Практикум по культуре речевого общения (Аспект «Анализ текста»)
Answer the following questions and do the given tasks
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Answer the following questions and do the given tasks: 1. What do you know of Jerome K. Jerome and his place in English literature? 2. What does the passage under study present? (Is it a piece of narration, a description, a portrayal, or an account of events? 3. In what key is the first part written? (Is it lyrical, dramatic, humorous, or unemotional?) 4. How does the author achieve the humorous effect in the second part? (Is it the humor of situation or the humor of words?) 5. Find in the passage sentences containing irony, exaggeration and contrast and comment on them. 6. In what key is the second part written? 7. What can you say of J.K. Jerome‘s manner of writing? Summarize your observations.
ESSENTIAL VOCABULARY Vocabulary Notes
newspapers about people well-known in society, as the gossip column, a gossip writer, e. g. Don't believe all the gossip you hear. 2) (count.) a person who is fond of talking about other people's affairs, as the town gossips.
ashamed of gossiping over his affairs?
6 a large kind of sausage with spiced, partly cooked meat. Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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2. wind [waInd] (wound [waund]) vt/i 1) to turn round and round: to wind the handle; 2) to make into a ball or twisted round shape: to wind wool; 3) to follow a direction in a twisting shape, e. g. The path winds through the wood. 4) to tighten the working parts by turning: to wind a clock; 5) to bring or come to an end, e. g. It's time he could wind up (his speech). to wind one's way into someone's affection to cause someone to like one, by cleverness; to wind someone round one's little finger to make someone do what one wants. 3. peel vt/i 1) to take off the skin, as to peel oranges (apples, potatoes, bananas, etc.); 2) to come off in thin layer or strips, e. g. The skin peels off the nose or face when a person gets sunburnt. The wallpaper is peeling (off).
oranges, lemons, etc., preserved and coated with sugar.
it repeatedly, e. g. I scraped the skin off the vegetables. 2) to clean or make (a surface) smooth in this way, e. g. She scraped the door (down) before painting it again. He scraped his boots clean before coming in the house. 3) to rub roughly (esp. on, against): a chair scraping on the floor, e. g. He scraped his chair against the wall. 4) to hurt or damage in this way, e. g. He scraped his knee when he fell. 5) to succeed in a class by doing work of the lowest acceptable quality, e. g. She just scraped through the examination. to scrape a living to get just enough food or money to stay alive; to scrape up also to scrape together to gather (a total, esp. of money) with difficulty by putting small amounts together.
steady, with a steady hand, e. g. The chair is steady enough, syn. firm, as firm ground, foundation, steps, muscles; 2) regular in life, work, etc.; industrious, as a steady person; 3) constant, as a steady wind (rain, growth, increase), steady progress.
steadied again.
a mess, to make a mess of smth. to do it badly, e. g. You've made a mess of the job. to get into a mess to get into trouble or into a dirty state, e. g. You'll get into a mess if you are not more careful.
together, e. g. A vase may crack if washed in boiling water. You've cracked the window. 2) to make or cause a thing to make a loud noise, as to crack a whip, e. g. His rifle cracked and the deer fell dead, to crack a joke (sl.) to make a somewhat rough joke, e. g. There is no one like him to crack jokes.
are covered with cracks. I heard a crack as if of a branch.
of friendly ties with other countries contributes to mutual understanding of their peoples. Good health contributes to a person's success in work. 2) to write articles or other material for newspapers, magazines, etc., as to contribute articles to a wall-newspaper, to contribute a poem to a magazine.
dead water-rat as his contribution to the dinner. Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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9. spirit n 1) moral condition, tendency, as the spirit of the army, the spirit of the times (age), the spirit of the law, to take smth. in the right (wrong) spirit, to show a proper spirit, e. g. That's the right spirit! He found himself in conflict with the spirit of the time. 2) energy, courage, liveliness, e. g. Put a little more spirit into your work. He spoke with spirit. 3) pl. mood, as to be in high (low) spirits, e. g. His spirits rose (fell or sank). to raise smb.'s spirits; out of spirits depressed, unhappy, e. g. You seem to be out of spirits today.
prescribed her some pills with a bitter taste. I don't care for this bread, it has a very bitter taste. I dislike the taste of olives. 2) liking, e. g. You may choose any flowers to your taste here. There is no accounting for tastes. Tastes differ. 3) ability to form judgments in questions of beauty and manners, e. g. The room was furnished in good taste. They say she dresses in poor taste. I was ashamed of you, your jokes were in very bad taste. taste vt/i 1) to try by eating or drinking; to recognize after taking into the mouth, e. g. There we found some strange meals and made up our minds to taste them all. Can you distinguish types of apples by tasting them? I have a bad cold and cannot taste anything. 2) to have a particular flavour, e. g. This orange tastes bitter. 3) to experience, e. g. There she tasted the joys of privacy. tasteful adj showing good taste, as a tasteful person, work of art.
