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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
III. Список основной литературы.Стр 1 из 2Следующая ⇒
МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ Для обеспечения контролируемой самостоятельной работы студентов (КСР) по учебной дисциплине «Практическая фонетика»
Барановичи, 2012 г. Тема: «Basic Intonation Patterns of English» I. Краткая аннотация. Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме «Basic Intonation Patterns of English». Комплекс заданий, направленный на достижение поставленных целей и задач КСР разработан в соответствии с программой по дисциплине «Практическая фонетика». Цель темы – способствовать развитию умений использовать различные интонационные структуры в устной речи Задачи: § формировать умение практической реализации ритмических структур в речи; § совершенствовать слухо-произносительные навыки студентов; § развивать память, мышление, внимание;
II. Тематический план. 2 курс, 3 семестр. Тема: «Basic Intonation Patterns of English»
III. Список основной литературы. 1. Карневская, Е.Б. и др. Практикум по фонетике английского языка для студентов 2-го курса: учебно-методическое пособие для студентов языковых факультетов/Е.Б. Карневская, М.С. Рогачевская, Т.П. Митева. – Мн.: Бестпринт, 1999. – 50 с. 2. Карневская, Е.Б. и др. Практическая фонетика английского языка на продвинутом этапе обучения: учебник/Е.Б. Карневская, Е.А. Мисуно, Л.Д. Раковская; под общей ред. Е.Б. Карневской. – Мн.: «Аверсэв», 2003. – 400 с.
Список дополнительной литературы: 1. Соколова, М.А. Практическая фонетика английского языка: Учеб для студ. высш. учеб. заведений. – М.: Гуманит. изд. Центр ВЛАДОС, 2003. – 384 с.: ил. 2. O’Connor, J.D. Better English Pronunciation/ J.D. O’Connor. – Cambridge, 1997. 3. Baker, A. Tree or Three [kit]: an elementary pronunciation course / Ann Baker. – Cambridge: Cambridge university Press, [2006]. 130 с.: il + 3 эл. апт. Диск
Фономатериалы 1. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course.
IV. Информационный блок. The number of actual utterances produced by native speakers of English is obviously unlimited. But they can be reduced to a comparatively small list of basic intonation patterns (also called pitch-patterns or contours). The word “basic” is used to denote several ideas: - Meaningfulness (the replacement of one pattern by another causes a change in the meaning of an utterance) E.g. – ‘Like to have some ׳ ice-cream to˚ night. - Typical character (the patterns are pronounced and used in much the same way by all educated English speaking people) - The patterns are associated with a complete communicative unite. The discrimination of basic intonation patterns relies primarily on the directional type of nuclear pitch change (the rising, falling patterns). Within each of the 4 patterns there’s a further division according to the combination of the nuclear tone with the Head or absence of Head. The meaning of the intonation patterns (contours) is mostly the sum total of the meanings of the nuclear tones and the heads used in them. While describing and analyzing the basic contours 2 points should be made clear: 1. The semantic effect of an intonation pattern depends to a degree on the type of the utterance it is used in. The meaning of the pattern may coincide with the communicative nature of the sentence-type (e.g. – finality and assertiveness of the fall with a statement, the interrogative character of a rise with general questions, etc.) In this case the pattern will be regarded as typical for this sentence-type and will be called normal. On the contrary it may not coincide and will be called not-normal. The word “not-normal” here means some additional effect or connotation leading to a modification of the communicative meaning of the sentence-type (e.g. – implicatory statements, insistent or skeptical general questions, friendly special questions, etc.) 2. Intonation patterns differ in the expressiveness of their meaning, which is proportional to the expressiveness of their form. (An utterance with a Scandent Head in combination with any nuclear tone is more expressive and is suitable for a lively conversation while an utterance with a Stepping Head is not so expressive and is suitable for a businesslike talk. Utterances with a Rising-Falling Tone are more colorful than those with a simple Falling Tone) According to this principle all intonation patterns are subdivided into emotionally neutral and emotionally colored. V. Учебно-методический блок. Intone and then act out the following dialogues using different intonation patterns. Comment on your choice. Do it in a written form. – I want to ask you if you are ready to go. – Wait a minute, honey. – Aren’t you ready to go? – Just a second. I’m putting on my shirt, my skirt, my tights … Oh, I believe this blouse is better … – OK. I’ve only one question: “Shall I go to the disco alone or with our new pretty servant? ” _____________________________________________________________________________ – Good students attend their lessons regularly, don’t they? – What do you want to say? Do you think I’m lazy? – As a matter of fact I didn’t mention your name. – It’s not a problem for a clever girl to see your mind. – Helen, clever girls never talk too much.
