В. Д. Аракин, Г. Б. Антрушина, Е. П. Кириллова, Э. Л. Левина, С. И. Петрушин, Т. С. Самохина
В. Д. Аракин, Г. Б. Антрушина, Е. П. Кириллова, Э. Л. Левина, С. И. Петрушин, Т. С. Самохина
кафедра английского языка Самарского
государственного педагогического института
(зав. кафедрой доц. Г.И. Чернышева)
Практический курс английского языка. 5 курс: Учеб. для П69 высш. учеб, заведений / Под ред. В. Д. Аракина. — 4-е изд., испр. и доп. — М.: Гуманит. изд. центр ВЛАДОС, 2003. - 232 с.
Учебник состоит из 7 разделов, каждый из которых содержит текстовые и вокабулярные задания, а также задания, направленные на развитие коммуникативных навыков. В учебнике реализуется установка на развитие профессиональных знаний и умений будущего учителя.
В 4-м издании полностью переработаны все вторые части разделов, направленные на развитие навыков неподготовленной устной речи.
© Коллектив авторов, 2000 © Гуманитарный издательский
центр «ВЛАДОС», 2000 © Серийное оформление обложки. Гумпнитарный издательский центр «ВЛАДОС», 2000
Настоящий учебник предназначается для студентов V курса факультетов и отделений английского языка педагогических институтов. Учебник ставит своими целями:
—дальнейшее развитие творческих умений и навыков устной и письмен
—дальнейшее расширение словарного запаса студентов и интенсивная
—развитие навыков реферирования и перевода с английского языка на
—дальнейшая тренировка и коррекция навыков произношения;
—совершенствование профессиональных знаний и умений будущего учи
—развитие дискуссионных навыков и умений;
Учебник состоит из Основного курса (Essential Course) и Приложения (Appendix). Основной курс (авторы В. Д. Аракин, Г. Б. Антрушина, Е. П. Кириллова, Э. Л. Левина, С. И. Петрушин, Т. С. Самохина) состоит из 7 уроков, каждый из которых делится на две части и имеет следующую структуру: текст (отрывок из произведения или отдельный рассказ английского или американского автора), сопровождающийся краткими сведениями об авторе и — в большинстве случаев — комментарием; словарь активных лексических единиц с дефинициями и иллюстративными примерами (при отборе активных лексических единиц авторы пользовались материалами современных частотных словарей); список активных словосочетаний; фонетические тренировочные упражнения; упражнения на интерпретационный анализ текста; упражнения на отработку и закрепление активного вокабуляра; речевые упражнения; задание на стилистический анализ текста, профессионально-направленные упраж- нения и задания.
В настоящем издании полностью переработаны вторые части всех уроков ("Conversation and Discussion"). При их составлении авторы опирались на современную методику преподавания иностранного языка — коммуникативное обучение языку. Исходя из требований этой методики, мы сочли необходимым включить в эту часть максимальное количество заданий на аргументированное монологическое высказывание, диалоги с обсуждением и отстаиванием противоположных точек зрения, дискуссии по проблемным вопросам и по принципу «за — против», круглые столы, ролевые игры.
Вторая часть каждого урока состоит из четырех разделов. В первом из них обычно дается текст информативного характера. В заданиях к нему студентам предлагается выделить основные идеи и аргументацию автора; наметить основные смысловые вехи текста. Второй раздел имеет коммуникативную направленность с определенной целевой установкой: реакция на чужое мнение, расспросы, убеждение собеседника, выражение согласия — несогласия, одрб-
рения — неодобрения и т. п. Вводятся соответствующие разговорные клише. Третий раздел строится вокруг текста, содержащего спорные положения. Задания направлены на стимулирование дискуссии. В четвертом разделе предлагаются материалы и тематика для обобщающих дискуссий и круглых столов по данной теме.
В приложение входят проблемные педагогические задачи (автор Е. П. Кириллова).
1. На каждый урок требуется 20 — 24 часа аудиторного времени при вы
2. Большой объем некоторых текстов определяется спецификой заключи
and consider its following aspects». Интерпретационный анализ имеет своей целью привлечь внимание студентов к тем частям текста, которые представляют наибольший интерес с точки зрения раскрытия содержания через определенный набор языковых и художественных средств. Обеспечивая более глубокое и неформальное понимание текста, интерпретационный анализ создает надежную опору для заключительного, обобщающего обсуждения его стилистических особенностей (см. упражнение "Reread the text to speak on the following points of style").
3. Как уже было сказано, авторы считают основной целью работы над язы
4. Тексты и упражнения располагаются по принципу нарастания трудно
5. В упражнениях с профессиональной направленностью, отталкиваясь от
Сюда же включены задания на подготовку «микроуроков». К каждой теме дается список необходимых выражений «классного обихода». (Схему прове-
дения «микроуроков» см.: «Практический курс английского языка для 4 курса педагогических вузов» В. Д. Аракина и др.).
