Задания для самостоятельной работы студентов

QUESTIONS:

1. Give semantic characteristic of familiar style.

2. Why does conversational style allow the occurrence of the entire range of intonation patterns existing in English?

3. What is the general aim of this phonetic style?

4. Speak on the nuclear tones, speed of utterance, rhythm and pauses.

5. What are the types of hesitation phenomena that occur here?

6. Is precision in the matter of vocabulary important in this style?

7. How do you account for the differences between telephone and non-telephone conversational situations? Compare texts in terms of hesitation phenomena.

8. What constraints does the absence of visual contact between the speaker and the hearer impose on the kind of linguistic and extralinguistic features used in conversation?

Practical material

Leisure ♫

‘What is this ’life if, ˈfull of ’care We have ˈno ‚time to ˌstand and ’stare. ˈNo ˙time to ‚stand beneath the ‚boughs And >stare as long as ‘sheep or _\cows. ˈNo ˙time to >see when ‘woods we ˌpass, ¯Where ‘squirrels ˈhide their ‘nuts in _\grass. ˈNo ˙time to >see in ˈbroad ˆdaylight >Streams ˈfull of _\stars, like ˈskies at ‘night. ˈNo ˙time to >turn at ˆBeauty’s ˌglance,  And ‚watch ˙her ˙feet, >how they can _\dance. ˈNo ˙time to ‚wait till >her ˙mouth ˙can En>rich ˙that ˙smile her _\eyes beˌgan. A ˆpoor ˆlife ˆthis _\if ¦ ˈfull of ˆcare  We have ˆno ˆtime│to ˆstand and ˆstare.

W.H. Davies (1871-1940)

IF ♫

If ˈyou can ˈkeep your ‘head when ˈall a’bout you Are ˈlosing ˇtheirs and ˈblaming it on _\you; If you can ˈtrust yourself when ˈall ˙men ˇdoubt you, But ↘make alˇlowance for their ↘doubting ¦ ˇtoo; If you can ˆwait and ˈnot be ˆtired ¦ by ‘waiting, Or ˈbeing ‘lied aˌbout don’t ↘deal in ‘lies, Or ˈbeing ˆhated, ˈdon’t ˙give way to ˆhating, And >yet ˈdon’t ˙look ˙too ‘good, nor ‘talk ¦ too _\wise:

If you can ‘dream│– and ˈnot make ‘dreams ¦ your ‘master; If you can ‘think – and ˈnot make ˇthoughts your ‘aim; If you can ˈmeet with ‘triumph ¦ ‘and di’saster And ˆtreat these ˌtwo imˌpostors ¦ ‘just the ˌsame; If you can ˈbear to ˙hear the ‘truth ¦ you’ve _\spoken “Twisted ¦ by _\\knaves to ˌmake a “trap ¦ for _\\fools, Or ˈwatch the >things ¦ you ˈgave your ‘life to ¦ _\\broken, And >stoop and ˈbuild ‘em ‘up with “worn ↘out >tools;

If ˈyou can ˈmake one ‘heap of ˈall ˙your ‘winnings And ‘risk it ¦ on “one ‘turn of ˈpitch and >toss, And >lose, and ˈstart a’gain ¦ at ˈyour be_\ginnings And ˈnever ˈbreathe a >word about ˈyour ‘loss; If you can ˈforce ˈyour ‘heart and >nerve│and ‘sinew To ˈserve your >turn│ˈlong ˈafter they are _\gone, And ‘so ˈhold ‘on when there is “nothing >in you Exˈcept the >Will which >says to ˙them: ¦ “”Hold ‘on!”

If you can ˈtalk with >crowds and “keep ˙your ‘virtue, Or ˌwalk with “kings│– ˈnor ˈlose the ‘common ˌtouch, If ˈneither >foes nor ˈloving >friends ¦ can _\hurt you, If ‘all men ¦ _\count with you, but >none ¦ “too _\much; If ˈyou can ‘fill the “unforgiving >minute With “sixty “seconds ˌworth of ˈdistance _\run – >Yours ¦ is the _\Earth and “everything that’s _\in it, >And – ˈwhich is _\more│– you’ll be a _\\Man, ¦ my _\son!

R. Kipling (1865-1936)

CROSSWORD

													29
																												20					22
													30
		32						31																		18											25
																	6					19								21
			28							27									7
																						8										23
		34	35			33						5		2
																									11							26
						1													9
		36											3																	24
																		10
												4																			13
37	38																						12
											44			43		45
			40					41																						14				15			17
39														47						48		49					50
																__													16
							42
																						51
												46
																						52

ACROSS:

1. a) The system of significant levels and variations in pitch sequences within an utterance; b) the type of pitch used at the end of a spoken sentence or phrase.

