de Costa Rica de Letras guas Modernas 1471 7 8 9-10 Frequent intonation problems. Native language interference, but meaning gets across Some fillers and awkward pausing. Pronunciation fairly standard across all features, despite a recognizable accent that may cause some listeners occasional problems. Inconsistent intonation patterns use. Pronunciation almost native- like in stress, intonation, blending and linking. Few pronunciation mistakes that do not hinder meaning at all. Consistent use of correct intonation patterns. Self-correction often in evidence S/V agreement (complex tenses) Complex tenses and structures not understood when used Good control of a full range of structures, allowing the person to hypothesize and present arguments or points of view accurately and effectively. Consistent automatic control of a full range of structures makes the person’s speech virtually mistake free.
Vocabulary Vocabulary covers all everyday survival needs, and has expanded enough to allow easier access to authentic texts on topics familiar to the learner. Significant errors in word form. Uses false cognates frequently. Student is somewhat unable to express his/her ideas due to a lack of sufficient/appropriate vocabulary. Lack of specialized vocabulary can lead to communication breakdown in some contexts. Frequent errors in word form. Content Watches the movie and cannot go beyond the denotative meaning of the text. Superficial treatment of content. No organization at all. Can show some types of logical connection between the visual texts and his/her ideas. No clear organization of content. University of Pennsylvania English Language Programs Intensive Program Teacher’s Manual Revised May 2000 Mary Ann Julian Adapted by Marcela Quesada and Diana Alvarado
Insufficient use of expressive vocabulary that limits student’s interpretation of the movies. Good range of idioms and lexis on most topics. Student can discuss a wide range of topics about the movie easily. A wide and nuanced general vocabulary and idiom allows the person to express his/her personality, opinion, and attitudes in English with almost the same accuracy as in her/his native language. Gets across quite complex information competently and coherently. Can talk about the movie but needs to analyze the movie in depth. Minimal research standards. Can express a full range of logical relationships between ideas. Able to sustain long stretches of connected discourse, varying complexity. Can discuss the movie in depth. Good development of topic and use of sources. Understands subtle inferences, even those which are conceptually abstract or treat unfamiliar topics and situations. Can describe, narrate, organize complicated information, and present wellargued opinion in connected discourse.
Symbols for Transcription i A B C Symbol IPA Description1 IPA Name Vowels /ə/ Mid central vowel Schwa /ʌ/ Open mid back unrounded vowel Turned V /i/ Close front unrounded vowel Lower-case I /ɪ/ Near-close near-front unrounded vowel Small capital I /ɛ/ Open-mid front unrounded vowel Epsilon /æ/ Near-open front unrounded vowel Ash /ɑ/ Open back unrounded vowel Script a /ɔ/ Open-mid back rounded vowel Open o /ʊ/ Near-close near-back rounded vowel Upsilon /u/ High back rounded vowel Lower-case u /eɪ/ 5 /ɑɪ/ /oʊ/ /ɑʊ/ /ɔɪ/ 1 Columns B y C present the International Phonetic Association’s (IPA) (1 the symbol. The IPA does not provide any description or name for diphtho information: https://www.internationalphoneticassociation.org/IPAcharts/in https://www.internationalphoneticassociation.org/sites/default/files/phonsy 2 Column D presents other names that instructors in the Oral Courses Sec they represent. Use of the name provided by the IPA is encouraged. 3 Column E presents sample words containing the sound at stake in initial suprasegmental symbols, sample words are provided in phonetic transcrip 4 Column F specifies whether the symbol was agreed upon in Session 002 5 See the IPA Handbook, pp.42-43 for more information on English diphth
n the Oral Courses Section D E F Other Name(s)2 Sample Words3 Agreed upon? 4 Unstressed schwa above, photograph, sofa Yes Stressed schwa, Caret us, come Yes Tense or long i eat, need, she Yes Lax or short i is, give Yes any, bed Yes Diagraph apple, bad Yes Latin a arm, hot Yes Open o all, song, draw Yes Lax u, short u good, should Yes Tense or long u ooh, food, do Yes Diphthong eɪ eight, same, way Yes Diphthong ɑɪ ice, five, my No Diphthong oʊ old, boat, toe Yes Diphthong ɑʊ out, down, now No Diphthong ɔɪ oil, avoid, boy Yes ) description of the sound represented with each symbol, and (2) name of ongs and rhotic vowels. Visit the following IPA websites for more nter_chart_2018/IPA_2018.html ymbol.pdf ction have traditionally used to talk about these symbols and the sounds , medial, and final position (when applicable). For diacritic and ption. 2-2019. ongs.
