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Файл:Практический курс первого иностранного языка (английский язык) для студентов 4 курса. Учебно-методическое пособие
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APPENDIX
SCHEMATIC OUTLINE OF TEXT INTERPRETATION AND SOME
GENERAL RECOMMENDATIONS
1) Introduction.
Information about the author. (Some data about the writer's biography,
creative activities and outlook are required.) If possible the student should say a
few words about the novel from which the excerpt is taken.
2) The summary of the extract. It must be short (1/4 of the original text) and
logical.
3) The structure of the text. If possible exposition, complications, climax and
denouement should be identified. In the exposition the author introduces the theme
(i. e. what the story is about), the characters and establishes the setting (i.e. the
place and the time of the action). The exposition supplies some information on
either all or some of the following questions Who? What? Where? When?
Exposition is followed by the complications, which generally involve actions,
though they might involve thoughts and feelings as well. As a rule this structural
component consists of several events (or moments of complications). They become
tenser as the plot moves towards the moment of the decision the climax. The
climax is the key event, the crucial moment of the story, the point of the highest
emotional tension. The climax is a turning point in the development of the events.
It‘s the moment when the narrative has reached its peak. It‘s the place of greatest
interests. Most stories have a number of climaxes. The last structural component,
the denouement, is the unwinding of the actions, the events which follow the
climax. It is the point at which the facts of the main character is clarified. A story
may have no denouement. By leaving it out the author achieves a certain effect-he
invites the reader to reflect on all the circumstances that accompanied the character
of the story and to imagine the outcome of all the events himself.
The text must be as well subdivided into logically complete parts. The
student should say whether the text is the first or the third person narration, what
forms of subject matter presentation are predominant in the text (the author's
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narration, description, dialogue, psychological portraiture of the characters) and in
what parts.
4) The general atmosphere of the text (it may be dry, unemotional,
emotional, vivid, bright, tense, dramatic, pathetic, tragic, humorous, ironical,
satirical, sarcastic, etc.). It may change throughout the text. These changes are to
be accounted for. Also examples from the text should be given to show how the
author creates this or that kind of atmosphere, what words and stylistic devices
help him to do it.
5) The characters of the extract, whether they are described directly (i. e. the
author himself names their features) or indirectly (i. e. through their actions,
speech, thoughts, appearance), what kind of people they are judging by the text,
what kind of relations can be observed between them. The author's attitude to the
characters, is it expressed clearly enough or is it not expressed? The students are
obliged to present their own attitude to the characters and to ground it
substantially. Also examples from the text are required to prove each idea of the
student.
6) The general characteristics of the style of the extract. Vocabulary and
syntax employed by the author. Can any instances of bookish and colloquial
vocabulary be found? What kinds of sentences predominate in different pans of the
text? Does the author use stylistic devices amply or sparingly? Is his style in
general vivid, clear and emotional or matter-of-fact and constrained?
7) The main idea (message) of the text. i.e. what the author wanted to tell the
reader by this extract, the underlying thoughts and ideas of the author. It must be
formulated by the student laconically
8) The student's evaluation of the text under analysis. It may logically
continue the previous item of the plan. The student must express his attitude to the
message of the text and other ideas conveyed by the author and state whether these
ideas are important and urgent. Stylistic and compositional peculiarities of the text
are also to be dwelt upon here. The last two items of the plan are of paramount
importance. Everything must be well thought-out and substantially proved.
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SOME PHRASES WHICH MAY BE HELPFUL WHILE
INTEPRETING THE STORY
Plot
1. The plot of the story is complicated/ intricate/ tangled up/ trite,
commonplace/ simple
2. The plot is concentric/ complex
3. Flashbacks/ foreshadowing
4. The basic plot of the story develops slowly/ dynamically towards a
violently dramatic incident and and an ironical conclusion.
5. The plot of the story centres round ...
6. The plot of the story is based on (real events, a real love story)
7. The plot develops around ...
8. The events unfold ...
9. The story has an interesting/ entertaining/ exciting/ gripping/ amusing/
enjoyable/ funny/ witty/ banal/ skilfully developed/ slowly-moving/ fast-moving
plot.
10. To contain (violent physical action, intrigues, mixed identities, disguises,
secret letters, fights by land, by sea, dangerous missions, hairbreadth escapes,
significant actions; physical, mental, emotional, moral conflicts; clashes of ideas,
desires, wills; combats, challenges; an element of surprise, coincidences; accident,
chance, etc)
11. To have a happy ending (an unhapppy ending
12. To be a classical/ modern interpretation of the theme
Setting
1. The action takes place in ...
2. The story is set in ...
3. The scene is laid in ...
4. To cover the time span of ...
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Conflict
1. The conflict of the story is ...
2. The conflict is moral (physical, mental, aesthetic, ethic, moral,
emotional; single/ multiple; clear-cut/ subtle, easily identifiable, various; ninternal/
external)
Plot structure
1. Exposition/ complication/ climax/ denouement (outcome)
2. The passsage falls into some logically complete parts
3. The extract is logically divided into ...
4. To be masterfully arranged
5. To be placed in the most effective order/ chronologically
6. To make a logical progression
7. To grow out of (the preceding event)
8. To lead logically to (the next episode)
9. Chaotic composition
10. Straight line narrative presentation/ complex narrative structure/ circular
pattern/ frame structure
11. The introductory/ opening passage of the story presents ...
12. The climax comes when ...
13. To form the climax of (the exposition, outcome of)
14. To reach its climax
15. Culmination point
16. In the exposition the author introduces the theme, the characters and
establishes the setting.