of food it means "having no taste". When it is used of people, furniture, ornaments, etc., it means "having or showing bad taste", e. g. The potatoes were tasteless without salt.
in early June; to put up at some place; to roam the woods (through the woods, about a place); to get settled; odds and ends; to be the size of smth.; the rest of the evening; half a dozen, half a peck of peas, half a pork pie, half a tin of salmon; to stir smth. up; to add smth. to smth.; to empty smth. into a pot; to thicken the gravy; with an earnest and thoughtful air; to be on the safe side. Handout #14 (Outclass work Lessons 24-28) Fill in the crossword and find the stylistic devices mentioned their in the text Three Men in a Boat. (1) A deliberate exaggeration, it effectively draws the attention to a message that the author wants to emphasize (2) A repeated use of conjunctions, it has a strong rhythmic impact (3) Saying the opposite of what you actually mean Effect: ridicule; often didactic (4) Contrasting relationship between two ideas. (5) A comparison between two things which are basically quite different without using the words like or as. (6) The imaginative comparison is explicitly made with the help of like or as. Effect: conveys a vivid picture to the mind by linking up unrelated objects (7) The deliberate presentation of something as being much less important, valuable etc. than it really is (8) Expresses a characteristic of an object, both existing and imaginary. Its basic feature is its emotiveness and subjectivity.
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Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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Handout #15 (Lessons 30-32) THE FUN THEY HAD By I. Asimov
A professor of biochemistry and a science writer, I. Asimov is well-known as science fiction writer as well. In 1957 he won the Edison Foundation award for "Building Blocks of the Universe", and in 1960 the Howard W. Blakeslee award for "The Living River" in which he analysed the chemical composition of the blood and related it to other manifestations in our universe. He is also the author of "The Intelligent Man's Guide to Sciences", an encyclopedic work covering in brief essay all of science for the layman. Besides all this, "Lucky Stars and the Pirates of the Asteroids" (1953), "The Kingdom of the Sun" (1960), "The End of Eternity" (1962) are only a few science fiction books that came from under his pen.
Margie even wrote about it that night in her diary. On the page headed May 17, 2157, she wrote, "Today Tommy found a real book!" It was a very old book. Margie's grandfather once said that when he was a little boy his grandfather told him that there was a time when all stories were printed on paper. They turned the pages, which were yellow and crinkly, and it was awfully funny to read words that stood still instead of moving the way they were supposed to — on a screen, you know. And then, when they turned back to the page before, it has been the same words on it that it had been when they read it the first time. "Gee,"
7 said Tommy, "what a waste. When you're through with the book, you just throw it away, I guess. Our television screen must have had a million books on it and it's good for plenty more. I wouldn't throw it away." "Same with mine," said Margie. She was eleven and hadn't seen as many telebooks as Tommy had. He was thirteen. She said, "Where did you find it?" "In my house." He pointed without looking, because he was busy reading. "In the attic." "What's it about?" "School." Margie was scornful. "School? What's there to write about school? I hate school." Margie always hated school, but now she hated it more than ever. The mechanical teacher had been giving her test after test in geography and she had been doing worse and worse until her mother had shaken her head sorrowfully and sent for the County Inspector. He was a round little man with a red face and a whole box of tools with dials and wires. He smiled at Margie and gave her an apple, then took the teacher apart. Margie had hoped he wouldn't know how to put it together again, but he knew all right, and, after an hour or so, there it was again, large and black and ugly, with a big screen on which all the lessons were shown and the questions were asked. That wasn't so bad. The part Margie hated most was the slot where she had to put homework and test papers. She always had to write them out in a punch code they made her learn when she was six years old and the mechanical teacher calculated the mark in no time.
The Inspector had smiled after he was finished and patted Margie's head. He said to her mother. "It's not the little girl's fault, Mrs. Jones, I think the geography sector was geared a little too quick. Those things happen sometimes. I've slowed it up to an average ten year level. Actually, the overall pattern of her progress is quite satisfactory." And he patted Margie's head again.