6. В разделе "Insight into Profession" предлагается материал для бесед на различные профессиональные темы с методическим, педагогическим и лингвистическим уклоном, не связанные с темой урока. Раздел начинается с перечисления основных проблем, своего рода предваряющих тезисов, которые должны стать предметом обсуждения. Вопросы для обсуждения носят проблемный характер и могут быть использованы преподавателем для организации дискуссий самого различного характера («пресс-конференции», «научно-методические конференции по обмену опытом» и т. д.). Каждый раздел рассчитан на два часа аудиторного времени с условием подготовки студентами материала как домашнего задания.
INSIGHT INTO PROFESSION
COMMUNICATION: THIS EVER NEW OLD PROBLEM Talking Points:
1. Human relations can safely be said to be a basic human neces
2. The profession of a teacher obviously implies the ability to
TEXT ONE THE PASSIONATE YEAR
By James Hilton
James Hilton (1900—1954) was born in England and educated at Cambridge where he wrote his first novel, "Catherine Herself". His first big success came with the publication of "Good-bye, Mr. Chips". It was dramatized and filmed. "Lost Horizon" published in 1933 was awarded the Hawthornden Prize. Some of his other books are: "We Are Not Alone" (1937), "Random Harvest" (1941), "Nothing So Strange" (1947), "Time and Time Again" (1953). A resident of the United States since 1935, he died in Long Beach, California.
(Kenneth Speed, B.A., a young Master at Millstead Boarding School for boys, was warned that the first night he takes prep1 he might be ragged2 as it was a sort of school tradition that they always tried to rag teachers that night.
Preparation for the whole school was held in Millstead Big Hall, a huge vault-like chamber in which desks were ranged in long rows and where Master in charge sat on high at a desk on a raised dais.)
Speed was very nervous as he took his seat on the dais at five to seven and watched the school straggling to their places. They came in quietly enough, but there was an atmosphere of subdued expectancy of which Speed was keenly conscious; the boys stared about them, grinned at each other, seemed as if they were waiting for something to happen. Nevertheless, at five past seven all was perfectly quiet and orderly, although it was obvious that little work was being done. Speed felt rather as if he were sitting on a powder-magazine, and there was a sense in which he was eager for the storm to break.
At about a quarter past seven a banging of desk-lids began at the far end of the hall.
He stood up and said, quietly, but in a voice that carried well: "I don't want to be hard on anybody, so I'd better warn you that I shall punish any disorderliness very severely."
There was some tittering, and for a moment or so he wondered if he had made a fool of himself.
Then he saw a bright, rather pleasant-faced boy in one of the back rows deliberately raise a desk-lid and drop it with a bang. Speed consulted the map of the desks that was in front of him and by counting down the rows discovered the boy's name to be Worsley. He wondered
how the name should be pronounced — whether the first syllable should rhyme with "purse" or with "horse". Instinct in him, that uncanny feeling for atmosphere, embarked him on an outrageously bold adventure, nothing less than a piece of facetiousness, the most dangerous weapon in a new Master's armoury, and the one most of all likely to recoil on himself. He stood up again and said: "Wawsley or Wurss-ley — however you call yourself — you have a hundred lines!"3
The whole assembly roared with laughter. That frightened him a little. Supposing they did not stop laughing! He remembered an occasion at his own school when a class had ragged a certain Master very neatly and subtly by pretending to go off into hysterics of laughter at some trifling witticism of his.
When the laughter subsided, a lean, rather clever-looking boy rose up in the front row but one and said, impudently: "Please sir, I'm Worsley. I didn't do anything."
Speed replied promptly: "Oh, didn't you? Well, you've got a hundred lines, anyway."
"What for, sir" — in hot indignation.
"For sitting in your wrong desk."
Again the assembly laughed, but there was no mistaking the respectfulness that underlay the merriment. And, as a matter of fact, the rest of the evening passed entirely without incident. After the others had gone, Worsley came up to the dais accompanied by the pleasant-faced boy who dropped the desk-lid. Worsley pleaded for the remission of his hundred lines, and the other boy supported him urging that it was he and not Worsley who had dropped the lid.
"And what's your name?" asked Speed.
"Very well, Naylor, you and Worsley can share the hundred lines between you." He added smiling: "I've no doubt you're neither of you worse than anybody else but you must pay the penalty of being pioneers."
They went away laughing.
