- •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
1.3. Pragmaphonetic modeling
The phonetic organization of fairy tales creates the stylistic effect of euphony, which implies sound harmony and melodious flow of phonation. But the most functionally relevant feature of euphony is the rhythmicality created by the alternations of tone, loudness and tempo characteristics.
The rhetorical strategy of this sort of expressive discourse determines comprehensive pragmaphonetic modeling, which necessarily presupposes the variation of phonetic dimensions (tone, loudness, tempo, voice colouring) to the best advantage. There is no denying the fact that tone, tempo, loudness as well as voice timbre variations lead to special rhetorical effects of irony, horror or just sweet sadness and affection which a story may imply.
Along with the even measured flow of narration we find contrastive data in the phonetic parameters which help create vivid images of characters and their actions.
But above all the English fairy tale due to its rhythmicality becomes an expedient material for teaching practice. Discourse which affects listeners, which moves, delights and teaches has a rhetorical aim and exercises rhetorical language resources to perfection (M.Dvorzhetska). According to David Brazil, in rhythm of discourse only syllables which are prominent because of their selective significance will be the focus of special speaker and listener attention. Prominent syllables need to be attended to both for their sounds and their significance as sense selectors. Sounds targeted with precision make up regular pulses of discourse rhythmicality.
The rhythmic appropriateness and intelligibility is achieved through effective instruction in rhythm techniques. Here are the strategies promoting fairy tale modeling, namely,
selection of key words for rhythmic prominence
e.g. A Character 1: - *I’ll make the *porridge
Character 2: - *I’ll pour the *milk
Character 3: - *I’ll set the *table | *I set the *table
Chorus: *Baby set the *table
*Mama poured the *milk
*Papa made the *porridge
And they *all sat *down
They *all sat *down
They *all sat *down and *started to *eat.
formation of rhythmic units relevant for the meaningful processing
e.g. B Chorus: And they *all jumped *up and *danced around the table to show they are *hot | *hot | *much too *hot.
rhythmic pattering correlated with pausation and tempo making the process of the message transmission and perception quickly running and effective
e.g. C Character 1: - *Ah | *wow | *hot *hot *hot |
Character 2 - *Ah | *wow | *hot *hot *hot |
Character 3 - *Ah | *wow | *hot *hot *hot |
4) rhythmic focusing on textual structure (the trebling of characters)
e.g. D Presenter: *Once upon a *time there were *Тhree *Bears
Chorus: *Three *what?
*Three *Bears?
Presenter: *Once upon a *time there were *Тhree *Bears
Chorus: *How many Bears?
Presenter: *Three Bears
One | Two || Three Bears,| etc.
Deliberately strict rhythm serves as a means of creating the image of action dynamism so typical of this variety of expressive discourse. We must admit, however, that rhetoric studies through purposeful modeling of the language resources in teaching English to school students play an important role in the process of language acquisition creating excitement in the classroom.