2013 Практическая фонетика

ности функционирования как всего человеческого организма, так и отдельных его органов. Являясь частью организма человека, аппарат порождения речи не может не подчиняться этой ритмичности. Поэтому любой вид человеческой речи, в том числе и спонтанная речь, обладает ритмом.

Таким образом, и стих и проза ритмичны, но ритмичность каждого из этих видов речи специфична и характеризуется собственными единицами.

Основная функция ритма связана с его способностью организовывать как отдельные единицы текста, так и текст в целом. Меньшие ритмические единицы формируют большие, а большие объединяют меньшие.

Стабильность ритма играет важнейшую роль в создании целостности текста или его части. Смена ритма способствует отделению частей текста друг от друга. Таким образом, ритм способен как объединять, так и разъединять элементы текста, осуществляя тем самым организующую функцию.

Разная степень четкости в периодическом повторении речевых явлений обеспечивает другую функцию ритма – эмоционально-эстетическую. Временная соизмеримость периодически повторяющихся элементов оказывает эмоциональное воздействие на человека. Оно максимально тогда, когда ритм находится в гармонии с биологическими ритмами человеческого организма.

ИНТОНАЦИЯ ТЕКСТА

INTONATION OF THE TEXT

Связный текст понимается как законченная последовательность предложений, связанных по смыслу друг с другом в рамках общего замысла автора

Интонация определяет коммуникативный тип высказывания, а фразовое ударение логически выделяет какое-либо слово внутри высказывания, тем самым реализуя связь с последующим контекстом. Интонация, членя высказывание на минимальные смысловые отрезки – синтагмы, показывает отношения между ними.

Синтагма является первичной единицей высказывания, которая лежит в основе иерархии единиц текста. Взаимоотношения, существующие между синтагмами, аналогичны отношениям между более крупными текстовыми единицами.

Со структурно-синтаксической точки зрения следующей единицей текста является предложение, выражающее относительно законченную мысль. В речи этой структурной единице соответствует облеченная в соответствующую интонационную форму фраза, или предложение-высказывание, где термин ‘высказывание’ относится к функциональному, а термин ‘предложение’ – к структурному плану.

Предложения складываются в сверхфразовые единства (СФЕ), т.е. структурно организованные цепочки предложений, представляющих собой смысловые и коммуникативные единства. Понятие СФЕ является одновременно и структурным и функциональным, поэтому в работах по интонации текста употребляются термины ‘фоноабзац’, ‘основной паратон’ и т. п. В диалогической

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речи выделяются вопросно-ответные, диалогические единства и более широкие тематические блоки.

Тесная взаимосвязь составляющих текста получила в лингвистике название когерентности (лат. cohaerens связный). Органическое сцепление частей свойственно как СФЕ, так и целому речевому произведению. Однако именно в СФЕ оно выражается наиболее наглядно.

Когерентность текста не есть явление только смысловое. Оно проявляется одновременно в виде структурной, смысловой и информационной целостности. Смысловая целостность текста и составляющих его единиц заключается в единстве темы. СФЕ всегда монотематично. Переход от одной темы к другой есть пограничный сигнал, знаменующий конец одного и начало другого СФЕ.

Информационная целостность текста выражается в существовании информационной преемственности между его составляющими: каждое последующее предложение продвигает текст от известного к новому, создавая темарематическую цепочку.

Структурная целостность текста является внешним выражением его смысловой и информационной целостности. Тоны, устанавливающие связи между частями фразы и оформляющие тема-рематическую цепочку, одновременно являются и средством членения и структурирования текста.

Интонация является средством вычленения единиц текста. Так, СФЕ (паратон) с легкостью вычленяется в потоке речи на основании исключительно его интонационных характеристик. Ведущая роль в этом отводится регистру и диапазону: первая синтагма произносится в широком диапазоне, а во всех последующих синтагмах наблюдается постепенное сужение диапазона вплоть до самого узкого в последней смысловой группе. Частотный уровень каждой последующей фразы ниже частотного уровня предшествующей. Тональный максимум в СФЕ сосредоточен на первом ударном слоге, в то время как уровень нисходящего тона завершающей фразы СФЕ – ниже уровня нисходящих тонов не финальных фраз.

Важными маркерами границ СФЕ являются также более резкий перепад частот, чем на границе фраз, и наличие паузы, превышающей длительность межфразовых пауз. Если пауза на границе СФЕ отсутствует, разграничение осуществляется за счет контраста между низким частотным завершением предыдущего СФЕ и высоким началом последующего. Можно отметить также возрастание громкости, а иногда изменение тембра при переходе от одного СФЕ к другому.