That night Speed went into Clanwell's room for a chat before bedtime, and Clanwell congratulated him fulsomely on his successful passage of the ordeal.4 "As a matter of fact," Clanwell said, "I happen to know that they'd prepared a star benefit performance for you but that you put them off, somehow, from the beginning. The
prefects5 get to hear of these things and they tell me. Of course, I don't take any official notice of them. It doesn't matter to me what plans people make — it's when any are put into execution that I wake up. Anyhow, you may be interested to know that the members of School House6 subscribed over fifteen shillings to purchase fireworks which they were going to let off after the switches had been turned off! Alas for fond hopes ruined!"
Clanwell and Speed leaned back in their armchairs and roared with laughter.
1. to take prep:to be in charge of preparation of lessons in a reg
2. to rag(coll): to play practical jokes on; treat roughly.
3. You have a hundred lines:Copying text is a common penalty
4. ordeal:in early times, a method of deciding a person's guilt or in
5. prefects:in some English schools senior boys to whom a cer
6. House:(here) a boarding-house attached to and forming a por
1. a) Listen to the recording of Text One and mark the stresses and tunes,
2. Consult a dictionary, transcribe the following words and practise their pro
vaultlike, dais, atmosphere, powder-magazine, disorderliness, pleasant-faced, deliberately, uncanny, outrageously, facetiousness, armoury, assembly, subtly, clever-looking, impudently, penalty, congratulate, fulsomely, ordeal, prefect, execution
3. Read the following word combinations paying attention to assimilation and
on the dais, watched the school straggling to their places; but there was an atmosphere of subdued expectancy; the boys stared about them; at the far end of the hallpconsulted the map; by counting down the rows discovered the boy' s name; when the laughter subsided; in the front row but one; again the assembly laughed; who dropped the desk-lid; but that you put them off; and they tell me; in their armchairs
4. Read the passage beginning with "Speed was very nervous..." till "...he was
5. While reading the following dialogues mind the intonation of the stimuli and
A. When the laughter subsided, a lean, rather clever-looking boy rese up in the front row but one and said, impudently: "Please sir, I'm Worsley. I didn't do anything."
Speed replied promptly: "Oh, didn't you? Well, you've got a hundred lines, anyway."
"What for, sir" — in hot indignation.
"For sitting in your wrong desk."
В. "And what's your name?" asked Speed.
"Very well, Naylor, you and Worsley can share the hundred lines between you." He added smiling: "I've no doubt you're neither of you worse than anybody else but you must pay the penalty of being pioneers.''
They went away laughing.
Give a summary of Text One.
19. Relate the incident that took place during the preps at Millstead from the
WHAT MAKES A GOOD TEACHER?
academica (- work/achievements/assessments)
assess v (to - academic achievements; to be -ed by the students)
authority л; authoritarianл, а (- basis/approach/posture)
availablea (to be - for personal contact; to be - to children; to be -in a private capacity)
backgroundл (child's/social/family/home -)
сагел (- and concern)
caringa (- attitude)
climateл (supportive ~; - of trust and support; to create -)
developmentл (academic/social/personal - of a pupil)
distanceл (social -)
encouragementn; syn. motivation
functionv (to - happily/effectively); syn. operate
guidev; syn. counsel, advise
impartv (to - one's knowledge)
individualл, а (- approach)
individuallyadv (to approach each student -)
interviewл (- with parents/career advisers)
peerл (- group)
pressureл (to operate under ~; - on teachers)
problemл (to present a -; a - child, to anticipate a -; to respond to pupils' -s)
relationshipл (teacher-student -; to work on -; to maintain -; social -; to build up -)
skillл (trade/social/study -s)
statusл (high, low -)
teachv (to - effectively);
teacherл (sympathetic/exacting/friendly/open/approachable/ conscientious/confident/knowledgeable/strict/efficient/tactful-)
out-of-class(- activities) patienceл (endless/eternal -)
I. 1. Read the following article:
Naughty — or Inquisitive?
The inherent naughtiness of children! Heavens above, do teachers really believe such rubbish? Evidently so, for the phrase comes from a letter you print and Mr. Tomkins, a head, no less, writing a two-page article, says it is "in the nature of children to be mischievous." Do they really think that the child is already naughty or mischievous as it emerges from the womb? I doubt it. What they probably mean is the inherent inquisitiveness of children which provides the fundamental drive to learning. Part of this learning is derived from the testing-out of adults with whom the child comes into contact, and unfortunately the pressures of society often make adults impatient or selfish or even, occasionally, sadistic in their responses. Inquisitiveness becomes frustrated or distorted into naughtiness (in the eyes of adults, though not necessarily those of the child), The prime function of school should be to nurture, and where necessary, restore inquisitiveness to its fullest vigour; but how can we achieve that with woolly formulations about "naughtiness" ?