7 gee (interj.): a very common mild euphemism based on the first syllable of the word "Jesus". Used to express surprise or the like (Russian Вот это да! Здорово!) Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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Margie was disappointed. She had been hoping they would take the teacher away altogether. They had once taken Tommy's teacher away for nearly a month because the history sector had blanked out completely. So she said to Tommy. "Why would anyone write about school?" Tommy looked at her with very superior eyes. "Because it's not our kind of school, stupid. This is the old kind of school that they had hundreds and hundreds years ago." He added loftily, pronouncing the word carefully, "Centuries ago." Margie was hurt. "Well, I don't know what kind of school they had all that time ago." She read the book over his shoulder for a while, then said, "Anyway, they had a teacher." "Sure, they had a teacher, but it wasn't a regular teacher. It was a man." "A man? How could a man be a teacher?" "Well, he just told the boys and girls things and gave them homework and asked them questions." "A man isn't smart enough." "Sure he is. My father knows as much as my teacher. "He can't. A man can't know as much as a teacher. "He knows almost as much, I betcha. 8 " Margie wasn't prepared to dispute that. She said, "I wouldn't want a strange man in my house to teach me," Tommy screamed with laughter. "You don't know much, Margie. The teachers didn't live in the house. They had a special building and all the kids went there." "And all the kids learned the same things?" "Sure, if they were the same age." "But my mother says a teacher has to be adjusted to fit the mind of each boy and girl it teaches and that each kid has to be taught differently." "Just the same they didn't do it that way then. If you don't like it, you don't have to read the book." "I didn't say I didn't like it," Margie said quickly. She wanted to read about those funny schools. They weren't even half-finished, when Margie's mother called, "Margie! School!" Margie looked up. "Not yet, Mamma." "Now!" said Mrs. Jones. "And it's probably time for Tommy, too." Margie said to Tommy, "Can I read the book some more with you after school?" "Maybe," he said nonchalantly. He walked away, whistling, the dusty old book tucked beneath his arm. Margie went into the schoolroom. It was right next to her bedroom and the mechanical teacher was on and waiting for her. It was always on at the same time every day, except Saturday and Sunday, because her mother said little girls learned better if they learned at regular hours. The screen lit up, and it said: "Today's arithmetic lesson is on the addition of proper fractions. Please insert yesterday's homework in the proper slot." Margie did so with a sigh. She was thinking about the old schools they had when her grandfather's grandfather was a little boy. All the kids from the whole neighbourhood came laughing and shouting in the schoolyard, sitting together in schoolroom, going home together at the end of the day. They learned the same things, so they could help one another on the homework and talk about it. And the teachers were people ... The mechanical teacher was flashing on the screen: "When we add the fractions 1/2 and 1/4— " Margie was thinking about how the kids must have loved it in the old days. She was thinking about the fun they had.
8 I betcha (illit.): I am sure Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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Answer the following questions and do the given tasks: 1. The story by I. Asimov is science fiction. What facts in the present-day life made him write it? Is it written to amuse the reader or to warn him against possible problems of the future? 2. What do you think of the role of different technical aids that modern technology puts at the disposal of the teacher? 3. What is the composition of the story? In what parts does it fall? Are the details well chosen? 4. Comment on the closing lines of the story. How are they connected with the preceding passages? Sum up the central idea of the story. 5. Account for the word "regular" and others being set off graphically. What effect is achieved by it? Mark the features of the colloquial speech in the story. 7. Make up a list of words and word combinations describing school procedures.
ART FOR HEART'S SAKE By R. Goldberg
Reuben Lucius Goldberg (1883-1970), an American sculptor, cartoonist and writer was born in San Francisco. After graduating from the University of California in 1904 he worked as a cartoonist for a number of newspapers and magazines. He produced several series of cartoons all of which were highly popular. Among his best works are "Is There a Doctor in the House?" (1929), "Rube Goldberg's Guide to Europe" (1954) and "I Made My Bed" (I960).
