Учебное пособие 1648

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (25), 2019 ISSN 2587-8093

References

[1] Sternin I.S. Kontrastivnaya lingvistika/I.S.Sternin. – Voronezh: Izd-vo «Istoki»,2004. –189

s.

[2]Sternina M. A. Sopostavitelno-parametricheskij metod lingvisticheskih issledovanij/ M.A. Sternina –Voronezh: Izd-vo «Istoki»,2014. –114 s.

[3]Sternina M. A. Leksiko-grammaticheskaya polisemiya v sisteme yazika/ M.A. Sternina –Voronezh: Izd-vo «Istoki», 1999. –160 s.

[4]Krivenko L. A. Natsyonalnaya spetsyfika semantem russkoj i angliyskoj substantivnoj leksiki : avtoref. dis. …filol. nauk/ L.A. Krivenko. –Voronezh, 2013. –22 s.

[5]Portnihina Nataliya Aleksandrovna Natsyonalnaya spetsyfika semanticheskogo razvitiya slova: avtoref. dis. …filol. nauk/N.A. Portnihina–Voronezh, 2011. –22 s.

[6]Kochetova Nataliya Vyacheslavovna Natsyonalnaya spetsyfika semantem russkoy i angliskoj adverbialnoj leksiki : avtoref. dis. …filol. nauk/N.V. Kochetova. –Voronezh, 2017. –23 s.

[7]Sternina M.A. Ispolzovanie sopostavitelno-parametricheskogo metoda dlya opredeleniya natsionalnoi spetsifiki semantem/ M.A. Sternina// Sopostavitelnie issledovaniya 2013. –Voronezh: Izd-vo «Istoki», 2013. –s. 4-13

[8]Malyhina N. I. Polisemiya angliskogo glagola: avtoref. dis. …filol. nauk/N.I.

Malyhina. – Voronezh, 2013. –22 s.

[9]Kopylenko M.M., Popova Z.D. Ocherki po obshchei frazeologii/M.M. Kopylenko, Z.D. Popova. –Voronezh: Izd-vo Voronezhskogo universiteta, 1989. –191 s.

[10]Nikitina I. N. Natsyonalnaya spetsyfika semantem rysskoj i angliyskoij glagolnoj leksiki: avtoref. dis. …filol. nauk/I.N. Nikitina. –Voronezh, 2013. –22 s.

obrashcheniya: 16.09.2018).

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Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (25), 2019 ISSN 2587-8093

UDC 811/111

METAPHORICAL IMAGES OF MUSIC IN THE INDIVIDUAL-AND-

AUTHOR’S WORLDIMAGE OF A. BURGESS

L.V. Korobko

____________________________________________________________________________

Air Force Academy named after N. E. Zhukovsky and Yu. A. Gagarin, Teacher of the Foreign Languages Department

Liudmila Vladimirovna Korobko e-mail: l.v.ledeneva@mail.ru

____________________________________________________________________________

Statement of the problem. The article is devoted to consideration of the conceptual metaphors participating in verbal representation of the conceptual sphere of «Music» in the literary space of the novel of Anthony Burgess «A Clockwork Orange».

Results. The metaphorical units are analyzed from positions of cognitive approach to studying of a metaphor and classified on the basis of conceptual areas which interest the author of the article as the sphere-source of the metaphorical nomination. The attempt to allocate the most frequency metaphorical images of music is made. The spheres-sources of metaphorical images of music are defined. Classification of the conceptual metaphors, which objectify the conceptual sphere of «Music» in the individual-and-author’s worldimage of A. Burgess, is made.

Conclusion. The conceptual sphere of «Music» in the literary discourse of Anthony Burgess is objectified by the metaphorical means correlating with various spheres of external and inner world of a person: artifacts, space, nature, religion, etc. Music is represented by means of the following types of metaphors: anthropomorphous, artefactual, gastronomic, cosmological, naturomorphous, theological, hydronymical, zoonymical, gender, vegetative, animyc, somatic. It is noted that the most frequency sources of music metaphorization in the individual-and- author’s worldimage of A. Burgess are anthropological and material spheres.