С помощью уровнево-диапазональных характеристик устанавливается связь между составляющими основной паратон (СФЕ) малыми паратонами (фразами). Малый паратон, открывающий новую тему и потому находящийся в начале основного паратона, всегда имеет высокое начало. Малый паратон, содержащий добавление к основной мысли или ее развитие, характеризуется средним уровнем начала. И наконец, малый паратон, выражающий подчиненную, зависящую от предшествующей мысль, начинается на низком уровне.

Интонация является одним из средств осуществления информационной связности внутри СФЕ и между различными СФЕ. Эта роль принадлежит тонам

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и фразовому ударению. Как известно, с помощью позиции ядерного тона (уровень фразового ударения) выделяется наиболее важная в информационном отношении часть высказывания, в то время как информационно избыточные слова характеризуются отсутствием мелодической выделенное, за счет чего осуществляется продвижение информации в тексте.

LISTENING PRACTICE & MEMORY WORK

One morning

One morning Alexandra Brown Got on a bus and went to town.

Convinced she looked a total mess

She thought she’d buy a cheapish dress.

But she has recently acquired A credit card, and thus inspired Set off upon a shopping spree

From nine o’clock till half past three.

She started in a modest way; a cotton skirt, in darkish grey. But what it needed, so she felt, would be a simple leather belt But when the belt was fastened tight

She thought it called for something bright; a brooch, a ring, some earrings too, Two silken blouses, pink and blue.

And then, her shoes, a somber green, Were hardly worthy to be seen; She really needed one more pair (she scarcely had a thing to wear). But hesitating which to buy

She finally decided, “I

Will take the black, the blue, the brown,

(they’re always nice around the town)

And then those white ones, and the peach (just right for summer on the beach).

And since I’d like to take up sport

Well then, perhaps I think I ought To buy myself some tennis shoes

And I suppose I’d better choose

Some riding breeches and a skirt

With just a simple linen shirt”.

And so she went from store to store,

Just thinking “maybe one thing more”,

From Selfridges to C&A (well, after all, no need to pay)

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Armani, Harrods, BHS

“Well that’s the lot’, she thought, “unless

I bought myself an evening gown.

I really can’t let Crispin down. A handbag, too”, then for a laugh

She chose a rather flashy scarf. The door flew wide, and suddenly Out came a flood of lingerie,

Of coats and hats and tights and shoes, And brassieres of different hues, Of summer blouses, winter hose, An avalanche of varied clothes,

Of cashmere sweaters, fine and rare, Of overcoats and underwear.

Blunders

Professor Bumble

Professor Bumble is not only absent-minded but short-sighted as well. His mind is always busy with learned thoughts and he seldom notices what is going on around him.

One fine day recently he went for a stroll in the countryside, but, as always, he had a book in his hand, and he had no sooner set out for his walk than he became engrossed in reading. He hadn’t gone far when he bumped into a massive cow and fell down. He had lost his spectacles in the fall, and he thought he had stumbled over a fat lady. “I beg your pardon, madam”, he said politely before searching for his glasses.

As soon as he had put them on, he realized his mistake.

Soon he was concentrating on his book again and paying no attention to anything else, he had scarcely been walking for five minutes when he fell over again, losing both his book and his glasses. This time he became furious. Seizing his umbrella, he struck the ‘cow’ in anger. Then, after finding his glasses, he realized with horror that he had made a second blunder. A large fat woman was fleeing from him in terror.

If

(by Rudyard Kipling)

IF you can keep your head when all about you

Are losing theirs and blaming it on you,

If you can trust yourself when all men doubt you,

But make allowance for their doubting too;

If you can wait and not be tired by waiting,

Or being lied about, don’t deal in lies,

Or being hated, don’t give way to hating,

And yet don’t look too good, nor talk too wise:

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A poet could not but be gay,

In such a jocund company:

I gazed – and gazed – but little thought

What wealth the show to me had brought:

For oft, when on my couch I lie

In vacant or in pensive mood,

They flash upon that inward eye

Which is the bliss of solitude;

And then my heart with pleasure fills

And dances with the daffodils.

Profile: Peter Parker

Interviewer With us in the studio this morning is Peter Parker. Good morning, Peter.

Peter Good morning.

Interviewer Peter Parker is an English language teacher. He was always good at languages at school, so he decided to take his degree in French and German. When he finished his university studies, he began teaching in a secondary school in England. Two years later, however, he met someone by chance who offered him a job teaching English to foreign students during the long summer holidays. His students were adults and he enjoyed the work immensely. He soon found he was more interested in teaching his own language to foreigners than foreign languages to English schoolboys.

