Pratica di Shadowing: Cambridge Ielts 16 Reading test 2 Passage 1 - Impara a parlare inglese con i video

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Cambridge IELTS 16 Reading Test 2.
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The White Horse of Uffington.
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The cutting of huge figures are, geoglyphs, into the earth of English hillsides has taken place for more than 3,000 years.
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There are 56 hill figures scattered around England, with the vast majority on the chalked downlands of the country's southern counties.
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The figures include giants, horses, crosses and regimental badges.
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Although the majority of these geoglyphs date within the last 300 years or so, there are one or two that are much older.
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The most famous of these figures is perhaps also the most mysterious, the Uffington White Horse in Oxfordshire.
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The White Horse has recently been redated and shown to be even older than its previously assigned ancient pre-Roman Iron Age date.
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More controversial is the date of the enigmatic Long Man of Wilmington in Sussex.
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While many historians are convinced the figure is prehistoric, others believe that it was the work of an artistic monk from a nearby priory
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and was created between the 11th and 15th centuries.
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The method of cutting these huge figures was simply to remove the overlying grass to reveal the gleaming white chalk below.
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However, the grass would soon grow over the geoglyph again unless it was regularly cleaned
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or scoured by a fairly large team of people.
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One reason that the vast majority of hill figures have disappeared is that when the traditions associated with the figures faded,
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people no longer bothered or remembered to clear away the grass to expose the chalk outline.
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Furthermore, over hundreds of years the outlines would sometimes change due to people not always cutting in exactly the same place,
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thus creating a different shape to the original geoglyph.
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The fact that any ancient hill figures survive at all in England today is testament to the strength
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and continuity of local customs and beliefs which, in one case at least, must stretch back over millennia.
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Iron Age, a period in Britain 800 BCE-43 CE, that is characterized by the use of iron tools.
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The Uffington White Horse is a unique, stylized representation of a horse consisting of a long, sleek back, thin disjointed legs, a streaming tail, and a bird-like beaked head.
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The elegant creature almost melts into the landscape,
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The horse is situated 2.5 kilometers from Uffington Village on a steep slope close to the Late Bronze Age,
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circa 7th century BCE, pilfered of Uffington Castle and below the Ridgeway, a long-distance Neolithic asterisk track.
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The Uffington Horse is also surrounded by Bronze Age burial mounds.
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It is not far from the Bronze Age Cemetery of Lamburn's Seven Barrows, which consists of more than 30 well-preserved burial mounds.
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The carving has been placed in such a way as to make it extremely difficult to see from close quarters, and like many geoglyphs is best appreciated from the air.
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Nevertheless, there are certain areas of the Vale of the White Horse, the valley containing and named after the enigmatic creature, from which an adequate impression may be gained.
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Indeed on a clear day the carving can be seen from up to 30 kilometers away.
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The earliest evidence of a horse at Uffington is from the 1070s CE when, White Horse Hill, is mentioned in documents from the nearby Abbey of Abingdon,
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and the first reference to the horse itself is soon after, in 1190 CE.
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However, the carving is believed to date back much further than that.
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Due to the similarity of the Uffington White Horse to the stylized depictions of horses on 1st century BCE coins, it had been thought that the creature must also date to that period.
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However, in 1995 optically stimulated luminescence,
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OSL, testing was carried out by the Oxford Archaeological Unit on soil from two of the lower layers of the horse's body, and from another cut near the base.
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The result was a date for the horse's construction somewhere between 1400 and 600 BCE in other words, it had a late Bronze Age or early Iron Age origin.
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The latter end of this state range would tie the carving of the horse in with occupation of the nearby Uffington Hilford,
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indicating that it may represent a tribal emblem marking the land of the inhabitants of the Hilford.
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Alternatively, the carving may have been carried out during a Bronze or Iron Age ritual.
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Some researchers see the horse as representing the Celtic asterisk asterisk asterisk horse goddess Apona, who was worshipped as a protector of horses,
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and for her associations with fertility.
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However, the cult of Epona was not imported from Gaul, France, until around the 1st century CE.
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This date is at least six centuries after the Uffington horse was probably carved.
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Nevertheless, the horse had great ritual and economic significance during the Bronze and Iron Ages, as attested by its depictions on jewelry and other metal objects.
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It is possible that the carving represents a goddess in native mythology, such as Rhiannon, described in later Welsh mythology as a beautiful woman dressed in gold and riding a white horse.
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The fact that geoglyphs can disappear easily, along with their associated rituals and meaning, indicates that they were never intended to be anything more than temporary gestures.
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But this does not lessen their importance.
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These giant carvings are a fascinating glimpse into the minds of their creators
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and how they viewed the landscape in which they lived.
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Vocabolario e note di pronuncia per questa lezione

Questo video contiene 51 frasi e 890 parole da ripetere con lo shadowing. Il parlato dura 5:11. Chi parla ha un ritmo naturale di circa 172 parole al minuto, vicino a una conversazione quotidiana. Solo il 74% delle parole rientra nelle 3.000 più comuni dell’inglese, quindi il lessico è impegnativo.