Key words: music, literary discourse, worldimage, Anthony Burgess, «A Clockwork Orange», metaphor, metaphorical image, conceptual sphere.

For citation: Korobko L.V. Metaphorical images of music in the individual-and-author’s worldimage of A. Burgess / L.V. Korobko // Scientific Journal “Modern Linguistic and Methodical-and-didactic Researches”. – 2019. -

№ 2 (25). – P. 45-51.

Introduction

The world image in the literary text is created by language means, at the same time it reflects an individual world image in consciousness of the writer and is embodied in selection of elements of contents of the work of art, language means and also in individual use of figurative means.

The special attention is deserved by the individual world images having essential differences among carriers even of one language. A way of conceptualization of reality in a separate language is characterized by national specifics therefore representatives of different linguacultures can see the world differently [1, p. 10].

Individual pictures of writers or author’s world images possess the greatest originality. The author’s world image, mainly, represents exclusiveness of a creative subject: «its individual and personal component defines essence of the text as a verbal work of art and an esthetic event» [2, p. 92]. Besides, as well as the world image of any person, an individual picture of the writer contains universal and national specific.

The individual-and-author’s world image significantly differs from objective representation of events, situations, realities, from scientific ideas of them as it represents «a subjective image of the objective world», the image of the world refracted through a prism of consciousness and the writer’s language, result of his spiritual activity [3, p. 42–43]. Each writer-artist

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© Korobko L.V., 2019

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has the unique creative way, the manner to conceive the text, to form it and to embody it in images (to imagine the plan), the habits in vision, feeling, desire and their description, «kind of the art spectacles» [4]. Focusing attention on this or that fragment of reality, offering own vision, the writer directs the reader, specifying them a way to the correct understanding of the literary text [5, p. 79].

Burgess was a writer-polyglot, he spoke fluently Russian, Welsh, Spanish, Italian, French, learned Hebrew, Japanese, Chinese, Swedish and Persian.

Anthony Burgess was not only the novelist. Dramatic art, literary criticism, poetry, writing of essays, scenarios, libretto, translation activity, creation of pieces of chamber and orchestra music should be noted among his extensive interests. Wide range of hobbies had significant effect on «the synthetic character» of writer’s literary works in which a significant role is played by a musical component [6].

Research methodology

In the present article an object of the research is the conceptual sphere of «Music» in the literary discourse of A. Burgess. Metaphorical images, objectifying the conceptual sphere of

«Music» in the individual-and-author’s world image of A. Burgess serve as the subject of the research.

Allocation and description of metaphorical images of music in the literary discourse of A. Burgess is carried out on material of the novel «A Clockwork Orange». 31 units, representing the conceptual sphere of «Music», were analyzed during the research.

The method of the semantic-and-cognitive analysis, a method of the contextual analysis, a classification method, and a quantitative method were used in the analysis.

Music is one of the most expressive art forms; it reflects the person’s inner world. Music gives the most intimate person’s desires and feelings in an exhaustive way. All the emotions, aspirations, strong-willed acts, experiences of people can be expressed by means of music.

Music in the novel of A. Burgess «A Clockwork Orange» is represented by means of various stylistic means, in particular, of metaphors.

The fact that metaphors play a key role in literary texts is indisputable. N.D. Arutyunova claims that the metaphor is «an organic component of the literary (poetic) text and its use in other types of a discourse is connected with that, as it is necessary that there are elements of poetic thinking and figurative vision of the world « [7, p. 20].

F.R. Ankersmit sees means of transformation of the world in a metaphor. The scientist believes that the metaphor represents «the most powerful linguistic tool which we have at our disposal for transformation of reality to the world capable to adapt to the purposes and tasks of a person» [8, p. 85].

