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Nuova Secondaria - n. 4 2016 - Anno XXXIV - ISSN 1828-4582

nitive abilities to follow the argument and some reading

sub-skills could be of help: identifying lexical cohesion of

synonymity between “problem”  (l.27) and “dilemma” in

the question, and understanding its semantic relationship

with “total responsibility” (l.33); noticing repetitions and

identifying their cohesive effect as well as their meaning,

e.g.  “ creativity, creative” (l. 29), “Any shape…. Any

note” (l.34); noticing and understanding the use of oppo-

sites, e.g. “nothing” versus “everything” (l. 33).

9. Where can you see that Morris refers to an imitative

concept of art? Give at least two examples.

In the sixth paragraph, Morris gives some examples of im-

itative art, such as painting a tree which exists in nature,

writing music by imitating a bird-song, and painting the

geometry provided by geological shapes.

The answer is to be found at lines 38-40 in the fifth para-

graph, which are quite descriptive, expressed in everyday

language and should not represent a challenge for candi-

dates.

10. How does Morris explain abstraction in art?

Morris thinks that abstraction finds its origin with the

artist imitating nature and then rapidly developing his

own original themes away from their natural form until

they are relatively abstract.

The question is the logical consequence of the previous

one, and the candidate will make use of his skill at find-

ing the relevant information (ll. 40-42) and at identifying

conceptual relationships, thanks to the repetition of spe-

cific lexis, e.g. “themes” (l. 41) whose meaning should be

by now absolutely clear.

Production

The candidates have either to write an opinion essay or a

descriptive text.

1. Focus on any modern or contemporary artists you have

studied or art shows you have been to. In an essay of ap-

proximately 300 words, discuss whether you agree or dis-

agree with the statement made by Desmond Morris at the

end of the passage, on the judgment of an artist’s work. The

statement about which the candidates have to express their

opinion is the following: “the artist’s work is judged, finally,

not on any absolute values, but on the basis of how ingen-

iously he manages to ring the changes on the themes he has

employed.” (ll. 46-47). It can be assumed that only candi-

dates with a strong sensibility towards art and with a logi-

cal mental frame can venture to deal with this topic. As a

matter of fact, they should first understand the concept ex-

pressed by the phrase “to ring the changes on the themes”,

then think of examples of art-works by an artist or from an

art show whose theme-changes they have the ability to

demonstrate, both linguistically and conceptually, and fi-

nally say if this is fundamental to judge the artist’s work.

2. Write a composition of about 300 words on your own

personal “aesthetic behaviour”. This is certainly more fea-

sible and may appeal to the candidates, as not only has

everyone a personal “aesthetic behaviour”, but also un-

dergoes judgement by others according to this. Taking

into consideration the candidates’ age and young people’s

interests, we might expect their compositions to deal with

their tastes regarding clothing, the performing arts and nat-

ural landscapes. They might even risk dealing with the dif-

ference between beauty and the sublime, by referring to

their readings of E. Burke’s Philosophical Enquiry into the

Origin of our Ideas of the Sublime and Beautiful (1757).

Teaching suggestions

The paper may be used in the classroom as it is, since it

offers a good opportunity for developing reading com-

prehension sub-skills. Besides, it can enrich the candi-

date’s knowledge of the panorama of 20

th

-century Eng-

lish-speaking culture, which is one of the aims of Liceo

Linguistico.The essay could be used as the starting point

for a CLIL project together with the art teacher: each stu-

dent, or group of students, could work on a different

artist in order to demonstrate or negate what Morris says.

Each student / group might want to prepare a slide-en-

riched presentation in English to the whole class. Teach-

ers of other foreign languages may join in providing other

essays for comparison and discussion.

Conclusion

This year’s exam papers offer stimulating materials, which

the candidates can only tackle if they possess good read-

ing and writing strategies. Teachers should therefore ensure

throughout their courses the enhancement of textual skills

as well as try to cover different aspects of the English-

speaking culture, in order to build both suitable commu-

nicative competence and cultural / inter-cultural awareness.

For this purpose, the papers can also be exploited in the fu-

ture classroom for practice and further study. 

Flavia Zappa

I.I.S. “C. Beretta”, Gardone Val Trompia

Università Cattolica di Brescia

 BIBLIOGRAPHY

S. Bellow, Seize the Day, Penguin Books, New York 1996.

D. Head (ed.), The Cambridge Guide to Literature in English,

Cambridge University Press Cambridge 2006.

D. Morris, Manwatching. A Field Guide to Human Behaviour,

Triad Panther, St. Albans 1977.

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