3. A model, pattern or standard of speech behaviour of a certain group circulating in language at a given period of time.

4. Basically regular recurrence of grouped stressed and unstressed, long and short, or high-pitched and low-pitched syllables in alternation, i.e. arrangement of successive syllables according to their relative stress quantity and pitch.

5. In the process of communication such factors as the social status of the speakers and their relations to each other, the place of communication and its subject-matter (topic) refer to … factors.

9. a) Relaxed and friendly, not official, not following established procedures and prescribed rules; b) appropriate for normal conversation and not for serious speech or writing.

10. Temporary stop, break, rest, hesitation, interruption, or delay in speaking or reading, which clarifies meaning.

12. This style generally occurs in the written variety of language, in monologue, in prepared, public, formal discourse. The speaker sounds categoric, judicial, considered and persuasive. One of distinctive features of the style is hesitation phenomenon.

14. This British phonetician distinguishes such styles of pronunciation as the rapid familiar, the slower colloquial, the natural style, the acquired style of the stage, and the acquired style used in singing.

16. a) A complete unit of speech in spoken language; b) statement or pronouncement expressed by voice; c) the action of expressing ideas, opinions in words.

19. The act of transmitting, giving or exchanging information, news, ideas, signals or messages as by talk, gestures or writing.

23. There are such verbal functional styles of the written language as: belles-lettres style, publicistic style, newspaper style, scientific prose style and the style of official documents. This classification is given by … .

24. a) Varieties of language correlating with social situations; b) a system of language means which is used in a certain social sphere and serves a definite aim in communication.

26. The quality of a sound that is the primary psychological correlate of physical strength; b) strength of voice.

28. This style is characterized by predominance of volitional intonation patterns and is represented as the type of public speaking dealing with political and social problems.

30. A place in a sentence when one word ends and another word begins (pl. form).

32. Formal speech made on a public occasion, esp. as part of a ceremony.

34. The quality of being quick or rapid, the rate at which words and sentences are pronounced.

36. Variety of language represented in a textual medium through the use of a set of signs or symbols.

37. This head is characterized by an upward pitch movement over the stress-groups.

39. This style has two varieties: reading aloud a piece of descriptive prose and the author’s reproduction of actual conversation.

42. A person who makes an effort to hear smth.

44. A person who introduces or gives information about programmes on radio or TV.

46. A long speech by one person in a conversation.

47. Colloquial style connected with talking to others, esp. in an informal way.

51. Having, showing or using the force or stress given to a word or words when spoken, in order to make the meaning clear or to show importance.

52. That studies phonetic phenomena from the stylistic point of view, concentrating mainly on certain intonation styles.

DOWN:

2. Classification of speech according to their structural features and characteristics.

6. Having the nature of, or consisting of a vowel or vowels.

7. An expert in phonetics, a scientist who studies speech sounds and their production in a particular language.

8. A written or spoken conversational exchange between two or more people.

11. A person who takes part or becomes involved in some activity.

13. A quick, clever reply or response, esp. to criticism.

15. Social, legal or professional position of smb. or smth. in relation to others.

17. Variety of speech that is made or written in advance.

18. The process of speaking to a group of people in a structured, deliberate manner intended to inform, influence, or entertain the listeners.

20. A friendly in formal manner of communication.

21. A group of people who have gathered together to hear or watch smth.

22. This style is characterized by the predominant use of intellectual intonation patterns as the task set by the sender is to communicate some information.

25. A combination of two or several heads.

27. a) Done, happening, said, etc. because of a sudden impulse from within, not planned or caused or suggested by smth./ smb. outside; b) natural, not deliberately used or developed.

29. A thing or person that is discussed or described; a topic or theme.

31. The syllable which receives the greatest stress in a sentence.

33. The action of moving away from the norms and regulations accepted by a certain group.

35. An intonation model according to which stressed and unstressed syllables are arranged in sentences.

38. Links that hold a text together and give it meaning.

40. The quality or condition of being able to speak or write accurately and easily, esp. in a foreign language.

41. using one’s will in choosing smth, making a decision, etc.

43. The fact of frequency of smth. happening. (formal word)

45. Opposite to public.

48. A person who gives a talk or speech.

49. Melody of speech.

50. This style includes all literary works, esp. fiction, poetry, drama or essays (put down the second part of the term).