It should be noted that linguists, working in the sphere of cognitive linguistics, offer to differentiate the concepts of «cognitive metaphor» and «conceptual metaphor». So, J. Lakoff specifies that the cognitive metaphor correlates with the processes happening at the level of activation of neural communications whereas the conceptual metaphor is interconnected with the level of thinking of a person in concepts, judgments, conclusions [9, p. 45–59]. The conceptual metaphor is mental projections between conceptual areas of a source and a purpose [9, p. 58]. The conceptual area of the purpose includes the concepts demanding judgment, the area of a source is formed of concepts which allow reaching easier judgment of new.

Results of the research

The conceptual sphere of «Music» in the literary discourse of A. Burgess is represented by a wide range of conceptual metaphors: «music – a person», «music – a river», «music – a silk net», «music – a bird», «music – worms», «music – a star», «music – wine», «music – jewelry», «music – toffee», «music – a slice of hot sausage», «music – a gold cage», etc.

A. Burgess allocates music with a set of the lines inherent in the person (moral-and- ethical, emotional-and-mental, physiological, spiritual, etc.):

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violent:

It was a symphony that I knew real horrorshow <…> a very g r o m k y and v i o l e n t piece… [1*];

quiet:

I was slooshying more like malenky romantic songs <…> very q u i e t and like yearny

[1*];

pathetic and tragic:

This time the film jumped right away on a young devotchka <…>, she creeching away very gromky through the speakers and like very p a t h e t i c and t r a g i c music going on at the same time [1*];

great:

G r e a t M u s i c , it said, and Great Poetry would like quieten Modern Youth down and make Modern Youth more Civilized [1*], etc.

These signs form an a n t h r o p o m o r p h o u s image of music as a living being – the carrier of certain qualities. Thus, music is compared to a person in the individual-and-author’s world image of A. Burgess; the macrometaphor «MUSIC – A PERSON» is fixed (6 units).

The special attention in Burgess’s discourse is deserved by metaphorical representation of m u s i c a l i n s t r u m e n t s . Cf.:

There it was then, the bass strings like govoreeting away from under my bed at the rest of the orchestra, and then the male human goloss coming in and telling them all to be joyful… [1*].

The metaphor-personification – the bass strings like govoreeting away – is noted. Musical instruments are compared to people; they are allocated with ability to speak and even to exchange words.

In the presented context on the example of a lexeme of goloss, which implicitly contains an archiseme of music, one more kind of the a n t h r o p o m o r p h o u s m e t a p h o r is shown, namely: the g e n d e r m e t a p h o r – the male human goloss telling them, i.e. a voice becomes animated, capable to speak with people, finds a corporal cover.

The musical instruments (a flute and an oboe) as a semantic element of the conceptual sphere of «Music» are objectified by means of a multicomponent metaphor in the language of

Burgess. Cf.:

Then f l u t e and o b o e bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss… [1*].

The z o o n y m i c a l m e t a p h o r «MUSIC – WORMS» is allocated (1 unit: flute and oboe bored, like worms). Sounding of a flute and an oboe is compared to activity of the worms laying themselves a way in the earth, despite of everything. This hint is represented by the verb of bore meaning «to make a deep round hole in a hard surface» [1**]. Likening of music to worms reflects high extent of its penetration into consciousness of listeners.

Use of a g a s t r o n o m i c m e t a p h o r «MUSIC – TOFFEE» is observed (1 unit: flute and oboe bored into the thick thick toffee). In focus of attention there is an enveloping effect of music which is similar to sticky sweet, caramel – thick thick toffee. The adjectival lexeme of thick (thick thick) means «almost solid, and therefore flowing very slowly, or not flowing at

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all» [1**]. The noun of toffee is understood as «a sticky sweet brown substance that you can eat, made by boiling sugar, water, and butter together, or a piece of this substance» [1**]. Music fills all thoughts and feelings of the listener, tightens in a whirlpool of sounds, plunging into sweet drowsiness.

The indication of precious metals (platinum, gold, silver) allows to allocate a metaphor «MUSIC – JEWELRY» (3 units). The a r t e f a c t u a l i m a g e of music is formed. Besides, the music value, its masterly modulations are reflected.