Since then he has specialized in his work. He has found that one of the advantages of the job is that it enables him to find work almost everywhere in the world. First he went to Africa for two years and then he spent a year in Arabia. After this he went to Greece where he has worked for the last three years. He hasn’t been to South America yet but he intends to go there next. He has taught men and women of all ages and of various nationalities. He has also learned to get on with all kinds of people and to adjust to different ways of life. So far he has not regretted his decision to follow this career.

Now then, Peter, tell me…

Sonnet 18:

Shall I compare thee to a summer’s day?

(by William Shakespeare)

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date:

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm’d;

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And every fair from fair sometime declines,

By chance or nature’s changing course untrimm’d;

But thy eternal summer shall not fade

Nor lose possession of that fair thou owest;

Nor shall Death brag thou wander’st in his shade,

When in eternal lines to time thou growest:

So long as men can breathe or eyes can see,

So long lives this and this gives life to thee.

Sonnet from the Portuguese XLIII: How do I love thee?

(by Elizabeth Barrett Browning)

How do I love thee? Let me count the ways.

I love thee to the depth and breadth and height

My soul can reach, when feeling out of sight

For the ends of Being and ideal Grace.

I love thee to the level of everyday’s

Most quiet need, by sun and candle-light.

I love thee freely, as men strive for Right;

I love thee purely, as they turn from Praise.

I love thee with the passion put to use

In my old griefs, and with my childhood’s faith.

I love thee with a love I seemed to lose

With my lost saints, – I love thee with the breath,

Smiles, tears, of all my life! – and, if God choose,

I shall but love thee better after death.

WRITTEN PRACTICE

1. Протранскрибируйте слова. Поставьте ударение. Произнесите в быстром темпе, соблюдая ритмичность ударных и безударных слогов.

2. Прослушайте текст. Обозначьте места пауз. Расставьте ударение. Прочитайте текст вслух.

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My first day at school

Woman: oh yes I remember my first day at school – infant school that is I remember feeling very proud when my mother walked with me through the main gate there was so much noise and so many children that I got quite scared anyway my mum took me to see the teacher Mrs. Gossage was her name very nice teacher and I remember feeling very nervous watching my mother leaving Mrs. Gossage looked after me and she sat down with the other pupils in a big circle soon we started playing games so I got very excited I think it was after lunch that I met Emily who later became my best friend she was in another class but all the new students were brought together to meet each other and anyway anyway this was when I met Emily I was so relieved to have a friend oh yes and in the afternoon we went swimming but I couldn’t swim so I became very upset and started to cry in fact I wouldn’t stop crying so Mrs. Gossage phoned my mother and she came to collect me early I remember feeling very confused when I saw my mum. so much had happened we went and ate ice cream and then I felt calm again but what a day I’ll never forget it

3. Прослушайте текст. Расставьте знаки препинания. Обозначьте начало и конец СФЕ, тоны, фразовое ударение, места пауз.

Believe it or not

Woman: now I’m going to tell you a story and I swear every word of it is true three years ago I started to feel very sick I had terrible headaches I felt tired all the time and all my body ached in the end I went to hospital and had some tests well when they told me the news…I couldn’t believe it they said I had a rare bone disease and there was nothing they could do they said that within just a few months I would be in a wheelchair – for the rest of my life well I decided I wouldn’t give up without a fight I’ve always been interested in alternative medicine so when a friend told me about stories he’d heard of a kind of witchdoctor in Indonesia who could work miracles – I decided to take a chance I sold my house said goodbye to my friends and flew to Indonesia when I got to Jakarta I took a train and then two buses up into the mountains to this tiny village in the middle of nowhere when I arrived I asked people Yayang Yayang that’s the name of the witchdoctor my friends told me about then a small boy – he must have been seven or eight – took my hand and led me out of the village and further up into the mountains for two days we walked I was in terrible pain the whole time… but I was determined to go on eventually we reached a small hut and I could see a strange man standing outside he was short and covered in mud or something like that he smiled and took me into the hut I didn’t say anything – he just seemed to know why I was there well in the hut it was really dark but I could see lots of bowls all around, each full of some kind of herb or plant or something he told me to lie down and he put his hands on my head and started to sing all of a sudden I felt a great energy come into me he did this for maybe half an hour and then he gave me something to drink I don’t know what it was. It was a thick brown liquid and it smelled awful, but I still drank it well to cut a long story short I stayed there for a week every day the witchdoctor did the same thing and I drank the same liquid after a week the boy came back I felt so good I almost ran to back to Jakarta when I got

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home I went back to the same hospital and had the same tests and guess what the disease had completely gone there was no sign of anything they couldn’t believe it like I say that was three years ago and here I am still strong and healthy amazing

4. Прослушайте несколько длинных периодов текста. В каждом из них отметьте подчеркиванием конец более мелких периодов. Расставьте паузы. Укажите стрелками подъем или падение высоты голосового тона.