/ɚ/ /ɝ/ Consonants /p/ Voiceless bilabial plosive6 Lower-case P /b/ Voiced bilabial plosive Lower-case B /t/ Voiceless alveolar plosive Lower-case T /d/ Voiced alveolar plosive Lower-case D /k/ Voiceless velar plosive Lower-case K /g/ Voiced velar plosive Opentail G /ʔ/ Glottal plosive Glottal stop /f/ Voiceless labiodental fricative Lower-case F /v/ Voiced labiodental fricative Lower-case V /θ/ Voiceless dental7 fricative Theta /ð/ Voiced dental fricative Eth /s/ Voiceless alveolar fricative Lower-case S /z/ Voiced alveolar fricative Lower-case Z /ʃ/ Voiceless postalveolar8 fricative Esh /ʒ/ Voiced postalveolar fricative Ezh /tʃ/ Voiceless postalveolar affricate Tee-Esh /dʒ/ Voiced postalveolar affricate Dee-Ezh /m/ Voiced bilabial nasal Lower-case M /n/ Voiced alveolar nasal Lower-case N /ŋ/ Voiced velar nasal Eng /j/ Voiced palatal approximant Lower-case J 6 For all plosives, the term “stop” is traditionally used in the Oral Courses S 7 For Theta and Eth, the terms “voiceless interdental fricative” and “voiced 8 Note that descriptors such as “alveopalatal” and “palato-alveolar” are oft
Schwar, unstressed schwa plus /r/ butterfly, mirror Yes Stressed schwa plus /r/ early, bird, her Yes Pee pen, paper, shop Yes Bee be robot, job Yes Tee ten, attend, ate Yes Dee day, adopt, bread Yes Kay cover, because, break Yes Gee get, target, flag Yes Gelded question mark cotton, mountain, uh-oh Yes Eff photo, before, laugh Yes Vee very, convince, live Yes think, birthday, health Yes this, other, bathe Yes Es scene, lesson, face Yes Zee zoom, cousin, use Yes show, social, cash Yes genre, usual, beige Yes Voiceless affricate child, future, speech Yes Voiced affricate gym, danger, age Yes Bilabial nasal media, compare, come Yes Alveolar nasal news, enter, campaign Yes Velar n angry, sing, going Yes Yod young, unusual Yes Section (e.g., voiceless bilabial stop). d interdental fricative” are traditionally used in the Oral Courses Section. ten used to talk about Esh, Ezh, and the affricate sounds.
/w/ Voiced labial-velar approximant Lower-case W /h/ Voiceless glottal fricative Lower-case H /l/ Voiced alveolar lateral approximant Lower-case L /r/ Voiced alveolar approximant Lower-case R / ɾ / Voiced alveolar tap Fish-hook R Diacritic, Suprasegmental, and Other Symbols ʰ Aspirated Superscript H ː Long Length mark ̥ Voiceless Under ring ˈ Primary stress Vertical stroke ˌ Secondary stress Vertical stroke (inferior) ̩ Syllabic Syllabicity mark ̚ No audible release Corner . Syllable break Period ͜ Linking (absence of break) Bottom tie bar [ ] Phonetic (detailed) transcription Square bracket / / Phonological/phonemic (broad) transcription Slashes or slan lines | Minor (foot) group Thick vertical li ( ) Optional Round brackets 9 Aspiration of /p,k,t/ word-finally is optional, hence the parenthesis around
Double u weak, always Yes Aitch high, ahead Yes El, lateral liquid life, salad, bill Yes Ar, central liquid red, sorry, are Yes Tap or flap media, water, better No Aspiration [pʰɑɪ] [əˈkʰɑʊnt] [kʌt ( ʰ )9 ] Yes Lengthening [bɛːd] [tʰi:] Yes Voiceless diacritic [tʰ̥ri:] No Primary stress mark [ˈpʰeɪ.pɚ] Yes Secondary stress mark /dɪˌskrɪ.mɪˈneɪ.ʃən/ Yes k Syllabic [eɪbl̩] [bʌʔn̩ ] Yes Unreleased mark [nɑɪt̚] No /dɪˌskrɪ.mɪˈneɪ.ʃən/ Yes Linking mark [fɔr͜əˈweɪ] “for a way” No ts [ˈpʰɑɪ] No nt Slant lines /pɑɪ/ No ne Vertical line [əm lʊkɪŋ | fɔr͜əˈweɪ] No s Parenthesis [ˈɛvədən(t)s] No d the aspiration diacritic.