Actually, I think that such woolliness is often the product of teachers' refusal to face up squarely to the basic question relevent to discipline in London schools: namely, "to cane or not to cane? " So long as the cane is available, even if only as a last resort, to extract obedience through fear, discussion of alternative policies must remain hamstrung. The learning of complex skills, leadership and the ability to use initiative is not taught through the cane. Caning has ceased even in the Navy's boy training establishments — they found that corporal punishment did not work. Yet some teachers — including correspondents to "Contact" — want it restored in London's junior schools. Maybe someone would explain to me why London teachers lag some years behind our military men in this matter, and 190 years behind the Poles, who abolished corporal punishment in schools in 1783.
С самого первого урока
Нина Сергеевна чувствовала, что терпит поражение. Сначала она старалась, как умела, ничем не выдавать себя. Первой выходила из класса: быстрой, независимой походкой направлялась к учительской. А дома долго не могла заснуть, мучительно искала причину...
Она недавно окончила педагогический институт. Предмет свой знала отлично. Всегда считалась первой в группе по методике преподавания. И теперь вот... не справлялась с классом.
Бывали у нее на уроках, конечно, и завуч школы, и директор, но в их присутствии ребята сидели тихо. Внешне все выглядело благополучно.
Молодой учительнице казалось, что она любит детей. А ребята ее не приняли.. В первые дни как будто все было хорошо, а потом классы стали похожими на муравейники. На учительницу ребята просто не обращали внимания, и она ничего не могла поделать. Попытки овладеть классом приводили лишь к большему обострению отношений с учениками. Росло взаимное отчуждение, то и дело вспыхивали конфликты. В сердце учительницы поселилось отчаяние. А потом пришел день, когда ей стало как-то все безразлично...
Случай с учительницей К. далеко не единичен. Многие преподаватели, хорошо знающие свой предмет, не находят правильного тона в общении с детьми, а потому и не испытывают радости от своей работы. Вина это их или беда?
Иной учитель считает, что самое главное для него — это добиться в классе дисциплины и порядка. И забывает о том, что методы, с помощью которых они устанавливаются, имеют не
меньшее воспитательное значение, чем сама дисциплина. Можно достичь видимости относительного благополучия окриком, угрозой. Некоторые учителя при этом самодовольно приговаривают; "У меня не пикнут!". Но вряд ли такой педагог пользуется искренним уважением и любовью ребят.
Хочется заранее отвести возможные обвинения в том, что противопоставляется опора на интерес и вдохновение учителя требованию. Ничуть. Нужно и то и другое. Начни Нина Сергеевна с продуманных, четких инструктивных требований, направленных на создание работоспособного коллектива в классе, — и очень скоро рабочая атмосфера на уроке стала бы привычной. Вот тогда-то она смогла бы развернуть и свое дарование, увлечь ребят творческим порывом и пробудить интерес к знанию...
b) Discuss the text in pairs. (The talking point: "How important is the teach
c) Answer the following questions:
1. Do you think Nina Sergeyevna's main fault was her failure to keep order in class? Or was it something else? 2. What do you think about different ways of maintaining discipline in class, such as rapping knuckles on the table, shouting, etc. ? Do they have any effect? 3. Was it difficult for you to maintain good discipline at your lessons during your teaching practice? 4. What measures did you take if somebody tried to undermine the discipline?
d) Make up short monologues dealing with discipline problems in a second
TEXT TWO THE ESCAPE
By Somerset Maugham
W. Somerset Maugham, a famous English writer, was born in 1874 in Paris. He received his medical degree, but he never practised medicine; the ambition to write dominated his entire life. In 1897 "Liza of Lambeth", Maugham's first novel, appeared. It had no success. For the next ten years Maugham wrote and starved. He turned out a steady stream of plays and novels none of which excited much attention. His luck changed in 1907. In that year "Lady Frederic", a comedy of manners, was produced in London. It had a bright, fashionable success. By and by, Maugham became internationally celebrated; his plays were performed all over the world. Now independent and well able to enjoy life Maugham began to travel. He came to know Europe thoroughly and spent long periods in the United States, the South Seas and China. His favourite country was Spain ("The Land of the Blessed Virgin" and "Don Fernando"). In 1915 Maugham published a novel that had been in preparation for many years. Called "Of Human Bondage" it was received by critics with great respect. Over the years, it has become a modern classic. Many popular successes followed its publication: "Ashenden", "Moon and Sixpence", "Cakes and Ale", etc. He died in 1965.