– You must do your lessons regularly”, said the mother in a loud voice. – What will it give me? Will it make me happy? – You’ll be a clever person. I’ll be proud of you. So, you’ll be happy too, won’t you? – Don’t you know that very clever people are never happy? As for me, I consider stupidness and happiness to be synonyms.
– What kind of school do you go to, Ann? – Well, now to a private one. – It means your parents are rather rich. Am I right? – It means my parents want me to get a good education. – You are absolutely right, dear. As the proverb “runs”: if you consider education to be too expensive, try to pay for ignorance.
VI. Контрольный блок. Give broad written answers to the following questions. 1. What is the number of actual utterances produced by a native speaker of English? 2. How do you understand the term “basic I.P.”? 3. What plays the most important role in the differentiation of basic I.P-s? 4. What does the meaning of the contour depend on? 5. What do we understand under “normal”, “not normal” patterns? 6. How do I.P-s differ in expressiveness? Тема: «COMPOUND TUNES» I. Краткая аннотация. Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации контролируемой самостоятельной работы студентов по теме: «Составные тональные контуры» углубленного курса практической фонетики. Комплекс заданий, направленный на достижение поставленных целей и задач КСР, составлен в соответствии с учебной программой по дисциплине «Практическая фонетика». Цель – формирование ритмико-интонационных навыков употребления составных тональных контуров в эмоционально-окрашенных диалогах. Задачи: 1. Изучить модально-эмоциональные характеристики предложенных интонационных структур. 2. Систематизировать понятийный аппарат по теме. 3. Развивать умение организации и функционирования предложенных интонационных структур в связной речи. II. Тематический план. 2 курс, 3 семестр. Тема: «Составные тональные контуры» IV. Информационный блок. COMPOUND TUNES. Expressiveness of speech is often the result of using more than one kinetic tone in an intonation group. Intonation groups having more than one kinetic tone are called Compound Tunes. e.g. I’ve ˈ done ‵ nothing but ‵ worry. The most common types of compound tunes are: High Rise + High Rise Low Rise + Fall Fall + Fall-Rise Fall-Rise + Fall Fall + Fall High Rise + High Rise – typically occurs in General questions. It gives them a feeling of surprise or incredulity. The same feeling can be expressed by the High Irregular Prehead before the Emphatic High Rise, but this compound tune has a rather more friendly effect. e.g. Compare: ¯ Aren’t you ˝ ready yet? ˊ Aren’t you ˝ ready yet? A compound tune may contain more than one High Rising tone in the Head. This intonation pattern is often used in questions addressed to children. e.g. ˊ Won’t you ˊ wait for your ˊ sister? Low Rise + Fall – usually gives a feeling of: ü mystification and puzzlement to questions; ‚ Why didn’t he ‵ wait? ü persuasiveness to statements and imperatives; ‚ Go and ‶ see him. ü wonderment to exclamations. ‚ How an ‶ noying! Fall + Fall-Rise – usually serves to give special emphasis. The Fall-Rise in the Nucleus is very often of a low emphatic variety, which has a more apologetic note than the High Fall-Rise, especially in statements. e.g. I ‵ don’t think he ought to be ‚angry. Imperatives with this compound tune often have a suggestion of reproachfulness. e.g. ‵ Don’t make so much ‚fuss about it. Fall-Rise + Fall – serves to emphasize and to give a sense of contrast to some word or words coming earlier than the Nucleus. Such compound tunes are milder in feeling because of the Fall-Rise in the Head. e.g. – Will you make another attempt? – I’d `ˊ rather ‵ not. Fall + Fall – gives emphasis to or expresses a contrast on some prenuclear items. This compound tune often imparts a feeling of: insistence to special and general questions; dogmatism to statements; energy to imperatives; extra emphasis to exclamations. e.g. Why ‶ ever didn’t you ‶ say so be ‵ fore? We must ‶ tell him and ‶ worn him im ‵ mediately. ‶ Don’t ever ‶ do that a ‶ gain. ‵ What a ‵ wonderful sur ‵ prise!
VI. Контрольный блок. Listen to the dialogue “Cross Words” and prepare a good reading of it [2, p. 328]. Transcribe the dialogue. Тема: “Prosodic Co-ordination and Prosodic Subordination” I. Краткая аннотация. Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСРС по теме «Prosodic Co-ordination and Prosodic subordination». Комплекс заданий, направленный на достижение поставленных целей и задач КСР, составлен в соответствии с учебной программой по дисциплине «Практическая фонетика». Цель темы – совершенствование ритмико-интонационных навыков. Задачи: - углубить знания студентов об интонационных особенностях английского языка; - учить студентов правильному акцентному оформлению фраз; - учить студентов передавать различную стилистическую окраску речи в зависимости от речевой ситуации; - развивать логическое мышление, память, воображение студентов - сформировать способность студентов применять усвоенные знания в практических целях.