UNIVERSIDAD DE COSTA RICA School of Modern Languages LM-1471 Oral Communication & Pronunciation Techniques III Self-Assessment Script Diagnostic Student: XXX Movie: Personal Velocity Topic: Freedom Grammar 4 Pronunciation 7 Fillers 10 Stutter/ Awkward corrections 9 *// = Awkward stops *Crossed out = Unnecessary So, to me the concept of freedom refers to… the liberation of any form of societal constraint that keeps us, humans, from being our true selves. It's what limits -ughm- this…- limits us from being who we truly want to be [and of course, this independence and individuality has to make sense with not harming others, of course.] So, keeping this definition in mind, to me the three characters achieve partial freedom in their own way since they all are…-they all liberate themselves from issues in their lives that keep them from being their own individuals and who they want to be in life. Surely, Paula is the only character that we see reaching the full state of freedom [from the problems she had been dealing with.] Ehhh…In fact, the //actions // yes- the actions of the character evidence this assertion because it is clear that she is the only woman who in the end smiles. We see… important….close-ups of her // features, her smiling features. Aaaand she even skips a little in the end // She looks really cute. Aaaan- In the case of the others, however, and desp-despite the fact that their stories do not, well, end on a rather bleak note, both are somehow in the path to freedom. In Delia's case, she's finally free from the man that abused her // not only her but her kids. She's working on becoming an independent woman who can support her children. She was caged and oppressed by the man she loved, but she had a moment of realization that prompted her to change her situation. Aaaand- Moreover, the last flashbacks we see from her stories evidence how hurt she is aaaand- because she did actually have some nice memories from the time she spent with her husband. Buuuut, [and this makes it hard to believe,] but she also remembers the bad time which over…come…or…-which weight more that those little goo- those little moments of happiness. Aaaand with this, it's really hard for us as an audience to believe that she could ever go back to this man. With Delia, thus, we realize that sometimes freedom hurts, and it t-takes time to accept, but everybody is able to get there. In Greta's case, we may focus the concept of freedom on the path of sexual acceptance. Without a doubt, she's not free from free from society's issues of class and her greed for recognition and power's clear // throughout her entire story. But, at least, she accepts herself as a sexually open woman who is not ready for monogamy, and this is exhibited by her decision of leaving her husband because she doesn't wann chea-want to cheat on him and she cannot contain herself. She finally accepted that she was more like her father [than what she wanted to admit] aaand that is in a way freeing yourself from your own judgements…from what you can possibly think is bad in yourself, not that you're good or bad, it's just accepting who you are and owning it. And that ownership of your behavior is what can lead you to freedom. So, in conclusion, to me, the three -ugh- the three women // either // reach freedom or are in the path of becoming free, independent women. Thank you…. Less common mistakes than usual, but more mistakes of content
UNIVERSIDAD DE COSTA RICA School of Modern Languages LM-1471 Oral Communication & Pronunciation Techniques III Self-Assessment Script ICQ1 Student: xxx Movie: Crash Topic: Phrase at the beginning of the movie Grammar 0 Pronunciation 0 Fillers 6 Stutter/ Awkward corrections 7 *// = Awkward stops With this quote, we as the audience are challenged to start thinking // which is something I greatly appreciate in films. As we read and studied in class, any good film -eh-carrieeees- or at least causes, sorry- causeees- creates an impression aaaand makes us wonder. Crash starts by doing exactly that because Graham talks about // theee lack of proximity between people in LA. Bumping into p-each other, makes people interact with one another yet in LA it seems that citizens have build a wall in order to protect themselves from the rest and from society especially. This wall, however, is counterproductive because, as Graham said, we unconsciously attack others // because that is the only rather faulty way we have of socializing. The movie begins and ends with a car crash, but the real way in which the idea of crashing is embedded in the b-plot is through the aggressive collisions between the main characters // because even though they build walls aaan-due to th- discrimination of one group ah-one social group to the other, because of class, because of race, because of sex. Ughm-these walls…-they are the ones who penetrate their own walls by being aggressive to others // aaaandso people ultimately end up connecting in ways that are not the best but still the only their unconscious finds tooooo get together. This is the way in which I think that the initial comments prepare the audience for what's about to come in the film. Thank you. To many awkward pauses for such a short speech No grammar or pronunciation errors because it is too short > doesn't make it better
