›ื“ื™ ืœื”ืชืื™ื ืื•ืชื.
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There is no painting on earth quite like Edward Hopper's Nighthawks.
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And frankly there has never been an artist quite like Hopper, a man whose entire body of work can be ground down to the realization
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that in a world full of interaction we are always alone.
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We can sit on a boat with friends and at the same time contemplate in complete isolation, or at a restaurant and listlessly wander off.
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Hopper shows us the deafening power of silence whilst in a moment of introspection, boredom, duty, curiosity, doubt, authority and more.
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He tells the age-old tale of serving oneself and oneself alone, the pitfall of consciousness in a world built entirely by the faculties of collaboration.
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And while we can turn to any one of Hopper's paintings to explore the themes of loneliness, it is only in Nighthawks that we participate in it.
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The painting depicts a scene of a diner at the corner of an empty street late into the night.
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and inside we have four distinct characters, the couple, the barman and a lonely patron.
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Four people sitting in the same room completely isolated from one another in their own thoughts.
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But they are not the only ones who are alone.
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The genius of Nighthawks is the insulation of its figures into the confines of a diner and it is us,
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the audience, who too are left to our own devices to wander in silence.
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We are welcome to participate in the lonely world of Edward Hopper's universe, but not quite, invited inside to disturb it.

ื”ื•ืจื“ ืืคืœื™ืงืฆื™ื”

ื›ืœ ืžื” ืฉืืชื” ืฆืจื™ืš ื›ื“ื™ ืœื“ื‘ืจ ื‘ืฉื˜ืฃ

ื”ื’ื™ื™ืช AIืฆื™ื•ืŸ ืœื›ืœ ืžืฉืคื˜
ืชืจื’ื•ืœ IPAืฉืœื•ื˜ ื‘ื›ืœ ืฆืœื™ืœ
ืื•ืฆืจ ืžื™ืœื™ืื‘ื ื” ืืช ืžืื’ืจ ื”ืžื™ืœื™ื ืฉืœืš
ืžืฉื—ืง ืื•ืฆืจ ืžื™ืœื™ืืœืžื“ ืชื•ืš ื›ื“ื™ ืžืฉื—ืง

ืื•ืชื• ืขืจื•ืฅ

FOR YOU

ื”ืžืœืฅ ืขืœ ืกืจื˜ื•ืŸ

Vocabulary and speaking notes for this lesson

This C1 speaking lesson is built on the video โ€œThe Lonely World of Edward Hopper ๐Ÿฅฒโ€. The speaker keeps coming back to these words: Nighthawks, painting, alone. This video has 14 sentences and 261 words to shadow. The speech runs for 1:29. The speaker talks at a natural 175 words per minute, close to everyday conversation. Only 77% of the words are among the 3,000 most common in English, so the vocabulary is demanding.

Key vocabulary in this video

The 15 most advanced words in the video, with pronunciation and meaning:

WordPronunciationMeaning
diner noun/หˆdaษชฬฏnษš/Someone who dines.
wander verb/หˆwษ‘ndษš/To move without purpose or specified destination; often in search of livelihood.
barman noun/หˆbษ‘ษนmรฆn/A man who works in a bar.
boredom noun/หˆbษ”ษน.dษ™m/The state of being bored.
confine verb/หˆkษ‘nfaษชn/To restrict (someone or something) to a particular scope or area; to keep in or within certain bounds.
contemplate verb/หˆkษ‘n.tษ™mหŒpleษชt/To look at on all sides or in all its aspects; to view or consider with continued attention; to regard with deliberate care; to meditate on; to study, ponderโ€ฆ
deafen verb/หˆdษ›fษ™n/To make deaf, either temporarily or permanently.
depict verb/dษชหˆpษชkt/To render a representation of something, using words, sounds, images, or other means.
introspection noun/ษชntษนษ™หˆspษ›kสƒษ™n/A looking inward; specifically, the act or process of self-examination, or inspection of one's own thoughts and feelings; the cognition which the mind has ofโ€ฆ
listlessly adverbIn a listless manner; without energy or enthusiasm.
pitfall verb/หˆpษชtfษ”l/To trap, snare, or ensnare someone or something.
disturb verb/dษชหˆstษœหb/to confuse a quiet, constant state or a calm, continuous flow, in particular: thoughts, actions or liquids.
isolate verb/หˆaษช.sษ™.leษชt/To set apart or cut off from others.
loneliness noun/หˆloสŠnlinษ™s/A feeling of depression resulting from being alone or from having no companions.
insulation noun/หŒษชnsษ™หˆleษชสƒษ™n/The act of insulating; detachment from other objects; isolation.

