Advisor 3, Learner 3: Interview 2, Extract 5 (C3_A3_2_5)

C3: there you go and what I should maybe try to point out to you and I’m not < sure I’ve come back uh
A3: for example should +[lang=English] I I I I > don’t know what it is anymore
C3: in fact, when < there is a t-
A3: it’s an > it’s an auxiliary
C3: well it’s a modal auxiliary like we < say in
A3: hmm hmm >
C3: because in English when you want to give a < modality so um obligation advice
A3: hum hum hum hum hum hum >
C3: et cetera when we want to express this we do it through words like should +[lang=English] for example
A3: et ç- and that’s the present tense
C3: no < no c’est la
A3: c’est c’est ça se > don’t talk like that what
C3: c’est non ça voilà ça ne se dira pas comme ça c’est euh mais l’effet de sens quand il y a we should seize every < opportunity +[lang=anglais]
A3: um >
C3: it’s we < must
A3: want is > must
C3: euh enfin il y a une une devons ou devrait bon j’ai pas j’ai pas lu tout < mais
A3: yeah > seize < opportunities
C3: here > here here um every opportunity to really here um so I don’t know what she’s saying but well so there’s we should +[lang=anglais] what’s important and what can unblock you quite quickly in the end is to have all these words there
A3: hum hum hum

C3: you probably know uh shall +[lang=English] and will +[lang=English] it must remind you of something uh < les c’est les auxiliaires de futur
A3: ah yes yes yes yeah sh- sh- > shall +[lang=English] a little less but will +[lang=English] uh
C3: it’s the same except that it’s not the same people but < it’s the same
A3: hum hum d’accord >
C3: these are my future tense auxiliaries, so they really have an effect here, but they’re also used sometimes, in any case this one will +[lang=English] if you find a will +[lang=English] sometimes um it can mean it’s like that < here it is
A3: um >
C3: the meaning effect of saying c’est comme < ça c’est c’est c’est un truc
A3: O.K. it’s not a future it’s >
C3: imperative imposed from the outside and so on so I’d have to find you some maybe a here’s a little recap < an explanation
A3: um >
C3: on all those because in the end so should +[lang=English] and just the past form of shall +[lang=English] so it’s always the same thing except that after the effect of meaning < voilà ça sert
A3: hum hum >
C3: not the same thing if you like, eh?
A3: hum hum
C3: and you should come across things like may +[lang=anglais] uh might +[lang=anglais] which are stories of po- it’s possible < probable et cetera
A3: possi- possibility um >
C3: well you see you know a lot of them in fact < eh

A3: oh no but > may +[lang=english] je je
C3: there um well um the best I think actually is that well there you spotted that one there we should +[lang=English]
A3: hum hum hum
C3: well maybe note it in your um
A3: list yeah
C3: in your little file you say to yourself there’s this ah I’d have to make a note of it
A3: hmm hmm
C3: make a note as you go along to see who’s in who’s in these texts because we don’t necessarily have the whole range < either
A3: ahem > so the a- the advantage, we’ll say ah pa- of this paper ah I’ve got a few like that is that I know they’re papers I absolutely have to master
C3: yes
A3: erm, as opposed to reading < erm, no, no, one, one
C3: for leisure or not it’s not that >
A3: it’s not the same as um bibliographical research or um well the texts you don’t really know if they’re going to be in there or not
C3: hum hum
A3: you have to get to grips with them a bit before you know whether or not to eject them.
C3: yes
A3: well I don’t want to do that
C3: yes
A3: because for me it’s a waste of time, in terms of my level of English, I think it’s a lot to invest in a text for a text that I won’t remember, so that’s why for me today < it’s important to have texts um

C3: for the moment test of yeah >
A3: um I have um I don’t know I must have seven eight texts by this author here
C3: hum hum
A3: so after that, um, what will also be interesting, it seems to me, is that when I’ve finished, well, there’s a lot of work to do, because there’s quite a bit of, um, there’s a little wine- ten fifteen pages, um, yeah, ten fifteen pages to read
C3: um
A3: erm, the thing is, I want to go on to other texts and erm, so at a certain point erm, in inverted commas, there’s a certain saturation of the author’s thought < ie.
C3: um >
A3: that when you read the second text you can already see redundancies in the third and so on
C3: there you go
A3: and this helps to, um, well, confirm < um
C3: absolutely >
A3: thing and then um to be really in the logic um me this author there I’ve um we’ll say um how I could say this um I’ve spotted him as an author who’s um part of my line of thinking
C3: hum hum
A3: ah who fits, ah not exactly, it’s never exactly, but who fits a lot with what I’m developing on my side.
C3: OK
A3: so that means that if I manage to get hold of < er her
C3: of course >
A3: thought
C3: um

A3: um it allows me um to take um a dimension on um well la to complete what I say by other authors and in particular aut- Anglo-Saxon authors who are referents and also allows me um to have a knowledge of this author there and to position myself in relation to this aut- to this to this < author there
C3: hum hum > hum hum yeah I think the choice is is impeccable actually since you have good motivation you have- you actually the more you’re going to read c- by the same author the easier it will be to read < eh that’s it
A3: hum hum hum >
C3: clear uh actually