English for specific purposes

English for specific purposes by
Tony Dudley -Evans

English for specific purposes its own approaches,mterials-driven and as a very active,even 'feisty' movement that has had considerable influence over the more general activities of TESOL(teaching English speaker of the language).
Esp has always seen itself as material-driven and classroom-based activity concerned with practical outcomes.
Important point of Esp:
-Aspect of Teaching
-material production
-need analysis is important
-Esp learns adults
-ESP can be taught at school
-ESP is also included primary schools
-ESP generally taught to intermediate or advanced students of Englis,but can alsbe taught to begginers.
The ESP teacher needs to bear in mind and exploit if possible this specific subject knowledge,which leads to classroom interaction and teaching methodology that can be quite different from that of general English.however,in some situations-e.g.pre-study or pre-work courses where learners have not started their academic or professional activity and therefore have less subject knowledge-teaching methodology will be similar to that of general English.
Characteristics of ESP:
-ESP is designed to meet the specific needs of learner.
-ESP makes use of the underlying methodology and activities of the discipline it serves.
-ESP is centered on the languag,skill,discourse and general appropriate to these activities.

ESP material will always draw on the topics and activities of that specific purpose,in many cases exploiting the methodology of the subject area or the profession.

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Poem: The Mystic Drum by Gabriel Okara

The Mystic Drum: The Mystic Drum is Okara’s love lyric. The Mystic Drum evinces a tripartite ritual pattern of imitation from innocence through intimacy to experience. By comparison to the way of zone as manifested in the experience of Zen master, Chin Yuan Wei-Asian this pattern resolves itself into an emotional and epistemic logical journey from conventional knowledge through more intimate knowledge to learn of experience empowers the lover to understand that beneath the surface attractiveness of what we know very well may lie an abyss of the unknown and unknowable belching darkness. But experience teaches us at this stage of substantial knowledge not to expose ourselves to the dangers of being beholden to this unknown and unknowable reality by keeping our passions under strict control including the prudent decision to ‘pack’ the ‘Mystic Drum’ of our innocence and evanescence making sure that it does not ‘beat so lo

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