ื“ืงื“ื•ืง ื‘ืกืจื˜ื•ืŸ ื”ื–ื”

ื”ืžื‘ื ื™ื ืฉื”ื“ื•ื‘ืจ ืžืฉืชืžืฉ ื‘ื”ื ื”ื›ื™ ื”ืจื‘ื”, ืขื ื”ืžื™ืœื™ื ื”ืžื“ื•ื™ืงื•ืช ืžื”ืกืจื˜ื•ืŸ:

ืžื‘ื ื”ื‘ืกืจื˜ื•ืŸ
ืกื‘ื™ืœ (Passive voice) be + past participle โ€” ื”ื“ื’ืฉ ื”ื•ื ืขืœ ืžื” ืฉืงื•ืจื”, ืœื ืขืœ ืžื™ ืฉืขื•ืฉื” ืืช ื”ืคืขื•ืœื”can be ground ยท are left
ื”ื•ื•ื” ืžื•ืฉืœื (Present perfect) have/has + past participle โ€” ืคืขื•ืœื” ืฉืงืจืชื” ื‘ืขื‘ืจ ื•ืขื“ื™ื™ืŸ ื™ืฉ ืœื” ื—ืฉื™ื‘ื•ืช ืื• ื”ืฉืคืขื” ืขื›ืฉื™ื•has never been
ืžืฉืคื˜ื™ ื–ื™ืงื” (Relative clauses) who / which + clause โ€” ืžื™ื“ืข ื ื•ืกืฃ ืขืœ ืื“ื ืื• ื“ื‘ืจones who are

Pronunciation to watch

  • The โ€œshโ€ and โ€œzhโ€ sounds: introspection /ษชntษนษ™หˆspษ›kสƒษ™n/, insulation /หŒษชnsษ™หˆleษชสƒษ™n/, realization /หŒษนษชษ™.laษชหˆzeษช.สƒษ™n/, isolation /หŒaษชsษ™หˆleษชสƒษ™n/
  • Long words โ€” get the stress right: introspection /ษชntษนษ™หˆspษ›kสƒษ™n/, insulation /หŒษชnsษ™หˆleษชสƒษ™n/, realization /หŒษนษชษ™.laษชหˆzeษช.สƒษ™n/, curiosity /หŒkjสŠษน.iหˆษ‘.sษ™.ti/, isolation /หŒaษชsษ™หˆleษชสƒษ™n/

How to practise with this video

  1. Listen to the whole video once without speaking and note the words you do not know.
  2. Start at 0.75ร— speed, shadow it sentence by sentence, then go back to normal speed once it feels easy.
  3. Record yourself and compare with the original, paying attention to words like diner, wander, barman.

ืžื”ื™ ื˜ื›ื ื™ืงืช ื”ืฉืื“ื•ืื™ื ื’?

ืฉืื“ื•ืื™ื ื’ ื”ื™ื ื˜ื›ื ื™ืงืช ืœืžื™ื“ืช ืฉืคื” ืžื‘ื•ืกืกืช ืžื“ืข ืฉืคื•ืชื—ื” ื‘ืžืงื•ืจ ืœื”ื›ืฉืจืช ืžืชื•ืจื’ืžื ื™ื ืžืงืฆื•ืขื™ื™ื ื•ืคื•ืคื•ืœืจื™ืช ืขืœ ื™ื“ื™ ื”ืคื•ืœื™ื’ืœื•ื˜ ื“"ืจ ืืœื›ืกื ื“ืจ ืืจื’ื•ืืœืก. ื”ืฉื™ื˜ื” ืคืฉื•ื˜ื” ืืš ืขื•ืฆืžืชื™ืช: ืืชื” ืžืงืฉื™ื‘ ืœืื•ื“ื™ื• ื‘ืื ื’ืœื™ืช ื™ืœื™ื“ื™ืช ื•ื—ื•ื–ืจ ืขืœื™ื• ื‘ืงื•ืœ ืจื ืžื™ื“ โ€” ื›ืžื• ืฆืœ ื”ืขื•ืงื‘ ืื—ืจื™ ื”ื“ื•ื‘ืจ ืขื ืขื™ื›ื•ื‘ ืฉืœ 1โ€“2 ืฉื ื™ื•ืช ื‘ืœื‘ื“. ื‘ื ื™ื’ื•ื“ ืœื”ืื–ื ื” ืคืกื™ื‘ื™ืช ืื• ืชืจื’ื™ืœื™ ื“ืงื“ื•ืง, ืฉืื“ื•ืื™ื ื’ ืžื›ืจื™ื— ืืช ื”ืžื•ื— ื•ื”ืฉืจื™ืจื™ื ื‘ืคื” ืœืขื‘ื“ ื•ืœืฉื—ื–ืจ ื“ืคื•ืกื™ ื“ื™ื‘ื•ืจ ืืžื™ืชื™ื™ื ื‘ื• ื–ืžื ื™ืช. ืžื—ืงืจื™ื ืžืจืื™ื ืฉื–ื” ืžืฉืคืจ ืžืฉืžืขื•ืชื™ืช ืืช ื“ื™ื•ืง ื”ื”ื’ื™ื™ื”, ื”ืื™ื ื˜ื•ื ืฆื™ื”, ื”ืงืฆื‘, ื”ื“ื™ื‘ื•ืจ ื”ืžื—ื•ื‘ืจ, ื”ื‘ื ืช ื”ืฉืžื™ืขื” ื•ืฉื˜ืฃ ื”ื“ื™ื‘ื•ืจ โ€” ืžื” ืฉื”ื•ืคืš ืื•ืชื• ืœืื—ืช ื”ืฉื™ื˜ื•ืช ื”ื™ืขื™ืœื•ืช ื‘ื™ื•ืชืจ ืœื”ื›ื ื” ืœIELTS Speaking ื•ืœืชืงืฉื•ืจืช ื‘ืื ื’ืœื™ืช ื‘ืขื•ืœื ื”ืืžื™ืชื™.

ื˜ื›ื ื™ืงืช Shadowing: ืงืจื ืืช ื”ืžื“ืจื™ืš ื”ืžืœื ืฉืœื‘ ืื—ืจ ืฉืœื‘ โ†’