I have always been convinced that if a woman Once made up her mind to marry a man nothing but instant flight could save him. Not always that; for once a friend of mine, seeing the inevitable loom menacingly before him, took ship from a certain port (with a toothbrush for all his luggage, so conscious was he of his danger and the necessity for immediate action) and spent a year travelling round the world; but when, thinking himself safe (women are fickle, he said, and in twelve months she will have forgotten all about me), he landed at the selfsame port the first person he saw gaily waving to him from the quay was the little lady from whom he had fled. I have only once known a man who in such circumstances managed to extricate himself. His name was Roger Charing. He was no longer young when he fell in love with Ruth Barlow and he had had sufficient experience to make him careful; but Ruth Barlow had a gift (or should I call it a quality?) that renders most men defenceless, and it was this that dispossessed Roger of his common sense, his prudence and his worldy wisdom. He went down like a row of ninepins.1 This was the gift of pathos. Mrs. Barlow, for she was twice a widow, had splendid dark eyes and they were the most moving I ever saw; they seemed to be
ever on the point of filling with tears; they suggested that the world was too much for her, and you felt that, poor dear, her sufferings had been more than anyone should be asked to bear. If, like Roger Charing, you were a strong, hefty fellow with plenty of money, it was almost inevitable that you should say to yourself: I must stand between the hazards of life and this helpless little thing, or, how wonderful it would be to take the sadness out of those big and lovely eyes! I gathered from Roger that everyone had treated Mrs. Barlow very badly. She was apparently one of those unfortunate persons with whom nothing by any chance goes right. If she married a husband he beat her; if she employed a broker he cheated her; if she engaged a cook she drank. She never had a little lamb but it was sure to die.2
When Roger told me that he had at last persuaded her to marry him, I wished him joy.
"I hope you'll be good friends," he said. "She's a little afraid of you, you know; she thinks you're callous."
"Upon my word I don't know why she should think that."
"You do like her, don't you?"
"She's had a rotten time, poor dear. I feel so dreadfully sorry for her."
"Yes, "I said.
I couldn't say less. I knew she was stupid and I thought she was scheming. My own belief was that she was as hard as nails.
The first time I met her we had played bridge together and when she was my partner she twice trumped my best card. I behaved like an angel, but I confess that I thought if the tears were going to well up into anybody's eyes they should have been mine rather than hers. And when, having by the end of the evening lost a good deal of money to me, she said she would send me a cheque and never did, I could not but think that I and not she should have worn a pathetic expression when next we met.
Roger introduced her to his friends. He gave her lovely jewels. He took her here, there, and everywhere. Their marriage was announced for the immediate future. Roger was very happy. He was committing a good action and at the same time doing something he had very much a mind to. It is an uncommon situation and it is not surprising if he was a trifle more pleased with himself than was altogether becoming.
Then, on a sudden,' he fell out of love. I do not know why. It could hardly have been that he grew tired of her conversation, for she had never had any conversation. Perhaps it was merely that this pathetic
look of hers ceased to wring his heart-strings. His eyes were opened and he was once more the srewd man of the world he had been. He became acutely conscious that Ruth Barlow had made up her mind to marry him and he swore a solemn oath that nothing would induce him to marry Ruth Barlow. But he was in a quandary. Now that he was in possession of his senses he saw with clearness the sort of woman he had to deal with and he was aware that, if he asked her to release him, she would (in her appealing way) assess her wounded feelings at an immoderately high figure.3 Besides, it is always awkward for a man to jilt a woman. People are apt to think he has behaved badly.
Roger kept his own counsel. He gave neither by word nor gesture an indication that his feelings towards Ruth Barlow had changed. He remained attentive to all her wishes; he took her to dine at restaurants, they went to the play together, he sent her flowers; he was sympathetic and charming. They had made up their minds that they would be married as soon as they found a house that suited them, for he lived in chambers and she in furnished rooms; and they set. about looking at desirable residences. The agents sent Roger orders to view and he took Ruth to see a number of houses. It was very hard to find anything that was quite satisfactory. Roger applied to more agents. They visited house after house. They went over them thoroughly, examining them from the cellars in the basement to the attics under the roof. Sometimes they were too large and sometimes they were too small, sometimes they were too far from the centre of things and sometimes they were too close; sometimes they were too expensive and sometimes they wanted too many repairs; sometimes they were too stuffy and sometimes they were too airy; sometimes they were too dark and sometimes they were too bleak. Roger always found a fault that made the house unsuitable. Of course he was hard to please; he could not bear to ask his dear Ruth to live in any but the perfect house, and the perfect house wanted finding. House-hunting is a tiring and a tiresome business and presently Ruth began to grow peevish. Roger begged her to have patience; somewhere, surely, existed the very house they were looking for, and it only needed a little perseverance and they would find it. They looked at hundreds of houses; they climbed thousands of stairs; they inspected innumerable kitchens. Ruth was exhausted and more than once lost her temper.
"If you don't find a house soon," she said, "I shall have to reconsider my position. Why, if you go on like this we shan't be married for years."
"Don't say that," he answered. "I beseech you to have patience. I've just received some entirely new lists from agents I've only just heard of. There must be at least sixty houses on them."