17. The exposition contains the necessary premilinaries to the events of the
plot, casts light on the circumstances influencing the development of characters
and suppliessome information.
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Form of narration
1. The extract (text) under study presents a piece of narration/ description/ a
character drawing/ a piece of narration intercepted with dialogue
2. Narrative methods: narration/ description/ dialogue/ interior monologue/
stream of consciousness/ represented speech/ author‘s digression
3. The story is a first/ third person narration
4. Entrusted narrative
5. The story is a combination of the author‘s narration and the characters‘
dialogue/ the description and represented speech.
6. To resort to/ to use the narrative/ descriptive/ cycling, chronological,
frame pattern
7. To alternate between narration/ discription/ dialogue/ digressions
8. To abandon/ reject the traditional form of narrative
Author/ narrator
1. The story is told by the effaced author
2. Omniscient/ intrusive/ unintrusive author
3. ... serves to convey to the reader the mood of the narrator/ author
4. To identify the narrator and the author
5. The narrator is the author‘s mouthpiece
6. The author is talented/ gifted/ genuine/ incomparable/ unrivalled/
commonplace/ superficial
7. To discover the world of smth
8. To offer food for thought
9. To explore (the complexity of human character, smb‘s inner world)
10. To create a broad panorama of
11. To idealise/ mock at smb/ satirize
12. To represent/ render/ convey (one‘s passion, love for, one‘s inner vision
of, one‘s mental condition)
13. To draw a parallel between
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14. To lay a special emphasis on
Characters
1. System of images
2. The character image/ the thing image/ the landscape image
3. Character images: real/ unreal
4. Character/ personage/ protagonist/ antagonist/ hero/ villain
5. Dynamic/ developing/ static/ stock character
6. Main/ major/ central/ principal
secondary/ minor
complex/ round/ many-sided/ flat/ simple
positive/ negative
hero/ villain
ambiguous/ easy to understand/ clearly motivated/ lifelike/ well, poorly-
drawn/ drawn with great skill
7. To be clearly labelled as good or bad
8. To be (in)directly presented
9. To be characterised by (one or many traits)
10. To characterise explicitly/ implicitly
11. Direct/ indirect presentation
12. To be a man/ woman of marked individuality
13. To lack individuality
14. To be a man of character/ to be a man of no character
15. To be a model of
16. To be a real angel/ a real saint, a paragon of virtue/ a monster of evil
17. To be in conflict with (people, society, system of values, nature, fate,
oneself)
18. To be opposed to/ contrasted with
19. To be portrayed/ depicted/ presented/ revealed through action/ speech/
the world of things that surround smb/ psychological portrayal
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20. To serve as a foil to
Atmosphere
1. Tense/ idyllic atmosphere
2. To be primarily conveyed by
3. To be intensified/ reinforced by
4. To evoke a definite emotional response
5. To have an impact on the reader
6. To strengthen/ to arouse a feeling of
7. To help the reader to gain the atmosphere of/ a sense of
8. To increase the tension of
9. The prevalent mood is cheerfulness/ suspense/ gloom/ nervousness
10. The devices to which the writer resorts contribute to a realistic
presentation of ...
11. Tension springs from ...
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Content
Пояснительная записка …………………………………………………..3
―THE BELL JAR‖ by S. Plath ……………………………………….… 6
―RAGE OF ANGELS‖ by S. Sheldon……………………………………14
―FAHRENHEIT 451‖ by R. Bradbury ……………………………………21
―UNACCOMPANIED SONATA‖ by Orson Scott Card…………………33
―THE CLIENT‖ by John Grisham…………………………………………43
―LUCY‘S RIVAL‖ by G. Henderson …………………………………….53
―THE OCTOBER GAME‖ by Ray Bradbury……………………………66
―THE SALT OF THE EARTH‖ by S. Spencer……………………………77
―LONG WALK TO FOREVER‖ by Kurt Vonnegut………………………91
References …………………………...………………………………….101
Appendix ……………………………………………………………….102
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Практический курс первого иностранного языка
(английский язык) для студентов 4 курса
Учебно-методическое пособие
Составитель Цыганова Евгения Борисовна
Формат 60×84 1/16
Гарнитура Times New Roman 14
Тираж 50 экз.
Усл. п.л. 6,8
Отпечатано в ФГБОУ ВО «Набережночелнинский государственный
педагогический университет»
423806 г. Набережные Челны, ул. Низаметдинова, 28
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