The conceptual sphere of «Music» is coded in the image of a musical instrument (a bassoon) which is a part of the main character’s body, so boundless love to the music which became «soul» of the person is represented. Cf.:

…what I was playing was like a white pinky b a s s o o n made of flesh and growing out of my plott, right in the middle of my belly [1*].

The a n t h r o p o m o r p h o u s m e t a p h o r incorporating the signs of v e g e t a t i v e

(«MUSIC – A SPROUT»), a n i m y c («MUSIC – A SOUL») and s o m a t i c («MUSIC – A BODY») metaphors is allocated. This metaphor is multicomponent on the structure, the whole set of the signs creating the image of music is traced. The analyzed metaphor belongs to the extreme-shocking type of metaphors (according to Yu.M. Lotman [10]).

The conceptual sphere of «Music» in Burgess’s discourse is embodied in an image of a violin:

And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the v i o l i n solo above all the other strings… [1*].

The z o o n y m i c a l m e t a p h o r «MUSIC – A BIRD» is noted (1 unit: a bird came the violin). Comparison with a bird symbolizes ease of music, flight of thoughts and feelings dur-

Sounds of a violin release thoughts and feelings and excite as wine. The g a s t r o n o m i c m e t a p h o r «MUSIC – WINE» is allocated (1 unit: like silvery wine came the violin). An analogy to wine is drawn on the basis of the intoxicating, stupefying effect which music renders on the listener, like sweet wine.

The melody of a violin denies the force of gravitation and lifts over surrounding reality, transferring to the world of feelings and emotions. The c o s m o l o g i c a l m e t a p h o r

«MUSIC – ANTIGRAVITATION» is allocated (1 unit: gravity all nonsense now).

The musical instruments, a trumpet and a trombone, in the language of Burgess are described by means of a n a t u r o m o r p h o u s m e t a p h o r «MUSIC – FORCE OF NATURE» (2 units). Cf.:

…and behind my gulliver the t r u m p e t s three-wise silverflamed… [1*].

Sounds of a pipe are verbalized by the verb of silverflame, consisting of two bases: silver

+ flame. The lexeme of flame means «to burn brightly» [1**]. The verb of silver is understood as «to make something shine and look the color of silver» [1**].

The hint with the elements – the flaring flame and the silvered water – is carried out. This metaphor forms p y r o m o r p h o u s and h y d r o n y m i c a l images of music.

The t r o m b o n e s crunched redgold under my bed… [1*].

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The verb of crunch, meaning «to make a sound like something being crushed» [1**], is used in a figurative sense and expresses power and force of a musical instrument sounding capable to eclipse all surrounding sounds. The sign of sounding force and impact of a trombone on listeners is represented, what allows to allocate a p h y s i c a l image of music.

The trombone is also described by means of the metaphor «MUSIC – JEWELRY» (1 unit). The adverb of redgold consists of two bases: red + gold, and, on the one hand, serves for characteristic of color of the instrument – copper (color of copper is similar to color of red gold), on the other hand, has metaphorical meaning – «gold sounds». The a r t e f a c t u a l image of music is created.

In the individual-and-author’s world image of A. Burgess the conceptual sphere of «Music» is objectified by means of t h e o l o g i c a l m e t a p h o r s (2 units). Cf.:

Hear angel t r u m p e t s and devil t r o m b o n e s . You are invited [1*].

The sound of a trombone is known for its force, and in certain cases the trombone has ominous and fancy sounding. The metaphor «MUSIC – DEVIL» is allocated.

A pipe is known for the outstanding masterly qualities. Its sounding is associated with festivals, times of knights and heroic feats. Use of the metaphor «MUSIC – ANGEL» is noted.

Besides, music is represented through metaphors with the domain of «water» in the literary discourse of A. Burgess (2 units):

«MUSIC – A RIVER»:

I lay all nagoy to the ceiling, my gulliver on my rookers on the pillow, glazzies closed, rot open in bliss, slooshying the sluice of LOVELY S O U N D S [1*],

«MUSIC – A FURIOUS STREAM»:

The m u s i c was still pouring in all brass and drums and the violins miles up through the wall [1*].