They set out on the chase again. They looked at more houses and more houses. For two years they looked at houses. Ruth grew silent and scornful: her pathetic, beautiful eyes acquired an expression that was almost sullen. There are limits to human endurance. Mrs. Barlow had the patience of an angel, but at last she revolted.
"Do you want to marry me or do you not?" she asked him.
There was an unaccustomed hardness in her voice, but it did not affect the gentleness of his reply.
"Of course I do. We'll be married the very moment we find a house. By the way I've just heard of something that might suit us."
"I don't feel well enough to look at any more houses just yet." . "Poor dear, I was afraid you were looking rather tired."
Ruth Barlow took to her bed. She would not see Roger and he had to content himself with calling at her lodgings to enquire and sending her flowers. He was as ever assiduous and gallant. Every day he wrote and told her that he had heard of another house for them to look at. A week passed and then he received the following letter:
I do not think you really love me. I have found someone who is anxious to take care of me and I am going to be married to him today.
He sent back his reply by special messenger:
Your news shatters me. I shall never get over the blow, butof course your happiness must be my first consideration. I send you herewith seven orders to view; they arrived by this morning's post and I am quite sure you will find among them a house that will exactly suit you.
1. He went down like a row of ninepins,(fig.) here: He was defeat
2. She never had a little lamb but it was sure to die:There was
somebody that one loves dearly; an allusion to the well-known nursery rhyme:
Mary had a little lamb. Its fleece was white as snow, And everywhere that Mary went, The lamb was sure to go.
3. she would assess her wounded feelings at an immoderately high figure:she would make him pay much for jilting her.
1. a) Listen to the recording of Text Two and mark the stresses and tunes,
2. Consult a dictionary, transcribe the following words and practise their pro
inevitable, menacingly, necessity, quay, extricate, experience, dispossess, prudence, pathos, hazard, apparently, persuade, callous, dreadfully, scheming, angel, cheque, pathetic, jewel, acutely, solemn, oath, quandary, release, assess, immoderately, gesture, restaurant, sympathetic, chamber, agent, basement, attic, tiring, patience, perseverance, innumerable, reconsider, endurance, revolt, content, assiduous, messenger, herewith
3. Read the following word combinations paying attention to different types
and the necessity for immediate action; round the world; at the selfsame port; that dispossessed Roger of his common sense; on the point of filling with tears; between the hazards of life and this help-: less little thing; she twice trumped my best card; his eyes were opened; he swore a solemn oath; in her appealing way; people are apt to think; in the basement; made the house unsuitable; they climbed thousands of stairs; but it did not affect the gentleness of his reply; we'll be married the very moment we find a house
4. Read the following sentences: beginning with "I have always been con
5. Read the following extracts: from "When Roger told me,..." up to "...as hard
6. Read the text and consider its following aspects:
a) What is the relation of the opening passage of the story (ending "... from whom he had fled") to the main plot? Comment on the syntax of the second sentence ("Not always that;..."); justify its length.
b) What would be lost if the sentence "but Ruth Barlow had a 'gift' (or should
c) Select from the first paragraph words and phrases characterizing Ruth Bar
d) Analyse the rhythm in the sentence beginning "If she married a husband..."
e) What method (or methods) of characterization is used in the fragment be
f) Exemplify the author's use of vivid epithets in the character of Ruth Barlow.
BOOKS AND READERS
acquirev (to - an idea/knowledge/a habit)
bookл (a - to open anywhere)
characterл (to depict -s, to unmask -s, - portrayal)
Clarity of presentation
coverл (book- -)
digest л (book -s; a thesaurus of book -s)
genreл (literary -)
handicapл (a - in study)
judgementл (a sense of -)
lineл (a space between the -s; to read between the -s)
literarya (~ work; - materials; - critic)
markv (to - (up) a book)
masterv (to - information and content)
matterл (reading/printed -)
messagen (to convey a -; the -• is lost upon the reader)
observationл (to call for ~; power of ~)
rateл (- of reading)
readv (to - slowly/labouriously/from cover to cover)
readerл (intelligent/sophisticated/fast/slow/bad -)
readingл (slow/repeated/critical/exploratory -; revision -; - for
enjoyment) release л
scribblev (to - in a book) selection л
sequenceл (the - of events) skim v skip v
suspenseл (to hold the reader in -; full of -) title л
Situation:Readers' Conference on Television
A few televiewers invited to the studio
Televiewers asking questions by phone
Talking Point:Discussing any book you choose
TEXT THREE ONE STAIR UP
Nairne, Campbell, a Scottish novelist, the author of two books "One Stair Up" (1932) and "Stony Ground" (1934). "One Stair Up" deals with the life of an Edinburgh working-class family and is characterized by realism, a fine style and a sense of humour.