UNIVERSIDAD DE COSTA RICA School of Modern Languages LM-1471 Oral Communication & Pronunciation Techniques III Self-Assessment Script ICQ2 Student: xxx Movie: Crash Topic: Crash’s failure to fully condemn racism Grammar 7 Pronunciation 15 Fillers 13 Stutter/ Awkward corrections 20 *// = Awkward stops Good morning fellow classmates and professor. Allow me to begin by asking you: After watching the film, do you forgive officer Ryan for what he did to Christine? Do you minimize the severity of his actions just because you know his background information and the fact that he saves her in the end? You already replied, I wasn't expecting you to which is nice. Thank you, guys, but let me tell you that I don't and in fact this was my main-my greatest issue with the movie when we were watching it. Later on that day, the day we watched it, I went back home and I asked myself -ugh- whether the white characters actually have anything bad happen to them in the end and the answer was…not really. Consequently, today my topic would be Crash's inability to fully condemn racism. The truth is that Crash shows racism in a way that is rare to see in cinema, but // ultimately it leaves white characters off the hook despite their highly racist actions by rationalizing them through their background information and their evolution. So in order to justify my assertion, I will proceed to analyze the following -egh- the characters of Jean Cabot, then Officer Ryan, then four of the black characters in the movie. So Jean Cabot. Jean is what we would // what one would refer to as a trophy wife. The first time we see her, she holds onto her husband's arm because two black men are passing by. Now, one might think that this is very racist of her; however, the discrimination that Anthony, one of the black guys, -ugh- blames her- blames her with ends up being backed up by the fact that he points a gun to her head. So, in this way, Jean's fear is validated and justified by Anthony's actions. // When a white woman crosses the street wh-an-because she sees a black man approaching this might seem rude, but in this movie what we see is that it's justified and that she has the right to do so. In fact, Sangeeta Ray says in the article ''Crash, or how white men save the day again'' found in the journal College English that this scene confirms that our fears and our prejudices are correct, and that special segregation is a necessary evil. Moreover, Jean then gets upset aaaand she mistreats her husband as well as the Latino locks- her Latino locksmith Daniel // yet what we see in the following scenes? That she suffers from a level of depression and in the end, after -ugh- after her circumstances change, she refers to her Latino housekeeper as her best friend which does not sound like a bad ending to me; it's pretty much of a happy ending because truly what we have in the end is a woman who's still a trophy wife, she's still inher level of privilege is still in [at] the top and she comes out guilt free without having to
apologize to a man she devalued, called an amigo who's part of -agh- who's a gang member because of his prison tattoos and thaaat would most likely sell her key to her [his]gangbanger homies. // In short, Jean Cabot gets away with being racist because she doesn't really have any repercussions for what she says, and the character ends up on a positive and forgivable note. Then, we have Officer Ryan. As I said, my biggest issue with the movie is with this character, and I'm not the only one. Christine Farris writes in the article ''Crash course: race, class, and context'' from 2007 that Crash's most disturbing lesson seems to be that everybody, even a mean, sadistic cop like Matt Dillon's character has a good side, and reasons for his or her racist acts for which he or she can be forgiven. Now, we see him molest Christine, but then the following scenes show us his story with his dad and how he's a very compassionate son. And then we see him fight with Shaniqua, and // some people may be drawn to take his side, so he comes out- he molests a woman and then he is redeemed by the fact that by divine intervention he is the one cop in all of LA which in 2004 was- had 3.4 million people according to the United States Census Bureau, he's the ONE cop that can save her from // a car accident-from dying in a car accident. So once again the white man finds absolution, and his actions are justified after--because after many years on the force, it is quote and quote normal for a police officer or a cop in LA toooo behave the way he does which is what Victor Villanueva calls in his article from 2007 ''3D Stereotypes in Crash'' as cheap rasi-racionalization for racism. Now you might say: Ale, you're cherry picking because the black characters are also racist and they are but let me // -ugh- // contrast the end of their stories to what I just spoke about. First, let's talk about Peter and Anthony. In Peter's case, we all know how he ends, dead right? That's not a really nice end to his story, and with little chances of his character getting justice because Officer Hansen, a white character, is really good at covering his tracks. Then, we have Anthony. Now, his character was-might be the one character-- the one black character who gets somewhat of a happy ending because in the end we see him smile after he has the minimum decency of not trafficking humans. But, do we