The allocated metaphor creates the h y d r o n y m i c a l image of music assimilating to its water elements. As O.O. Boriskina points out, environments «possess the maximum degree of the importance in formation of language knowledge and more widely – cultural experience of all mankind» [1, p. 8–14].

The conceptual sphere of «Music» is conceptualized by means of comparison of music sounds to:

A SILK NET («MUSIC – A SILK NET»):

The little speakers of my stereo were all arranged round the room, on ceiling, walls, floor, so, lying on my bed slooshying the m u s i c , I was like netted and meshed in the orchestra [1*],

A GOLD CAGE («MUSIC – A GOLD CAGE»):

…came the violin solo above all the other strings, and those s t r i n g s were like a cage of silk around my bed [1*].

Listening to music, the person becomes its involuntary hostage, sounds of music shroud them, being weaved into strong network. These metaphors focus attention on the v i s u a l and t a c t i l e images of music.

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Use of a c o s m o l o g i c a l m e t a p h o r «MUSIC – A STAR» is observed in the writer’s discourse (1 unit):

…t u n e all about Joy being a glorious spark like of heaven… [1*].

The melody is identified with the star attracting the person by its mysterious modulations and the inaccessibility.

It is interesting to analyze the g a s t r o n o m i c m e t a p h o r «MUSIC – A SLICE OF

HOT SAUSAGE» (1 unit):

But old Dim, as soon as he’d slooshied this dollop of s o n g like a lomtick of redhot meat plonked on your plate, let off one of his vulgarities… [1*].

The created p e r c e p t u a l image of a song as a piece of hot sausage expresses the sneering, negative attitude to the music piece.

Conclusion

The conceptual sphere of «Music» in the individual-and-author’s world image of Anthony Burgess is represented by the means of metaphorization correlating with various spheres of external and inner world of a person.

The metaphorical images participating in verbal representation of the conceptual sphere of «Music» in the literary discourse of the writer are defined by the following spheres-sources: artifacts, space, water elements, flora, fauna, etc., on the basis of which the following types of metaphors are allocated: 1) anthropomorphous (26%); 2) artefactual (20%); 3) gastronomic (10%); 4) cosmological (6%); 5) naturomorphous (6%); 6) theological (6%); 7) hydronymical (6%); 8) zoonymical (6%); 9) gender (3,5%); 10) vegetative (3,5%); 11) animyc (3,5%); 12) somatic (3,5%) (see the table).

Table

Classification of metaphors in the literary discourse of A. Burgess (based on the novel «A Clockwork Orange»)

Scientific Journal “Modern Linguistic and Methodical-and-Didactic Researches” Issue 2 (25), 2019 ISSN 2587-8093

Metaphorical images of music in the novel «A Clockwork Orange» emphasize its penetration of music into all spheres of human life and close interrelation with them. It is characteristic that, mainly, anthropological and material spheres act as sources of music metaphorization in Burgess’s discourse.

The perspective direction of the research is expansion of the research field at the expense of the contrastive analysis of the metaphorical images representing the conceptual sphere of

«Music», in comparison to world images of other writers, including, belonging to various historical eras and linguacultures. Further researches can be devoted to metaphorization consideration as way of the objectification of esthetic types of concepts in literary, philosophical, media, theological and other world images.

References

[1]Boriskina O.O. Teoriya yazykovoj kategorizacii / O.O. Boriskina, A.A. Kretov. – V.: Voronezhskij gosudarstvennyj universitet, 2003. – 211 s.

[2]Voroncova T.I. Tekst ballady. Konceptual'naya kartina mira (na materiale anglijskih i shotlandskih ballad) : monografiya / T.I. Voroncova. – Sankt-Peterburg : Izd-vo RGPU im. A.I. Gercena, 2003. – 139 s.

[3]Maslova V.A. Poeht i kul'tura : konceptosfera Mariny Cvetaevoj : ucheb. posobie / V.A. Maslova. – Moskva : Flinta : Nauka, 2004. – 256 s.

