Pratica di Shadowing: Anne of Green Gables 2 | Anne & Gilbert | Stories for Kids | Bedtime Stories - Impara a parlare inglese con YouTube

A2
Anne of Green Gables.
⏸ In Pausa
130 frasi
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1
Anne of Green Gables.
2
Chapter 2.
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Anne with an E.
4
Marilla opened the door.
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She saw the odd girl in the ugly dress with long red braids and big eyes.
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Matthew Cuthbert, who's that? she said.
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Where's the boy?
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There wasn't any boy, said Matthew slowly.
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There was only her.
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He nodded at the child.
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He realized he didn't even know her name.
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No boy?
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But there must be a boy, insisted Marilla.
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We asked Mrs. Spencer for a boy.
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Well, I asked the station master and Mrs. Spencer didn't bring a boy, said Matthew.
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I had to bring the girl home.
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Well, what do we do now, asked Marilla.
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During this conversation, the child was silent.
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Suddenly, she understood what was happening.
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You don't want me, she cried.
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You don't want me because I'm not a boy.
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I should have known.
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Nobody ever did want me.
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She burst into tears.
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Neither Marilla nor Matthew knew what to do.
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Finally, Marilla said, Well, well,
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there's no need to cry.
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You can stay here until we find out what happened.
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What's your name?
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The child stopped crying and asked eagerly,
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Will you please call me Cordelia?
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Call you Cordelia?
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Is that your name? asked Marilla.
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No, it's not exactly my name,
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but I would love to be called Cordelia.
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It's a beautiful name.
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I don't know what you mean.
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If Cordelia isn't your name, what is?
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Marilla asked.
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Anne Shirley, the girl answered.
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But Anne is such an unromantic name.
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Anne is a good, plain, sensible name, said Marilla.
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It's all right, but I like Cordelia better.
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If you must call me Anne,
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please call me Anne spelled with an E, Anne said.
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What does it matter how it's spelled,
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asked Marilla, trying to stop a smile.
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Oh, it looks so much nicer.
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A-N-N looks horrible, but A-N-N-E looks more distinguished.
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Did Mrs. Spencer bring any other orphans besides you, Marilla inquired.
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She brought Lily Jones for herself, Anne answered.
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Lily is only five years old and she is very beautiful.
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She has nut brown hair.
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If I were very beautiful and had nut brown hair,
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would you keep me?
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No, we want a boy to help Matthew on the farm.
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A girl is no use.
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Now, take off your hat and let's eat dinner.
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Anne took off her hat and they sat down to eat.
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But Anne could not eat.
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She nibbled at the bread and butter and nibbled at the apple pie.
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When dinner was finished, Marilla showed Anne to a spare bedroom.
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Anne got into bed and put her head right under the covers.
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Good night, Marilla said a little awkwardly, but kindly.
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Suddenly, Anne's head reappeared.
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How can you say it's a good night when you know it's the worst night I've ever had?
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She cried.
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She disappeared under the covers again.
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Marilla went into the kitchen and started to wash the dishes.
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Matthew sat on a chair, saying nothing.
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One of us will have to take the girl back tomorrow, said Marilla.
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I suppose so, said Matthew reluctantly.
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You suppose so?
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Marilla echoed.
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Don't you know so?
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Well, now she's a real nice little thing, Marilla.
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It's a pity to send her back.
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She likes it so much here, said Matthew.
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Matthew Cuthbert, do you really think we should keep her?
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said Marilla, astonished.
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Well, no, not exactly, stammered Matthew.
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Of course we cannot keep her, said Marilla.
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What good would she be to us?
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We might be some good to her, said Matthew unexpectedly.
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Matthew Cuthbert, I can see that you want to keep her.
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That girl has bewitched you.
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Well, now, she's a real interesting little thing, said Matthew.
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You should have heard her talk, coming from the station.
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Oh, she can talk all right.
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I don't like children that talk so much.
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I don't want an orphan girl,
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and if I did, it wouldn't be her.
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The next morning, Anna woke and sat up in bed.
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For a moment she couldn't remember where she was.
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First she had a delightful thrill and then a horrible memory.
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This was Green Gables, and they didn't want her because she wasn't a boy.
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She got dressed and went downstairs for breakfast.
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I'm pretty hungry this morning, she announced.
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I'm glad it's such a sunny morning.
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But I like rainy mornings as well.
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All sorts of mornings are interesting, don't you think?
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You don't know what's going to happen throughout the day.
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Anything could happen.
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For goodness sake, be quiet, said Marilla.
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Anne obeyed and was so silent that it made Marilla nervous.
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Matthew was also quiet, but this was natural,
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so the meal was a very silent one.
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After breakfast, Anne washed the dishes,
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and then Marilla told her to go and play outside.
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Anne ran to the door, excited.
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Then she stopped suddenly, came back,
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and sat at the table.
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What's the matter now? said Marilla.
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I can't go out, said Anne.
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It's no use loving green gables.
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If I go out and meet all those trees and flowers,
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it'll just be harder to leave.
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Marilla thought.
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In all my life I never saw or heard anything like it.
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She is kind of interesting, as Matthew says.
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I am already wondering what she'll say next.
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But when evening came, Marilla and Anne got in the buggy and left Green Gables.
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They were on their way to Mrs. Spencer's house.
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Mrs. Rachel Lind lived on the main road in Avonlea,
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a town on Prince Edward Island off the coast of Canada.
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Anybody...
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Enjoy something if you try hard.
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I'm not going to think about going back to the orphanage.
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I'm just going to think about the drive.
130
Oh, look, there's a wild rose.

