Контрольная работа № 4

Контрольная работа № 3

Для выполнения контрольной работы № 3 по практической фонетике необходимо изучить следующие темы: интонация (темп; ритмическая группа; фразовое ударение; интонационная реализация семантической структуры текстовых отрезков).

Вариант № 1

1. Sequence of tones:

1) Explain the use of the low rising tone in the sentence:

“‚Sometimes | I æcome 'home ֻearly”

2) Mark the stresses and tunes in the following sentence; intone it: “Students should note that spoken English presents much difficulty for foreigners.”

2. Sentence stress:

1) Translate the following sentence into Russian: “How badly he had said it. Yet he HAD said it.” What is the attitude of the speaker?

2) Transcribe, mark stresses and tunes and read the sentence: “Who will meet him at the airport?” Give examples where form-words are used in their weak forms.

3. Tempo of speech:

1) What are the main kinds of pauses in English and how are they marked?

4. Rhythm:

1) In what way will you divide the following sentence into rhythmic groups?

“I hope you won’t be late for your train.”

2) Say what you know about rhythmical variations of stress in compounds (adjective-noun; adverb-adjective; adverb-verb) when they are used in connected speech: when final, and immediately preceded by a stress.

Вариант № 2

1. Sequence of tones:

1) Explain the difference between the meaning of the sentences:

“I’ll æcome to your 'place toֻmorrow.”

“I’ll àcome to your ‚place toֻmorrow.”

2) Look for a sentence with a fairly long subordinate clause in post-position. Find the best way to split it into intonation groups.

2. Sentence stress:

1) Translate the following sentences into Russian: “Speak out!” said Martin, “and speak the truth.” – “I fear this IS the truth.” What kind of attitude is expressed in the reply of the second speaker?

2) Transcribe, mark stresses and tunes and read the sentence: “They aren’t ready, are they?” Give examples where link verbs are used in their strong forms.

3. Tempo of speech:

1) What are the main kinds of pauses in English and how are they marked?

4. Rhythm:

1) In what way will you divide the following sentence into rhythmic groups?

“I read an account of it in The Times. ”

2) Say what you know about rhythmical variations of stress in compounds (adjective-noun; adverb-adjective; adverb-verb) when they are used in connected speech: when a stress immediately follows the word.

Для выполнения контрольной работы № 4 по практической фонетике необходимо изучить следующие темы: фоностилистика.

Вариант № 1

1. Informational (formal) style:

(a) Read the following text silently to make sure that you understand each sentence.

"Eighteen workers who have been locked out of a Brighton textile factory because they joined a union, are to seek the support of the trade union group of Labour MPs next Tuesday. The meeting with the executive of the group of the House of Commons has already been arranged. Last week-end more than 200 Sussex University students attended a special meeting of the University Union and passed unanimously a resolution supporting the dismissed workers. Their resolution, copies of which were sent to the Prime Minister and Minister of Labour, 'expressing union disgust at the dismissal of the 18 workers and the scandalously low rate of pay.' It calls on the management to reinstate tile locked-out workers and recognize the employees' right to organize themselves into a branch of the National Union."

(A News Bulletin Item)

(b) Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Find the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c)Get prepared to read the text aloud as if you were a radio announcer. Let the teacher and fellow-students listen to you and decide whether your reading conforms to the required pattern. Try to keep the listeners' interest but do not allow personal attitude to be introduced. Bear in mind the absence of visual contact between the radio announcer and his listeners.

2. Scientific (academic) style:

(a)Read the following extract silently to make sure that you understand each sentence.

"To the question: 'What is language?' many and varied answers have been given. Some linguists, fastening upon the phonetic aspect of speech, have defined language as being basically a series of sounds produced by certain human organs and received by others. Another school replies that since the main characteristic of language is meaningfulness, and since a transfer of meaning can take place without the medium of sound, as witnessed by semaphoric or gestural systems of communication, the phonetic aspect of language is secondary to the semantic feature. To the grammarian, language is primarily a series of grammatical forms, roots, and endings. To the literary specialist, language is a series of words so arranged as to produce a harmonious or logical effect. To the lexicographer, language is fundamentally a list of words with their separate derivations, histories, and meanings. To the man in the street, language is what he uses, quite unconsciously, to communicate with his fellow man. Obviously, these partial definitions are all correct. But precisely because they are ALL correct, the sum total of language amounts to something greater than any of them. Sounds in themselves do not constitute language; yet the spoken language consists of sounds. Meaningfulness may be achieved in a number of nonlinguistic ways, therefore meaningfulness alone does not constitute language; yet language, to be worthy of the name, must be meaningful. Grammatical forms and grammatical categories, taken by themselves, are dead things, as will be attested by many former students who 'went through' Latin and French in certain educational institutions; yet language is characterized by their presence to the extent that there is no language, however primitive, that does not possess some system of grammar. Spoken and written language consists of separate words; but unless these words are arranged in certain sequences, they will not only fail to convey beauty or logic but will even fail to convey complete meaning. Lastly, a language that does not serve as a medium of communication is a traitor to its function."

