Фоностилистика английского языка. Учебное пособие на модульной основе

of communication with the resulting ‗Hello?‘ or ‗Are you there?‘. Besides, it‘s typical of the telephone conversation that the listener is expected to confirm his continued interest and his continued auditory presence.

Here is a dialogue to illustrate an informal telephone conversation ♫:

Tina: Hi, Doug. I‘m leaving the office now.

Doug: Tina, it‘s six-thirty. The concert starts at eight thirty. Dinner‘s almost ready.

Tina: I‘ll be home in fifteen minutes.

Doug: I doubt it. Traffic is really bad now. It‘s rush hour.

Tina: Hi, it‘s me again. I finally got out of the office.

Doug: It‘s seven thirty. You were supposed to be here an hour ago. Tina: You said traffic was bad. It is. The cars aren‘t moving.

Doug: Well, hurry. I‘m going to start eating without you. I‘m too hungry to wait.

Tina: Hi, Doug. Guess who?

Doug: So where are you now?

Tina: I‘m walking to the concert. I‘ll meet you there.

Doug: Smart idea. I‘m leaving now.

Tina: Don‘t wait for me.

Doug: Don‘t wait for you? What do you mean, don‘t wait for you? I‘m here outside the concert hall. So where are you?

Tina: I‘m sorry. I got lost and just took a taxi home.

Doug: That‘s great. Just great. You are at home and I‘m at the concert. And I don‘t even like this kind of music.

QUESTIONS and TASKS:

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?

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7.How do you account for the differences between telephone and nontelephone 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?

POETRY

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,

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 ¦

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>And – ˈwhich is \more│– you‘ll be a \\Man, ¦ my \son!

R. Kipling (1865-1936)

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CROSSWORD

42

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46

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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: belleslettres 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).

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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 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 stressgroups.

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.

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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).

MODULE III. MATERIAL FOR INDIVIDUAL WORK

TEXTS FOR LISTENING, READING AND

ROLE-PLAYING

1.Listen to the speaker and repeat after him.

2.Practice reading the following texts with the proper intonation taking into consideration extra-linguistic factors (place of communication, its subject matter, social status of speakers, etc.).

3.Define phonetic style of each sample and single out its main stylistic features.

1. Advantages of Phonetics ♫

The first and most evident advantage of phonetics is the independence it gives us. In the first place, it makes us independent of residence abroad. Even if the learner intends to go to the country where the language is spoken, it is a great advantage to him to start with a through practical knowledge of the sounds in which he is to practice himself.

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Secondly, phonetics makes us independent of native teachers. It is certain that a phonetically trained Englishman who has a clear knowledge of the relations between French and English sounds can teach French sounds to English people better than an unphonetic Frenchman – still more, an unphonetic Belgian, Swiss, or Pole – who is unable to communicate his pronunciation to his pupils, and perhaps speaks vulgar or dialectal form of French himself.

Again, phonetics enables an intelligent adult to get a sound elementary knowledge of the sounds of a foreign language without any help from outside – that is, if he has an adequate phonetic analysis and transcription to work with. But the gain of a phonetic grasp of a language extends far beyond such special considerations. A secure grasp of the sounds of a language is a great strengthening of the mastery of its forms and meanings. A minute discrimination of similar sounds in closely allied languages is the surest safeguard against otherwise inevitable confusions.

Hence also the literary and aesthetic use of phonetics. Phonetics alone can breathe life into dead mass of letters which constitute a written language; it alone can bring the rustic dialogues of our novels before every intelligent reader as living realities, and make us realize the living power and beauty of the ancient classical languages in prose and verse.

Phonetics is not merely an indirect strengthener of grammatical associations; it is an essential part of grammar itself. A knowledge of sentencestress and intonation is not only an essential part of elocution and correct pronunciation, but it is also an integral part of the syntax of many languages.

In short, there is no branch of the study of language which can afford to dispense with phonetics.

2. UK Elections ♫

TV announcer: Next month the people of the United Kingdom will be voting in a general election, and shortly the seemingly interminable political speeches and debates on radio and television will be under away.