Vocaboli chiave di questo video

15 parole meno comuni del video, con pronuncia e significato:

  • carving /ˈkɑɹvɪŋ/ (sostantivo) — intaglio. A carved object.
  • grass /ɡɹɑːs/ (sostantivo) — erba, graminacea. Any plant of the family Poaceae, characterized by leaves that arise from nodes in the stem and leaf bases that wrap around the stem, especially those grown as…
  • ritual /ˈɹɪt͡ʃ.u.əl/ (sostantivo) — rituale. A rite; a repeated set of actions, especially in religious contexts.
  • chalk /t͡ʃɔk/ (sostantivo) — gesso, creta. A soft, white, powdery limestone (calcium carbonate, CaCO₃).
  • vast /væst/ (aggettivo) — ampio, vasto. Very large or wide (literally or figuratively).
  • landscape /ˈlan(d)skeɪp/ (sostantivo) — paesaggio, panorama. A portion of land or territory as defined by its landform, its geographical (and architectural) features.
  • indicate /ˈɪndɪˌkeɪt/ (verbo) — indicare. To point out; to discover; to direct to a knowledge of; to show; to make known.
  • nevertheless /ˌnɛvɚðəˈlɛs/ (avverbio) — però, nonostante. In spite of what preceded; yet.
  • disappear /dɪsəˈpɪɹ/ (verbo) — sparire, scomparire. To vanish.
  • goddess /ˈɡɑdəs/ (sostantivo) — dea. A female deity.
  • consist /kənˈsɪst/ (sostantivo) — composizione, configurazione. A lineup or sequence of railroad carriages or cars, with or without a locomotive, that form a unit.
  • outline /ˈaʊtlaɪn/ (sostantivo) — contorno. A line marking the boundary of an object figure.
  • burial /ˈbɛɹi.əl/ (sostantivo) — sepoltura, inumazione. The act of burying; interment; placing remains into the earth.
  • mythology /mɪˈθɑ.lə.d͡ʒi/ (sostantivo) — mitologia. The collection of myths of a people, concerning the origin of the people, history, deities, ancestors and heroes.
  • mound /maʊnd/ (sostantivo) — terrapieno, tumulo. An artificial hill or elevation of earth; a raised bank; an embankment thrown up for defense

I phrasal verb che sentirai

  • carry out /ˈkæ.ɹi aʊt/ (verbo) — compiere, realizzare. To hold while moving it out.

Pronuncia a cui fare attenzione

  • I suoni “th”: nevertheless /ˌnɛvɚðəˈlɛs/, mythology /mɪˈθɑ.lə.d͡ʒi/, thin /ˈθɪn/, bother /ˈbɑðɚ/, furthermore /ˈfɜː(ɹ).ðə(ɹ)ˌmɔː(ɹ)/
  • I suoni “sh” e “zh”: associate /əˈsoʊʃi.ət/, impression /ɪmˈpɹɛʃn̩/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, worship /ˈwɝ.ʃɪp/, controversial /ˌkɑn.tɹəˈvɝ.ʃəl/
  • Parole lunghe — attenzione all’accento: associate /əˈsoʊʃi.ət/, nevertheless /ˌnɛvɚðəˈlɛs/, mythology /mɪˈθɑ.lə.d͡ʒi/, temporary /ˈtɛmp(əˌɹ)ɛɹi/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/

Come esercitarsi con questo video

  1. Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
  2. Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
  3. Registrati e confronta con l’originale, facendo attenzione a parole come carving, grass, ritual.

La grammatica di questo video

Le strutture che chi parla usa di più, con le parole esatte del video:

StrutturaNel video
Forma passiva be + participio passato — conta ciò che accade, non chi lo fabeen redated · was created · was regularly cleaned
Present perfect have/has + participio passato — un’azione passata che conta ancora adessohas taken · has recently been redated · have disappeared

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.

Tecnica dello shadowing: leggi la guida completa passo dopo passo →