[4]Il'in V.I. «CHuvstva» i «ehmocii» kak sociologicheskie kategorii / V.I. Il'in // Vestnik Sankt-Peterburgskogo gosudarstvennogo universiteta. Ser. 12. – 2016. – Vyp. 4. – S. 28–40.

[5]Korobko L.V. Obshchee i specificheskoe v verbal'noj eksplikacii koncepta «Muzyka»

vrusskoj hudozhestvennoj kartine mira XIX–XX vv. / L.V. Korobko // Nauchnyj zhurnal

«Sovremennye lingvisticheskie i metodiko-didakticheskie issledovaniya». – 2017. – № 4 (36).

– S. 78–94.

[6]Delazari I.A. Modelirovanie muzyki : Mozart and the Wolf Gang EHntoni Berdzhessa / I.A. Delazari // Zarubezhnaya literatura : Problemy metody. – SPb. : Izd-vo SanktPeterburgskogo universiteta, 2015. – Vyp. 8. – S. 73–86.

[7]Arutyunova N.D. Metafora i diskurs. Vstupitel'naya stat'ya / N.D. Arutyunova // Teoriya metafory : sbornik: per. s angl., fr., nem., isp., pol'sk. yaz. – Moskva : Progress, 1990. – S. 5–33.

[8]Ankersmit F. R. Istoriya i tropologiya : vzlet i padenie metafory / F. R. Ankersmit. – Moskva : Progress-Tradiciya, 2003. – S. 82–85.

[9]Lakoff G. Philosophy in the Flesh : The Embodied Mind and Its Challenge to Western Thought / G. Lakoff, M. Johnson. – New York, NY : Basic Books, 1999. – 624 p.

[10]Lotman YU. M. Kul'tura i vzryv / YU. M. Lotman. – Moskva : Progress, 1992. – 272 s.

Analysed sources

[1*] Burgess A.A Clockwork Orange (UK Version) / A. Burgess, URL: http://e- libra.ru/download/148204/ (vremya obrashcheniya – 28.10.2015).

[2*] Byordzhess EH. Zavodnoj apel'sin / EH. Byordzhess, URL: http://e- libra.ru/download/106284/ (vremya obrashcheniya – 28.10.2015).

Dictionaries used

[1**] The Longman Dictionary of Contemporary English Online, URL: http://www.ldoceonline.com (vremya obrashcheniya – 23.03.2016).

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METHODS AND DIDACTICS

UDC 37.022 = 20

EMOTIONAL AND PSYCHOLOGICAL COMPONENT

OF THE PROCESS OF TEACHING A FOREIGN LANGUAGE

AS A FACTOR OF INCREASING ITS EFFICIENCY

L.N. Kriatchko

____________________________________________________________________________

Voronezh State Technical University

Senior Teacher of the Chair of Foreign Languages and Technology of Translation Liliya Nicolayevna Kriatchko

e-mail: liliyankriatchko@mail.ru

__________________________________________________________________________

Statement of the problem. It is universally recognized that a calm, friendly atmosphere, a positive students’ mood, their interest in the studied subject make the process of learning more efficient. Consequently, it seems rational to consider in detail the main factors that constitute a good emotional and psychological atmosphere of a foreign language lesson at a technical university, and to develop their typological classification.

Results. It is determined that the emotional and psychological component of a foreign language lesson is formed out of a combination of various factors that can be attributed to three different types according to their basic properties: psychological factors, didactic factors and linguistic factors. The factors of each of the type described have a different impact on the students. The psychological factors help them feel comfortable and free at a lesson. The didactic and linguistic factors contribute to arising students’ interest in the studied topic, ensure their concentration on the lesson, and facilitate their perception, understanding and assimilation of the educational material.

Conclusion. In the context of the activityand competence-based approach to the teaching process, the main goal of which is to train a competitive specialist who is in need at the labor market, the best result of the educational process can be achieved only in a favorable emotional and psychological atmosphere of the lesson. It derives from a mutual respect between a teacher and students, the teacher's interest in students as individuals, the interest towards their inner world, as well as the democratization of teaching methods. The fruitful cooperation of all the participants of the educational process is impossible without taking into account the peculiarities of the perception of the information by the modern “digital” generation of students, without a creative approach to the organization of educational activities and to the educational material used at the lesson.