They went up a short marble staircase, treading without sound on a rich carpet of some green material that yielded like springing turf, and moved across a salon hung everywhere with the coloured and signed portraits of film stars. Back in this dim region of luxury, quite still except for the soft whirring of fans they could hear a tea-spoon chink, a cup grate on a saucer, a voice rise above another voice and sink again into voluptuous stillness. Out of a door marked "Circle" over the bull's-eye in each of its two folding partitions, a trim girl in a chocolate uniform with blue pipings silently emerged, glanced at the tickets, and admitted them, flashing her torch into a hot darkness lit here and there by red lamps and speared diagonally by a shaft of white light falling on the rounded oblong of the screen. "Gee baby, you're a swell kid."1 There was a murmur in the audience, and a man's face came surprisingly out of shadow as he struck a match in the lower part of the gallery. Still flashing her torch, the girl hopped in front of them down the steps of the circle, picked out a couple of vacant seats, and stood back to let them squeeze past her into the row. "Thank you," Andrew said huskily. Several faces glared at them as they sat down. "This a comedy?" Rosa took off her gloves and surveyed the dim amphitheatre in the hope of recognizing some of her acquaintances. It pleased her to be seen in the dress circle, even with Andrew. But her eyes were still unaccustomed to the obscurity. She noted that the cinema, as usual, was nearly full, and looked for the first time at the screen. Two shadowy faces, enormous on the white background, moved together and kissed.
"It isn't the big picture,"2 Andrew said. "That doesn't come on till eight-forty. You see all right?"
She nodded. He risked no further inquiries, knowing how often she had forbidden him to talk to her in a cinema. He promised himself that to-night he would resist that awful temptation to explain the story in a whisper when he fancied he saw the end of it. Nor would he even say: "Liking it, Rosa?" — "No bored, are you? 'Cos3 if you are we'll go out." — "It's hot stuff, isn't it?" No, he would say nothing and enjoy himself... Ah, this was better. Nice and warm in a cinema, and dark; you couldn't see anybody else, and they couldn't see you. Prefer cinemas to theatres any day.
The film ended a few minutes after they had come in. Down swung a looped curtain, pot-plants and palms leapt up under the stage apron, one row of lights and then another shed a pink radiance over the exits, in the domed roof a shower of small stars twinkled and glittered and three bowls flushed suddenly to ruby colour. A dozen or so of the audience got up and pushed out to the exits. Swiftly the light dimmed again. The curtain rattled back and the white oblong emerged from folds already caught by lines of flickering grey print. A draped girl swam into view and began to blow bubbles out of a long pipe. One of these expanded and expanded until it filled the whole screen. It then burst into the letters "All Next Week", which in turn dissolved and announced a film called "Mothers of Broadway" as a forthcoming attraction.4 The film seemed to have smashed all records. It drew tears from the hardest hearts. It sent thrills down the spine. It was a rapid-fire drama. It was a heart-searing tale of studio parties, million-dollar prize fights, and supercharged automobiles. It was, according to other statements that rushed out of the screen, packed with heart-throbs, tingling with reality, vibrant with love and hate — and what a story it had! "You will love it," the screen confidently asserted. "You must see it: the film you'll never forget." Beautiful blondes evidently abounded in this tale of thrill-thirsty young bloods.5 One of them, it seemed, was to find after rushing through "gaiety, temptation, and sorrow" that motherhood is the greatest of all careers. "A film that plucks the heart-strings. Bewitching Minnie Haha in the mightiest drama of Broadway."
"Not much good, I expect," Andrew said, "Hullo" — the lights dimmed and a chorus of metallic jazz broke out — "I think that's the big picture on now."
He had now a pleasant feeling that he was going to enjoy himself.
There was some rare fun in this picture. That fat man with the beard — you had to laugh! First of all you saw a shelf with a basket of eggs on it, then a cat moved along, then the eggs tumbled one by
one on the man's head. Oh dear! the way he squeezed that yolk out of his eyes and staggered forward and plumped headfirst into a water-butt. And then the lean chap, coming into the corridor, didn't look where he was going and hit a cook who was marching out of the kitchen with a tray of custards. What a mix-up. Custards all over the place. Holding his seat tight to control his laughter, Andrew wondered whether these chaps really allowed themselves to be knocked down and swamped with custards. No wonder they got big salaries if they had to put up with that kind of thing every day of their lives. Perhaps they faked some of it. Anyhow it was too funny for' words. And now here was that dog — must be a hard-worked dog, for you saw it, or another like it, in dozens of these comic films — and of course it was carrying something in its mouth. Oh yes, a stick of dynamite. Where was it going to put that? Under the fat man's bed. Andrew wriggled with enjoyment, then started and feughed gleefully^s the dialogue was cut short by a sudden loud explosion. Haha! There was the fat man with a black eye, no beard, half a collar, and no trousers. Oh, this was good! Rosa must be liking this.