really see that his chara--do we really have evidence as the audience of his character leaving the life of crime that he has--that he lives? Is there really any evidence of the fact that his life is gonna be better and that he has a certain future? // Then we have Graham and Christine. To begin with Graham, -ughm- he // undermines -ugh- sorry, forgot her name, Ria's origins and then he's forgiven which is nice. He becomes a reformed son and cares for his mother, but what's his reward? His brother dies, and then his mom sc-resents him and scolds him giving his brother all the credit he deserves for being good to her. And in the end, Christine. She ends up in a happy marriage and saved, you know alive. But does yo-does the love of your husband really justify and let's you go--move past the fact that you were molested by a cop? And that you almost died and had to endure being touched by the same man just because you had to choose between that or death? // Is she supposed to be thankful and forgive him? Is she supposed to feel sad and fear him but also be thankful? Would it be bad if she just is not thankful and does not forgive him either? // In this way, I believe that empathy in this
movie is focused in [on] -- or at least with this character and Officer Ryan it's focused in [on] Officer Ryan because // this woman suffers throughout the entire movie, most of the times we see shots of her crying aaand in the end you feel like the hero was Officer Ryan. And, so it seems that all the authors I have mentioned until now were right when they argued that this movie is aimed at a largely white audience. // So, I think that by pointing out the aspects that make us as an audience forgive Jean Cabot and Officer Ryan, as well as contrasting them to the black characters in the movie, I have safely proven my point. And I don't believe that Paul Haggis, the director, wanted this to come out of Crash, ultimately he did say in an interview that the movie came simply because he was in a carjacking accident with his wife and that's where it came out of, that was it. Buuut, and the movie does--so to conclude, the movie does treat moral issues of right and wrong; it makes us think and reflect upon this subject; however, and as Joyce Middleton puts it, who's a professor at East Carolina University, this movie e-equates and replaces the term race with the term prejudice and then argues that e-everyone is a little prejudiced, supporting then th-this dominant racial mythology because people do not want to be ju-identified as racist but they can accept the idea of being prejudiced since, as the movie- as the film argues, everyone is. Thank you. Don’t say you forgot someone's name Relatively fair number of mistakes for the incredible amount of information :)
UNIVERSIDAD DE COSTA RICA School of Modern Languages LM-1471 Oral Communication & Pronunciation Techniques III Self-Assessment Oral Evaluation 1 Student: xxx Movie: Smooth Talk Topic: After Connie's first encounter with a boy from the bar and restaurant she comes home and promptly tells her mother that she wants to help her paint the house; what do you make of this fact? Grammar 7 Pronunciation 7 Fillers 12 Stutter/ Awkward corrections 9 *// = Awkward stops So my name is xxx xxx and my question is ''After Connie's first encounter with a boy from the bar and restaurant she comes home and promptly tells her mother that she wants to help her paint the house; what do you make of this fact?'' Well, in my opinion, Connie comes home from the hamburger place and tells her mother that she wants to help her paint the house because she has received the warmth of another person, so she wants to work on her relationship with her mother and ultimately make their mother-daughter bond beautiful and strong once again. Connes-Connie's desire for external validation is clear throughout the first half of the movie; // however, her need is more than just a shallow whim because her family dynamics are not particularly healthy. The lack of love aaand the rejection from her mother contribute to her insecurities and her rebelliousness. So a change of [in] her behavior as soon as she receives someone else's affection is completely understandable. She even says so to her sister June, -ugh- when they're in [on] her bed and she mentions that when people treat her with kindness she feels really happy; you can see her[in] i-in her expression actually. Aaaand-so this kindness seems to be what she desires the most, and when she gets it, she can grow past this need aaaand focus on working // on her relationship with others, hence this-her mother. They do not get along aaand this is very difficult for a teenager -ugh- we know that thissss story isss a coming of age story and theeee input from a mother is very important when a girl is growing up. She seems to be the mature one in their relationship because she's the one who takes the initiative of let's make a change, let's work on it and ultimately painting the house is the way in which they can function together because, as the mother says, they used to do things like painting the house together aaaand from what the mother says I take that they used to have a lot of fun together // aaand be kind to one another. I would also like to add that the color -ugh- they paint the house with is very sci-very symbolic because // white is very…is a very calming and pure color. And you can see it in the way thaaat- the strokes that Connie paints the house with; she's very free. She feels calm and relaxed with her mother and this contributes to the environment of making a connection // aaaand // it is this innocence- it is also symbolic of her innocence and theee innocent and just overall lovely bond that a mother and a daughter should have. So, in conclusion, I think that // painting the house a- the scene of the painting of the