If the Labour Party succeeds in its attempt to increase the slender majority of seats in the House of Commons that it won at the last election, it will be introducing radical new measures, including widespread nationalization of private industry, in an effort to rescue Britain from threatening economic problems.

The Conservatives, the main opposition party, will be hoping to convince the nation of the need for encouraging private enterprise; they have hopes, if the

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people unite under a Conservative government, of overcoming such evils as inflation, food shortages, fuel crises and a possible world-wide slump.

The Liberal party will be trying to persuade the voters that Britain can achieve economic stability and industrial prosperity only under Liberal leadership.

Meanwhile the Scottish and Welsh Nationalists may be urging the citizens of Scotland and Wales to vote for their complete independence from England and the parliament at Westminster.

3. Bedtime story ♫

Mike: Are you ready, David? Right! The Lost Coin.

One afternoon just before Christmas an old gentleman was wandering through the city centre. The gaily-illuminated shops were packed with good things and crowded with cheerful shoppers. The children were gazing in wonder at all the toys on display in the windows, and the old man was surveying the happy scene indulgently.

Suddenly in the middle of the throng he spotted a dirty little boy sitting on the pavement, weeping bitterly. When the kind old man asked him why he was crying, the little boy told him that he had lost a ten penny piece that his uncle had given him. Thrusting his hand into his pocket, the old man pulled out a handful of coins. He picked out a shiny, new ten penny piece and handed it to the child.

―Thank you very much,‖ said the little boy, and, drying his eyes, he cheered up at once.

An hour or so later the old man was making his way back home by the same route. To his astonishment he saw the same dirty little boy in precisely the same spot, crying just as bitterly as before. He went up to the boy and asked him if he had lost the ten pence he had given him as well. The little boy told him that actually he had not lost the second coin, but he still could not find his first ten pence.

―If I could find my own ten pence,‖ he said tearfully, ―I‘d have twenty pence now.‖

Did you like that? ...

Janet, he‘s asleep!

4. A Picnic ♫

Tim: Exeter 78563.

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Mary: Tim? This is Mary. I hope I haven‘t woken you up.

Tim: Actually I got up ten minutes ago, but it‘s only a quarter to nine. Why are you calling me so early on a Sunday morning?

Mary: Because the sun‘s shining and there isn‘t a cloud in the sky, and Alan and

I are going for a picnic. Do you want to come?

Tim: It‘s true we haven‘t seen the sun lately, but I expect it‘ll rain again soon. Mary: No, it won‘t.

Tim: Well I‘ve got some work to do, but I suppose I could put it off till tomorrow. Where are you thinking of going?

Mary: Well, there‘s lovely spot by the river on the road to Tiverton. There‘s a big bend in the road just before you get to Stoke. You leave your car and walk across a field to the left. There are some tall elm trees by the river, and that‘s where we‘ll be. It‘s very easy to find the place.

Tim: Yes, I think I know where you mean. I‘ll come, and I might even go for a swim. Are you taking any food or drink? It‘s a pity you didn‘t mention it yesterday; I don‘t think there‘s any beer in the house.

Mary: Don‘t worry. We‘ve got some bottles of beer and lemonade and there‘s half a chicken in the fridge.

Tim: Right then. See you there in about an hour.

5. Roman Architecture ♫

Diana E. E. Kleiner: Welcome to Roman Architecture. I‘m Professor Kleiner, and what I‘d like to do today is to give you a sense of some of the great buildings and some of the themes that we will be studying together this semester. I think it‘s important to note, from the outset, that Roman architecture is primarily an architecture of cities. The Romans structured a man-made, worldwide empire out of architectural forms, and those architectural forms revolutionized the ancient world and exerted a lasting influence on the architecture and the architects of post-classical times. This semester we will be concerned primarily with urban communities – with urban communities – and we will, in the first half of this semester, we will focus on the city of Rome, and in the second – and also central Italy, including Pompeii. And I wanted to show you, at the outset, an aerial view of Rome – you see it over here, on the left-hand side of the screen – that situates us in the very core of the ancient city. You see the famous Colosseum, the very icon of Rome, at the upper right. You see the Roman Forum, as it looks today,

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