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Contesto e Sfondo

Nel secondo capitolo di "Anne of Green Gables", assistiamo all'incontro tra Anne e Marilla Cuthbert. Marilla, incredula, si rende conto che non c'è alcun ragazzo, malgrado le aspettava. Questo passaggio mostra l'innocenza di Anne e il suo desiderio di appartenere, che la porta a preferire un nome più romantico, Cordelia, piuttosto che il suo nome originale, Anne. Questo scenario evidenzia la difficoltà che prova la ragazza, non solo di fronte al rifiuto percepito, ma anche nel suo bisogno di connettersi e di essere accettata.

Le 5 Frasi principali per la Comunicazione Quotidiana

  • "Non c'era nessun ragazzo, c'era solo lei." - Un'affermazione chiara e diretta che sottolinea un malinteso.
  • "Puoi restare qui fino a quando non scopriamo cosa è successo." - Un'offerta che esprime ospitalità e disponibilità.
  • "Per favore, chiamami Cordelia." - Un modo per affermare la propria identità.
  • "Anne è un nome semplice e sensato." - Una differenziazione tra le preferenze di un nome normale e uno romantico.
  • "A-N-N è orribile, ma A-N-N-E sembra più distinto." - Un'affermazione che gioca sull'estetica e l'importanza di come ci presentiamo.

Guida Passo-Passo per il Shadowing

Per migliorare la tua pratica di conversazione in inglese, usa questo dialogo come esercizio di shadowing in inglese. Ecco come procedere:

  1. Ascolta attentamente: Guarda il video e ascolta il dialogo. Concentrati sulle intonazioni e sull'emozione nella voce dei personaggi.
  2. Replica i dialoghi: Mentre ascolti, ripeti immediatamente dopo ogni frase. Questo ti aiuta a migliorare la tua pronuncia e l'intonazione. Questo metodo è conosciuto come shadow speak.
  3. Pratica con pause: Se ci sono frasi difficili, fermati e ripeti più volte fino a quando non ti senti a tuo agio.
  4. Filma la tua pratica: Registra la tua voce mentre shadowi il dialogo. Questo ti permetterà di ascoltare i tuoi progressi e fare aggiustamenti.
  5. Rivedi e ripeti: Ripeti questo esercizio ogni giorno. Con il tempo, noterai un miglioramento nel tuo accento e nella fluidità.

Utilizzando questi passaggi, potrai facilmente imparare l'inglese con YouTube e rendere il tuo processo di apprendimento più divertente e interattivo! Ricorda, la chiave è la costanza e la pratica!

Cos'è la tecnica dello Shadowing?

Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.

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