But is it Art?

Tape commentary: Artist number five: Jackson Pollock. (beep)

Jackson Pollock was an American painter, born in 1912. He was the most famous of the American Abstract Expressionist painters. Pollock had a very original style of painting. He did not use an easel, but spread his canvases on the floor. Sometimes he worked outside, so he could feel closer to nature. It was essential, he said, to

‘walk around it, work from all four sides, and be in the painting’. He often used materials from the surrounding environment actually in his paintings. He mixed sand and broken glass into some paintings. He sometimes added cigarettes, nails, buttons, coins… whatever was nearby that seemed appropriate.

(beep)

Jackson Pollock didn’t paint in the ‘normal’ way. Rather, he let the paint dribble from the brush and fall onto the canvas. He would often use a stick and flick, splash, dab and drip the paint onto the canvas. In fact, Pollock’s paintings are often called ‘drip paintings’, although dripping was only one part of the process. Sometimes Pollock simply put a hole in the bottom of the paint can and let the paint flow onto the canvas from there. He scratched and smeared them with his hands, and named them with numbers. He used cans of ordinary house paint rather than oil paint. (beep)

Pollock had an intense and energetic style. His shocking new technique demonstrated physical movement in his work known as ‘action painting’. Each painting was more like a performance. He would almost dance around the painting, flicking and splashing paint. He had no predetermined format in mind when he began painting. He just let the paint lead the way, apparently at random. This spontaneous approach has led some people to think ‘My five-year old child could do that.’ Some critics agreed – saying his work lacks technique and simply chaotic rather than artistic. However, others said that he had a unique style that simply cannot be copied. Pollock himself insisted, ‘There is no accident. The painting has a life of its own. I try to let it come through.’

(beep)

Here we can see one of his most famous drip paintings, Number 1, also called Lavender Mist, painted in 1950. Three metres long, the canvas is alive with lines and shapes that never let the eye rest. We are kept constantly searching. It has a fresh, ac-

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tive feel. Although now his style of Abstract Expressionism is out of fashion, Pollock had a great effect on the history of modern art.

5. Прослушайте текст. Обозначьте места пауз. Расставьте фразовое ударение.

WOW…that’s big!

Guide: ok, quite, please! Can everyone hear me? Welcome to the Thames Barrier! As you can see the Barrier goes right across the River Thames. It is 520 metres wide and took eight years to build… It was completed in 1982.

Can you see those big things that look like hats? They’re called piers. There are nine of them. Each pier is 50 metres high from top to bottom. Between them you can see the steel gates. There are ten gates in total. Six of these gates rise up out of the water in order to form a barrier. The four largest of these steel gates are 61 metres wide and weigh 1500 tons each. When they are not in use these gates lie flat in concrete sills on the river bed. Down there also are two service tunnels. When there is a danger of flooding, these six gates are raised to form a barrier between the piers. When raised, each is as high as a five-storey building. The other four gates are smaller, and they are lowered into the water. On the front of each pier are some navigation lights. A red cross means the gate is closed, and a green arrow means it’s open. The gates are powered by electricity. The power packs are immediately below the steel roofs… inside the hats.

The Thames Barrier protects London from flooding. This is necessary because every 100 years the water in the river rises 75 centimetres… This is due mostly to global warming but also in part because the south of England is sinking slowly. But the rising water level isn’t the main threat. The main danger of flooding comes from sudden big waves that come in from far out to sea – these are called tidal surges. So far, the Barrier has protected London against flooding nearly 70 times. 750,000 people living in London are in danger from flooding, so it’s very important to them! It wasn’t cheap – it cost over £535 million to build. But this is a lot less than it would cost to repair any damage to London if the city was flooded. Now, are there any questions?

7. Прослушайте текст. Обозначьте места пауз. Расставьте фразовое ударение. Укажите стрелками подъем или падение высоты голосового тона.

It’s not such a bad custom

Presenter: Thank you, Kevin Edwards, for that short speech. Now, next we have Indira Komandur.

Indira: My talk is about arranged marriage. I am seventeen. My parents are already starting to look for a husband for me. In a few years I shall marry a man that they choose. Now, you are probably thinking ‘That’s terrible! How awful!’ But I

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