- •Delivering a lecture
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Signposts.
- •1.3. Style forming factors.
- •1.5. Delimitation of Discourse
- •1.6. Samples for Study and Analysis. Sample a
- •Good morning!
- •Notions of Style
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •Score Mark
- •2.8. Reading Technique
- •III. Project work
- •Sample a Forms of Address in Great Britain
- •Sample b Apologizing and Making Excuses
- •Score level criteria
- •Module 2 making a political speech
- •I. Input materials.
- •Rhetoric strategy.
- •Style forming factors:
- •Tunes (melody contours)
- •Combined tunes
- •1.5. Samples for study and analysis
- •Part of a Political Speech
- •Part of a Political Speech
- •The Common Market Negotiations
- •II. Skills development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Making business presentations
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Style forming factors
- •1.4. Rhythm
- •1.5. Samples for Study and Analysis
- •The Director of the Milk Marketing Board giving a presentation about key trends
- •Public Ownership
- •II. Skills Development
- •2.7. Auditory Test
- •Analyse these combined tunes:
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Advertising
- •I. Input materials
- •1.1. Rhetoric strategy.
- •Ways of Advertising
- •1.2. Style forming factors
- •1.3. Questions for preliminary exercise
- •Informative? – persuasive? – amusing? – well-made? – artistic?
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Expressive means of English Intonation
- •Irregular pre-heads
- •Reading
- •1.6. Samples for Study and Analysis tv Commercials
- •Radio Commercials
- •Advertising Campaigns
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Hotel ‘Caliente’ Barcelona
- •Score level criteria
- •Peculiarities of the drama
- •I. Input materials.
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •Delivering a lecture Sample a s f s
- •Sample b s
- •Making a Political Speech Sample a
- •Sample b
- •Making Business Presentation Sample a
- •Sample b
- •Advertising Sample a
- •Sample b
- •1.5. Voice Volume
- •Delivering a Lecture
- •Making a Political Speech
- •Making Business Presentation
- •Advertising
- •Extract One
- •1.6. Samples for Study and Analysis
- •Dramatic Monologue One
- •Dramatic Monologue Two
- •The Metropolitan Playhouse Productions
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Score level criteria
- •Interviewing
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Using questions for control
- •1.3. Style forming factors
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Specifics of the Pre-nuclear Pitch Change (the Head)
- •1.6. Samples for Study and Analysis
- •Linguistic Gaps
- •II. Skills development
- •2.5. Auditory Test
- •Score level criteria
- •2.6. Reading Technique
- •III. Project Work
- •Interview with Carl Sagan
- •Interview with Nigel Dempster
- •Score level criteria
- •Everyday talks
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •1.4. Weakform Words
- •II. Samples for Study and Analysis
- •Extract from a Spy Story
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project Work
- •Finding Somewhere to Live
- •The Ladies’ Dress Department
- •Score level criteria
- •Fairy tale rhetoric and language teaching
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Invariant phonostylistic peculiarities
- •1.3. Pragmaphonetic modeling
- •1.4. Samples for study and analysis
- •Snow White and Rose Red
- •The Happy Prince
- •II. Skills Development
- •2.6. Auditory Test
- •Score level criteria
- •2.7. Reading Technique
- •III. Project work
- •3.1. Reading Technique
- •The Star-child
- •The Young King
- •3.2. Drama Technique
- •Goldilocks and the Three Bears
- •Little Red Riding Hood and the Wolf
- •Supplement Effective Presentation Technique
- •How we breathe
- •Types of Breathing
- •Diaphragmatic Breathing for Speech
- •Exercises for Diaphragmatic Breathing and Control
- •Exercises for Breath Control
- •Overcoming speech fright
- •Delivering the Speech
- •Using Your Body to Communicate
- •Dimensions of Nonverbal Communication
- •Adapting Nonverbal Behavior to Your Presentations
- •References
- •Contents
Score level criteria
Excellent: relevant to assigned model.
Good: relevant number of intonation groups but lack of expressiveness.
Fair: limited knowledge, inadequate delimitation at times, inadequate commentary.
Poor: not enough to evaluate.
Score – Mark
12-11 - 5
10-8 - 4
7-5 - 3
4-… - 2
2.9. Reading Technique
Listen to the text ‘The Metropolitan Playhouse Productions’. Delimit the message, into intonation groups, utterances, phonopassages. Use the set of symbols to mark the pauses.
Try to consider the accentuation relief of the intonation groups. Beat out the time while trying the rhythmic groups.
Concentrate on the pitch patterns (tunes) of the syntagmas. Single out the number of kinetically marked syllables. Try to differentiate between simple and compound tunes of the syntagmas.
Try to read the intonation groups in isolation first.
Be careful to keep to the length of pauses while reading the intonation groups one after another. Observe the timing specifics.
Get ready to present the message about the theatre productions on the most lavish scale.
III. Project work
Prepare to present one of the drama samples offered.
Try to revise the model samples for study and analysis (A, B) as a preliminary exercise.
Observe the specifics of expressive means that are adequately used in this sort of performance.
Try and consider the character traits, as well as the setting. What do you think is the characters’ uphill task?
Think over the best way to use the tone of voice and your body language.
Try to single out the common features and the specifics of the advertising and drama performances.
Be careful to choose the most effective pitch patterns and expressive means to sound natural, resembling lifelike situations. Remember to present the truth through artistic expression of actual events.
Use the assessment form to evaluate each other’s presentation techniques. If possible record your performance and use the recording for feedback.
-
excellent
good
fair
poor
articulation
pitch patterns
rhythm
rate
volume
Sample A
Well, sir, I know you’ll think I’m crazy. After all, five years is a long time. And now that it’s come, you’d think I wouldn’t be able to wait. And until last night that was exactly the way I felt. But then I started thinking. Well, it isn’t an ideal life – nobody’d say it is. It’s very hard, and there’s a lot about it that quite honestly I’ve found very hard to bear. But on the other hard I’ve got into the routine, you know: exercise in the morning; regular work in the laundry; a small allowance for cigarettes; plenty of sleep; Frank, or Jim or Ted peeping through the grille, just to cheek. And the lads: good company, you know. And I know Michael deserved everything he got – though he says he was innocent – but he’s been very good to me. Excellent conversationalist. Likes to be tidy, too, just as I do. We’ve never had an argument, let alone a fight. Look, I know there’s a limit to what you can do, sir. But I was thinking: Well, the day before Christmas is just a bit too much. Can’t you manage just another couple of days? Nobody’ll notice. Then I’ll be off, of course, Two days? One day …?
Sample B
So that’s it, Charles, I’m afraid. I can’t tell you how sorry I am – how sorry we all are. Needless to say, if there’d been any alternative solution… But I think you’d be the first to agree things had reached the stage when it just had to be one or the other. So, having looked at it from all points of view, that’s what I’ve decided, harsh as it may seem. However, I don’t need to tell you how greatly we’ve valued your contribution – may I say your unique contribution – here. And I hope you’ll find satisfaction in the knowledge that the organization is what it is, er … very much because of what you have helped to make it. And I mean that. As for compensation – I’ve set out our proposal here, and I think you’ll find everything satisfactory, even generous. Well, as I say, there it is. You know, Tim’s quite a nice fellow, ready. Frankly, I could never quite understand why you two … Anyway.
[23]