What ababy he is, Rosa was thinking. You can't really be angry with him. He doesn't seem to have grown up at all. Talk about Peter Pan.6 He's just a big hulking kid. Faintly contemptuous, she watched his blunt nose and chin silhouetted in the darkness. Is he really so stupid, she wondered. Yes, I suppose he is. Oh, for heaven's sake stop that cackling! The explosion shattered its way into the half. She started.
"Good, isn't it?" he broke out, forgetful in his excitement.
She"tossed her head.
"I don't see anything funny in that."
His hands dropped; all the joy died out of his face and eyes. He looked so abject that she was sorry for him against her will.
"I thought — it was quite funny, you know — I mean, people laughed. I wasn't the only one. But if you don't like it — "
She tried hard, still moved by pity, to reply with gentleness, but the retort shaped itself and was uttered before she had command of it.
"I haven't your sense of humour, that's all."
1. Gee baby, you're a swell kid: These words are coming from the screen. Gee [dgi:] is an interjection which in American English expresses approval.
2. By "the big picture"Andrew means the main film on the pro
3. 'cos: (coll.) because
4. a forthcoming attraction:a film to be released in the near
5. young bloods:here society youths
6. Peter Pan:the main character of "Peter and Wendy", a book
7. Och: interjection used in Scotland and Ireland for "oh, ah"
Forgery n, forger n
faken 1) a worthless thing that is represented as being smth. it is not; maybe used attributively, as a fake picture 2) a person that represents himself as someone he is not. Syn. fraud.
Fakediffers from fraudin not necessarily implying dishonesty, for a fakemay be a joke, or a theatrical device (e.g. Actors use fakes instead of real swords), or it maybe dishonesty (e.g. This testimony is clearly a fake).
Fraudalways refers to wilful deception and dishonesty (e.g. He got money by fraud) or to a person who cheats or a thing that deceives (e.g. This hair-restorer is a fraud, I'm as bald as ever I was!).
1. a) Listen to the recording of Text Three and mark the stresses and tunes.
2. Consult a dictionary, transcribe the following words and practise their pro
marble, luxury, voluptuous, obscurity, inquiry, apron, confidently, gaiety, chorus, partition, chocolate, uniform, diagonally, oblong, gallery, amphitheatre, radiance, exit, bowl, dissolve, record, automobile, vibrant, metallic, yolk, dynamite, dialogue, contemptuous, silhouetted, abject
3. Practise the pronunciation of the following compound words paying atten
'tea-spoon, 'bull's-eye, 'dress .circle, 'background, 'pot-plants, 'stage ,apron, 'rapid-'fire, 'heart-.searing, 'heart-throbs, 'thrill-'thirsty, 'heart-string(s), 'water-butt, 'mix-'up, 'hard-'worked, a 'hard-worked 'dog, 'black 'eye
4. Read the following word combinations paying attention to the phonetic phe
a short marble staircase; in the dim region; here and there; you're a swell kid; a murmur in the audience; stood back to let them squeeze; surveyed the dim amphitheater; in the hope of; some of their acquaintances; in the dress circle; she noted that the cinema; on the white background; it isn't the big picture; no further inquiries; a shower of small stars; filled the whole screen; sent thrills down the spine; packed with heart-throbs; in this tale of thrill-thirsty young bloods; in the mightiest drama; then the eggs tumbled; he squeezed that yolk; and then the lean chap
5. Read the following sentences out loud; beginning with "Back in this dim re
6. Study the following proverbs, a) Translate them into Russian or supply their
1. Beauty lies in lover's eyes. 2. A stitch in time saves nine. 3. Once bitten, twice shy. 4. Let bygones be bygones. 5. Out of sight, out of mind. 6. Velvet paws hide velvet claws. 7. Salt water and absence wash away love. 8. Time and tide wait for no man. 9. Idleness rusts the mind.
7. Read the text and consider its following aspects, a) Comment upon the choice of words:
in this dim region of luxury (whynot "dark"?); a trim girl... silently emerged, glanced at the tickets, and admitted them (why not "silently appeared, looked at the tickets, and let them in"); several faces glared at them (whynot "looked"?).
b) Point out formal (learned) words and colloquialisms in the first three para
treading without sound on a rich carpet... that yielded like springing turf; a hot darkness... speared diagonally by a shaft of white light; in this dim region of luxury, quite still except for the soft whirring of fans; a draped girl swam into view; the curtain rattled back; it was a rapid-fire drama; it was a heart-searing tale; supercharged automobiles; it was... packed with heart-throbs, tingling with reality, vibrant with love and hate; thrill-thirsty young bloods; what a mix-up; perhaps they faked some of it; talk about Peter Pan; the retort shaped itself and was uttered before she had command of it
d) Select from the first three paragraphs sentences through which the author,
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