- •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 recorded version.
Good: relevant number of intonation groups, adequate nuclear placement, pausation but lack of accuracy in the pre-nuclear pitch change (pre-head, head).
Fair: limited knowledge, inadequate delimitation at times, lack of stress placement and pausation specifics.
Poor: not enough to evaluate.
Score – mark
12-11 - 5
10-8 - 4
7-5 - 3
4-… - 2
2.7. Reading Technique
It is reasonable to point out that rhetorical appropriateness and intelligibility of reading a fairy tale is achieved through rhythmicality instruction strategies, namely a) cyclic selection of rhythmic units relevant for the meaningful processing and b) rhythmic pattering correlated with pausation and tempo making the process of the message transmission and perception quickly running and effective. The opening phase of this kind of classroom activity is what we call ‘delimitation of the verbal context’. Recurrence of rhythmic groups and syntagmas within the framework of didactically effective timing correlated with pausation and tempo variation is sure to be an indispensable device in terms of emphasizing sense-carriers of the text dynamics and make the performance natural and interactive.
Here is an example of a fairy tale stretch delimited into semantic quants (syntagmas).
E.g.
a) *One *night | when it was *bitterly *cold | and the *snow was *falling *fast and *thick |
they *just settled *by the *fire to *listen to some *more *stories | when there was a *loud
*knock at the *door.
b) rhythmic pattering
stressed syllable alternation (tempo variation)
*one – *night | *one – *night | *one – *night
*night *night *night
*bitterly – *cold | *bitterly – *cold | *bitterly – *cold
*cold *cold *cold
when it was *bitterly | when it was *bitterly | when it was *bitterly *bitterly *bitterly |
when it was *bitterly *cold when it was *bitterly *cold ||
*snow – *falling | *snow – *falling | *snow – *falling *falling *falling |
and the *snow and the *snow and the *snow and the *snow
was *falling was *falling was *falling was *falling |
*fast – *thick | *fast – *thick | *fast – *thick *thick *thick
*fast and *thick | *fast and *thick | *fast and *thick |||
and the *snow was *falling *fast and *thick and the *snow was *falling *fast and *thick *fast | *thick | *fast | *thick | *fast | *thick | *thick | *thick etc.
Try to develop your rhythmic pattering skills first after you have delimited the extracts from “’Snow White and Rose Red’ and ‘The Happy Prince’.
Focus on the didactic timing.
Try to alternate fully stressed syllables of the rhythm groups. Make up rhythmic models and try not to forget about the relevance of time intervals.
Read each intonation group in isolation and then increase the number of semantic items gradually.
Concentrate on the voice colouring of the message.
Focus on the expressive means of the intonation observed.
Remember to try and give additional force to some syllables to make the words sound expressive.
Get ready to present the extracts reading out loud to the best advantage.