(M. Pei. "The Story of Language")

(b)Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c)Get prepared to make an oral presentation of this text in class as if you were a university lecturer. Let the teacher and fellow-students listen to you and decide whether your lecture conforms to the required pattern. Introduce alterations in the text, if necessary, and use some hesitation phenomena to obtain a balance between formality and informality. It will enable you to establish a closer contact with the audience. Remember that the success of any kind of lecturing depends on your ability to do so.

3. Familiar (conversational) style: the Rise-Fall pattern.

Read the dialogue silently. Underline the communicative centre in each phrase and decide what attitude should be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in mind. Do not forget that one of the partners sounds impressed. It is not expected that each member of the class will mark the dialogue in exactly the same way. Practise reading your corrected variant. Memorize the dialogue and get ready to act it with your fellow-student.

— Did I tell you I went to Switzerland for my holiday?

— Well.

— I flew there by jet.

— Did you?

— It only took an hour and a half.

— Quick.

— Yes, but we had to wait an hour at London Airport. Fog, you know, is dangerous.

— Well when you fly a lot, you get used to it.

— Oh.

— I remember once I was flying over the Alps when one of the engines stopped.

— Good heavens.

Вариант № 2

1. Declamatory style.

(a)Read the following text silently to make sure that you understand each sentence.

"Fleur, leaning out of her window, heard the hall clock's muffled chime of twelve, the tiny splash of a fish, the sudden shaking of an aspen's leaves in the puffs of breeze that rose along the river, the distant rumble of a night train, and time and again the sounds which none can put a name to in the darkness, soft obscure expressions of uncatalogued emotions from man to beast, bird and machine, or, maybe, from departed Forsytes, Darties, Cardigans, taking night strolls back into a world which had once suited their embodied spirits. But Fleur heeded not these sounds; her spirit, far from disembodied, fled with swift wing from railway-carriage to flowery hedge, straining after Jon, tenacious of his forbidden image, and the sound of his voice, which was taboo. And she crinkled her nose, retrieving from the perfume of the riverside night that moment when his hand slipped between the may-flowers and her cheek. Long she leaned out in her freak dress, keen to burn her wings at life's candle; while the moths brushed her cheeks on their pilgrimage to the lamp on her dressing-table, ignorant that in a Forsyte's house there is no open flame. But at last even she felt sleepy, and, forgetting her bells, drew quickly in."

(J. Galsworthy. "The Forsyte Saga")

(b)Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between sentences and intonation groups.

(c) Get ready to read the text aloud in class. Let the teacher and fellow-students listen to you and decide whether your reading is expressive enough to be easily understood without reference to the printed version.

2. Publicistic style.

(a)Read the following text silently to make sure that you understand each sentence.

"Four score and seven years ago our fathers brought forth on this continent a new nation conceived in liberty and dedicated to the proposition that all men are created equal. Now we are engaged in a civil war testing whether that nation or any nation so conceived and dedicated can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate — we cannot consecrate — we cannot hallow this ground. The brave men living and dead who struggled here have consecrated it far above our poor power to add or detract. The world will little note nor long remember what we say here but it can never forget what they did here. It is for us the living rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us — that from these honoured dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain — that this nation under God shall have a new birth of freedom — and that government of the people by the people for the people shall not perish from the earth."

("The Gettysburg Address" by Abraham Lincoln)

(b)Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c) Get ready to make an oral presentation of this text in class as if you were a political speech-maker or a commentator. To do so you are to avoid the newsreader's neutral position and introduce personal attitude. Remember that the success of this kind of public oration depends on the speaker's ability to persuade the listeners of the merits of his case. Bear in mind that the human voice is the most powerful instrument of persuasion. Let your teacher and fellow-students listen to you and decide whether your presentation conforms to the required pattern.

3. Familiar (conversational) style: the Fall-Rise pattern.

Two fellow-students are discussing a party they are going to have in their hostel. Read the dialogue silently. Underline the communicative centre in each phrase and decide what attitude should be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in mind. It is not expected that each member of the class will mark the dialogue in exactly the same way. Practise reading your corrected variant. Memorize the dialogue and get ready to act it with your fellow-student.

— Well we'd better make a list of the people we're going to invite. There's the Smiths and John...

— We ought to invite John.

— But not the Smiths? All right. But Chris Smith is rather nice, I think.

— Yes, Chris is.

— I suppose his wife is slightly strange. She's attractive though.

— She's certainly attractive.

— She has a charming voice too.

— She has a charming voice.

— I see you're jealous!

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