Michael Jackson - Human nature

Looking out
Across the night-time
The city winks a sleepless eye
Hear her voice
Shake my window
Sweet seducing sighs

Get me out
Into the night-time
Four walls won't hold me tonight
If this town
Is just an apple
Then let me take a bite

Michael Jackson - Don’t stop till you get enough

[1st Verse]
Lovely Is The Feelin' Now
Fever, Temperatures Risin' Now
Power (Ah Power) Is The Force The Vow
That Makes It Happen It Asks No Questions Why (Ooh)
So Get Closer (Closer Now)
To My Body Now Just Love Me
'Til You Don't Know How (Ooh)
[Chorus]
Keep On With The Force Don't Stop
Don't Stop 'Til You Get Enough
Keep On With The Force Don't Stop

Michael Jackson - Smooth criminal

As he came into to the window
T'was the sound of a crescendo
He came into her apartment
Left the bloodstains, on the carpet
She ran underneath the table
He could see she was unable
So she ran into the bedroom
She was struck down, it was her doom
Annie are you okay,
So, Annie are you okay,
Are you okay Annie.
Annie are you okay,

Michael Jackson - Beat it

[1st Verse]
They Told Him Don't You Ever Come Around Here
Don't Wanna See Your Face, You Better Disappear
The Fire's In Their Eyes And Their Words Are Really Clear
So Beat It, Just Beat It

[2nd Verse]
You Better Run, You Better Do What You Can
Don't Wanna See No Blood, Don't Be A Macho Man
You Wanna Be Tough, Better Do What You Can
So Beat It, But You Wanna Be Bad

Michael Jackson - Biilie Jean

[1st Verse]
She Was More Like A Beauty Queen From A Movie Scene
I Said Don't Mind, But What Do You Mean I Am The One
Who Will Dance On The Floor In The Round
She Said I Am The One Who Will Dance On The Floor In The Round

[2nd Verse]
She Told Me Her Name Was Billie Jean, As She Caused A Scene
Then Every Head Turned With Eyes That Dreamed Of Being The One
Who Will Dance On The Floor In The Round

Michael Jackson - Thriller

It's close to midnight
something evil's lurkin' in the dark
under the moonlight
You see a sight that almost stops your heart
You try to scream
But terror takes the sound before you make it
You start to freeze
As horror looks you right between the eyes
You're paralyzed

'Cause this is thriller
Thriller night
And no one's gonna save you
From the beast about to strike
You know it's thriller
Thriller night

Bruno Mars - The Lazy Song

Today I don't feel like doing anything
I just wanna lay in my bed
Don't feel like picking up my phone
So leave a message at the tone
'Cause today I swear I'm not doing anything.

Uh!
I'm gonna kick my feet up
Then stare at the fan
Turn the TV on, throw my hand in my pants
Nobody's gonna tell me I can't

THE DIRECT METHOD

1. Introduction

Towards the end of the late 1800s, a revolution in language teaching philosophy took place that is seen by many as the dawn of modern foreign language teaching. Teachers, frustrated by the limits of the Grammar Translation Method in terms of its inability to create communicative competence in students, began to experiment with new ways of teaching language.

Basically, teachers began attempting to teach foreign languages in a way that was more similar to first language acquisition. It incorporated techniques designed to address all the areas that the Grammar Translation did not - namely oral communication, more spontaneous use of the language, and developing the ability to think in the target language.

THE GRAMMAR OF INTERPERSONAL MEANING: MOOD

Halliday (1984, 1985a: 68-71) approaches the grammar of interaction from semantic perspective. He points out that whenever we use language to interact, one of things we are doing with it is establishing a relationship between us: between the person speaking now and the person who will probably speak next.

The mood structure of the clauses refers to the organization of asset of functional constituents including the constituent Subject. The component that gets bandied back and forth is what we call the MOOD element of the clause (we use capital letters to differentiate the MOOD constituent of the clause from the general term, Mood, which describes the overall structure of the clause) The other component is called the RESIDUE. We can already, then suggest thet propositions can be divided into two functional constituent.

We have therefore identified two essential functional constituents of the MOOD component of the clause: the Subject and the Finite. the Subject offered by Halliday (1985a: 76) is that it realizes the thing by reference to which the proposition can be affirmed denied. It provides the person or thing in whom is vested the success or failure of the proposition, what is “held responsible”. The second constituent of MOOD element is the Finite. Halliday (1985a: 75) defines the Finite in terms of its function in the clause to make the proposition definite, to anchor the proposition in a way that we can argue about it.

INTRODUCTION TO THE LEXICO-GRAMMAR

The discourse-semantic stratum functions to enable context to be textured into a coherent and cohesive linguistic text. The experiential, interpersonal and textual meaning choices which express context in the text are turn realized through lexico-grammatical patterns: through the words and structures that speakers use. In the first chapter, the traffic lights were described as a two-level semiotic system, involving a level of content realized through a level of expression. The lexico-grammatical level was described simply as an intermediate level of linguistic coding. We must consider in more detail what the function of this level is. What, for example, does it allow us to do in language that we cannot do with a two-level semiotic system like the traffic lights?

If we wish to extend the system so that we can mean more things (for example, we want to add the meaning “REVERSE” to the system), we will have to find a new light to stand for this meaning.