Key words: information society, efficiency, educational process, activity approach, competence approach, psychological, didactic and linguistic factors, emotional and psychological atmosphere, lesson, helping relationships, democratic approach, creative approach.

For citation: Kriatchko L.N. Emotional and psychological component of the process of teaching a foreign language as a factor of increasing its efficiency / L.N. Kriatchko // Scientific Journal “Modern Linguistic and Me- thodical-and-didactic Researches”. – 2019. - № 2 (25). – P. 52-62.

Introduction

In the modern information society’s environment, namely in the conditions of the increasing information flow, the complication of technological realities surrounding man and the rapidly changing economic phenomena the problem of enhancing the efficiency of the educational process becomes most urgent.

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© Kriatchko L.N., 2019

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The primary factors affecting the quality of education, the success of learning the necessary material by students, should include a favorable emotional and psychological climate in which the process of education takes place, a friendly, creative working atmosphere built by a teacher in a classroom, the willingness of students to exercise the energetic cognitive activity.

Many authors note the influence of students’ emotional and psychological state on the quality of education, the effectiveness of learning the educational material by students. Thus, Ye.N. Solovova emphasizes the importance of the individualization of the educational process, which means turning to student’s personality, their life experience, worldview, interests, emotions, feelings [1, p. 45]. S.G. Ter-Minasova, when drawing the portraits of a modern teacher and their students, calls for the pedagogue’s intent look at not only their pupils but also at themselves, for their revision of themselves and their role in these relations in order to avoid mistakes and conflict situations of various kinds [2, p. 260-276]. Speaking about the problems of teaching at higher educational establishments, A.A. Verbitsky declares the necessity to create the didactic and psychological conditions that stimulate the learner's activity in cognition, which is possible only through the understanding of the education as a personality mediated process of the interaction and communication between a teacher and a student [3, p. 43]. S.D. Tsyrenzhapova puts forward that in the conditions of the activityand competence-based approach to teaching a foreign language at a non-linguistic university, which is realized using the interactive forms of work, it is essential to help students overcome the shyness and the fear of the spontaneous foreign language communication [4, p. 43].

C.R. Rogers, American psychologist and pedagogue, one of the founders and leaders of the humanistic psychology, teacher of several US universities, investigated thoroughly and comprehensively the influence of the emotional and psychological factor on the quality and effectiveness of the educational process. In his opinion, the key to the success of the process of the education is the harmonious interpersonal relations. It is these relations that create a favorable and stimulating basis for the development of a personality, that are an essential condition for a personality’s maturation [5, p. 15-16].

The purpose of this article is to identify and analyze the factors contributing to the creation of a positive emotional and psychological climate of a foreign language lesson that leads to a more successful achievement of the educational and methodological tasks set by a teacher. The study is based on the already existing research in the fields of pedagogy and methods of foreign languages teaching, as well as on the personal experience of teaching English at a nonlinguistic higher educational establishment.

Methodology of the research

In this article, the object of the research is the modern general didactic and methodological principles of teaching students at a higher educational establishment in the context of the activityand competence-based approaches to the educational process.

The subject of the research is the mechanisms of creating the emotional and psychological conditions of a foreign language lesson at a technical university that are optimal for the most effective process of teaching foreign languages

The scientific novelty of this article lies in the fact that it reflects many years of the personal experience in teaching English at a technical university. It also describes the creative forms of work and the tasks used in the classroom.

In the course of the research, such methods were used as the observation, the analysis of the theoretical sources, the methods of the logical analysis and synthesis, the method of the generalization, the method of the situational analysis, the method of the classification and the method of the graphic modeling.

The sources of the linguistic material, which became the basis for the examples of the educational tasks and exercises cited in this article, were the publications in English on the problems of the road and bridge construction in the American periodical “Engineering News Record”.

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