II. Тематический план. 2 курс, 3 семестр. Тема: Prosodic Co-ordination and Prosodic Subordination. III. Информационный блок.
Фономатериалы 1. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course. VI. Вопросы для самоконтроля. 1. What types of semantic relations may exist between the adjacent parts of an utterance? 2. Co-ordinative and subordinative tone-sequences always correlate with grammatical coordination and subordination, don’t they? 3. What are the specific features of co-ordinative relations? Subordinative relations? Relations of mutual dependence? VII. Контрольный блок. МЕТОДИЧЕСКИЕ РЕКОМЕНДАЦИИ Для обеспечения контролируемой самостоятельной работы студентов (КСР) по учебной дисциплине «Практическая фонетика»
Барановичи, 2012 г. Тема: «Basic Intonation Patterns of English» I. Краткая аннотация. Данные методические рекомендации предназначены для студентов 2 курса факультета славянских и германских языков при организации КСР по теме «Basic Intonation Patterns of English». Комплекс заданий, направленный на достижение поставленных целей и задач КСР разработан в соответствии с программой по дисциплине «Практическая фонетика». Цель темы – способствовать развитию умений использовать различные интонационные структуры в устной речи Задачи: § формировать умение практической реализации ритмических структур в речи; § совершенствовать слухо-произносительные навыки студентов; § развивать память, мышление, внимание;
II. Тематический план. 2 курс, 3 семестр. Тема: «Basic Intonation Patterns of English»
III. Список основной литературы. 1. Карневская, Е.Б. и др. Практикум по фонетике английского языка для студентов 2-го курса: учебно-методическое пособие для студентов языковых факультетов/Е.Б. Карневская, М.С. Рогачевская, Т.П. Митева. – Мн.: Бестпринт, 1999. – 50 с. 2. Карневская, Е.Б. и др. Практическая фонетика английского языка на продвинутом этапе обучения: учебник/Е.Б. Карневская, Е.А. Мисуно, Л.Д. Раковская; под общей ред. Е.Б. Карневской. – Мн.: «Аверсэв», 2003. – 400 с.
Список дополнительной литературы: 1. Соколова, М.А. Практическая фонетика английского языка: Учеб для студ. высш. учеб. заведений. – М.: Гуманит. изд. Центр ВЛАДОС, 2003. – 384 с.: ил. 2. O’Connor, J.D. Better English Pronunciation/ J.D. O’Connor. – Cambridge, 1997. 3. Baker, A. Tree or Three [kit]: an elementary pronunciation course / Ann Baker. – Cambridge: Cambridge university Press, [2006]. 130 с.: il + 3 эл. апт. Диск
Фономатериалы 1. MP3 DISK to “Practical English Phonetics” edited by E. Karnevskaya. Recorded by Toby Doncaster. Advanced Course.
IV. Информационный блок. The number of actual utterances produced by native speakers of English is obviously unlimited. But they can be reduced to a comparatively small list of basic intonation patterns (also called pitch-patterns or contours). The word “basic” is used to denote several ideas: - Meaningfulness (the replacement of one pattern by another causes a change in the meaning of an utterance) E.g. – ‘Like to have some ׳ ice-cream to˚ night. - Typical character (the patterns are pronounced and used in much the same way by all educated English speaking people) - The patterns are associated with a complete communicative unite. The discrimination of basic intonation patterns relies primarily on the directional type of nuclear pitch change (the rising, falling patterns). Within each of the 4 patterns there’s a further division according to the combination of the nuclear tone with the Head or absence of Head. The meaning of the intonation patterns (contours) is mostly the sum total of the meanings of the nuclear tones and the heads used in them. While describing and analyzing the basic contours 2 points should be made clear: 1. The semantic effect of an intonation pattern depends to a degree on the type of the utterance it is used in. The meaning of the pattern may coincide with the communicative nature of the sentence-type (e.g. – finality and assertiveness of the fall with a statement, the interrogative character of a rise with general questions, etc.) In this case the pattern will be regarded as typical for this sentence-type and will be called normal. On the contrary it may not coincide and will be called not-normal. The word “not-normal” here means some additional effect or connotation leading to a modification of the communicative meaning of the sentence-type (e.g. – implicatory statements, insistent or skeptical general questions, friendly special questions, etc.) 2. Intonation patterns differ in the expressiveness of their meaning, which is proportional to the expressiveness of their form. (An utterance with a Scandent Head in combination with any nuclear tone is more expressive and is suitable for a lively conversation while an utterance with a Stepping Head is not so expressive and is suitable for a businesslike talk. Utterances with a Rising-Falling Tone are more colorful than those with a simple Falling Tone) According to this principle all intonation patterns are subdivided into emotionally neutral and emotionally colored. Популярное:
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