house is very important in the movie because it shows // how after the first the first time that she ever gets // affection, real affection from someone // Connie // changes and stops being so rebellious with her--and aggressive towards her mother then she wants to work their relationship, paint the house, and just // take all the negativity out of their r-their r-relationship which is like the house*. Thank you No more ''it's'' instead of ''is'' mistakes :D yay *nonsensical > awful way to finish A lot of awkward stops towards the end A lot of ''very''
Universidad de Costa Rica Name: xxx xxx Escuela de Lengua Modernas Topic: Diagnostic 1, ICQ1, ICQ2 and LM-1471 I-2021 Oral Evaluation 1 DATAANALYSIS OF ALL OF THE AUDIOS Professor Roxana Chévez Grade: Self Assessment Directions: Listen to the recording of your presentation(s) and analyze it(them) carefully. This self- assessment must be typed. Provide enough evidence to support your analysis and consider your performance, when required. Do as requested in each section or part. Keep in mind the main goal of this activity is to improve your overall performance next time you present. Note: Diagnostic 1, ICQ1, ICQ2 and Oral l Evaluation 1 Part I. Take a look at the following chart, which contains the most common mistakes students make when speaking. Listen to your recording and check the mistakes you made; include evidence if possible. For example, if there were vocal fillers in your speech, your evidence will be the ones you made: uh, um, aha, em, etc. Mistake Yes No Evidence vocal fillers x/x/x/x And / Ughm / Egh / Ugh pauses x/x/x/x Every // in all of them long silent periods x/x x/x white audience. // movie; // however, fragments x/x/x/x subject-verb agreement x/x/x/x
missing information (subject, preposition, etc) x/x/x/x misused structures x/x x/x focused in [on] change of [in] her behavior made-up words x/x/x/x mispronounced words x/x/x x Prompted Daniel they're problems with fluency and organization of ideas. x/x/x/x Many nonsensical phrases Unorganized and few ideas A lot of stuttering towards the end Weak ending PartII. Analyze your speech and performance based on each of the categories below. Provide a valid grade to each by using the scale given. Category Poor Fair Average Good Excellent Content: quality and quantity of the information provided, ability to present the information clearly, support of ideas with examples from the movie. x x x/x Delivery: organization of ideas, attention getter, use of transitions, natural and spontaneous speech, focus on topic, time, conclusion. x x/x/x Grammar: subject-verb agreement, verb tenses, pronoun references, articles, word order, prepositions, parallelism, complex structures, and others. x/x/x x Vocabulary: appropriate word choice, false cognates, specialized vocabulary and convincing use of language. x/x/x x
Part III. Analyze your recording taking into account the following elements. Provide a valid grade to each by using the scale given; each element should be evaluated in terms of its good production or pronunciation. Element Never Seldom Sometimes Often Always Vowels and consonants x/x/x x Stress of words and sentences x/x/x/x Consonant clusters x/x/x/x Past endings x/x/x x Plural endings x x/x/x Aspiration x/x/x/x Lengthening x/x/x/x Part IV. Analyze your performance taking into account the following elements. Provide a valid grade to each by using the scale given. Fluency in terms of: Poor Fair Average Good Excellent Rate x x/x/x Comprehensibility x/x x/x Pauses x/x/x/x Silent periods x/x/x/x Vocal fillers x/x/x/x Intonation x/x/x/x Rhythm x/x/x/x
Part V. Use the following lines to provide recommendations to improve your performance taking into account all aspects previously analyzed (content, grammar, pronunciation, fluency, etc.) Be specific and explain how you plan to implement them in future speeches. Pronunciation: ● Practice more at home in order to take care of my fluency and be able to focus solely on pronunciation while speaking. ● Pay even more attention to the -ed endings ● Use the “tongue-twister” strategy to learn to pronounce the new vocab as well as to practice the pronunciation I have difficulties with. Grammar: ● Be extra careful with prepositions since these are my most common grammar mistakes. Look for key prepositional phrases at home before the speeches ● Do not rush a conclusion. ● Do not add information just to fill in pauses because those will most likely have mistakes. Fluency: ● Do not overthink or lose focus. ● Practice at home. Content: ● Provide more examples. ● Provide definitions and my opinion. ● Do not panic because panic leads to nonsensical phrases and sentences. Another aspect you may consider important to mention: ● Relax and enjoy the speech. ● Remember that the goal is to share an idea and make people see what I see. ● Color code the notes!