"Here, take your pineapple juice," gently persuaded Koppel, the male nurse. "Nope!" grunted Collis P. Ellsworth. "But it's good for you, sir." "Nope!" "It's doctor's orders." "Nope!" Koppel heard the front door bell and was glad to leave the room. He found Doctor Caswell in the hall downstairs. "I can't do a thing with him," he told the doctor. "He won't take his pineapple juice. He doesn't want me to read to him. He hates the radio. He doesn't like anything!" Doctor Caswell received the information with his usual professional calm. He had done some constructive thinking since his last visit. This was no ordinary case. The old gentleman was in pretty good shape for a man of seventy-six. But he had to be kept from buying things. He had suffered his last heart attack after his disastrous purchase of that jerkwater 9 railroad 10 out in Iowa. 11
health and his pocketbook. The doctor drew up a chair and sat down close to the old man. "I've got a proposition for you," he said quietly. Old Ellsworth looked suspiciously over his spectacles. "How'd you like to take up art?" The doctor had his stethoscope ready in case the abruptness of the suggestion proved too much for the patient's heart. But the old gentleman's answer was a vigorous "Rot!" 12
9 jerkwater (Am. colloq.): small, unimportant. 10 railroad (Am.): railway. The lexical differences between the British and American English are not great in number but they are considerable enough to make the mixture of the two variants sound strange and unnatural. A student of English should bear in mind that different words are used for the same objects, such as can, candy, truck, mailbox, subway instead of tin, sweets, lorry, pillar-box (or letter-box), underground. 11 Iowa a north central state of the USA. The noun is derived from the name of an Indian tribe. Quite a number of states, towns, rivers and the like in America are named by Indian words, e. g. Massachusetts, Illinois, Ohio, Kansas, Mississippi, Missouri, Michigan. 12 rot (sl.): foolish remarks or ideas. Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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"I don't mean seriously," said the doctor, relieved that disaster had been averted. "Just fool around with chalk and crayons. It'll be fun." "Bosh!" 13
"All right." The doctor stood up. "I just suggested it, that's all." "But, Caswell, how do I start playing with the chalk - that is, if I'm foolish enough to start?" "I've thought of that, too. I can get a student from one of the art schools to come here once a week and show you." Doctor Caswell went to his friend, Judson Livingston, head of the Atlantic Art Institute, and explained the situation. Livingston had just the young man - Frank Swain, eighteen years old and a promising student. He needed the money. Ran an elevator at night to pay tuition. How much would he get? Five dollars a visit. Fine. Next afternoon young Swain was shown into the big living room. Collis P. Ellsworth looked at him appraisingly. "Sir, I'm not an artist yet," answered the young man. "Umph?" 14
Swain arranged some paper and crayons on the table. "Let's try and draw that vase over there on the mantelpiece," he suggested. "Try it, Mister Ellsworth, please." "Umph!" The old man took a piece of crayon in a shaky hand and made a scrawl. He made another scrawl and connected the two with a couple of crude lines. "There it is, young man," he snapped with a grunt of satisfaction. "Such foolishness. Poppycock!" 15
to look at what you're drawing, sir." Old Ellsworth squinted and looked. "By gum 16 , it's kinda 17 pretty, I never noticed it before." When the art student came the following week there was a drawing on the table that had a slight resemblance to the vase. The wrinkles deepened at the corners of the old gentleman's eyes as he asked elfishly 18 ,
"Not bad, sir," answered Swain. "But it's a bit lopsided." "By gum," Old Ellsworth chuckled. "I see. The halves don't match." He added a few lines with a palsied hand and colored 19 the open spaces blue like a child playing with a picture book. Then he looked towards the door. "Listen, young man," he whispered, "I want to ask you something before old pineapple juice comes back." "Yes, sir," responded Swain respectively. "I was thinking could you spare the time to come twice a week or perhaps three times?" "Sure, Mister Ellsworth." "Good. Let's make it Monday, Wednesday and Friday. Four o'clock." As the weeks went by Swain's visits grew more frequent. He brought the old man a box of water-colors and some tubes of oils. When Doctor Caswell called Ellsworth would talk about the graceful lines of the andirons. He would dwell on the rich variety of color in a bowl of fruit. He proudly displayed the
13 bosh (sl.): empty talk, nonsense. 14 umph: an interjection expressing uncertainty or suspicion. 15 poppycock: foolish nonsense. 16 by gum (dial.): by God. 17 kinda: the spelling fixes contraction of the preposition of and its assimilation with the preceding noun which is a characteristic trait of American pronunciation. 18 elfish: (becoming rare) (of people or behaviour) having the quality or habit of playing tricks on people like an elf; mischievous 19 colored: the American spelling is somewhat simpler than its British counterpart. The suffix -our is spelled -or. Составитель: и.о. доц. Гринько А.В. КГУ им. И. Арабаева, институт Лингвистики, кафедра Лингвистики
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variegated smears of paint on his heavy silk dressing gown. He would not allow his valet to send it to the cleaner's. He wanted to show the doctor how hard he'd been working. The treatment was working perfectly. No more trips downtown to become involved in purchases of enterprises of doubtful solvency. The doctor thought it safe to allow Ellsworth to visit the Metropolitan 20 , the Museum of Modern Art 21 and other exhibits with Swain. An entirely new world opened up its charming mysteries. The old man displayed an insatiable curiosity about the galleries and the painters who exhibited in them. How were the galleries run? Who selected the canvases for the exhibitions? An idea was forming in his brain. When the late spring sun began to cloak the fields and gardens with color, Ellsworth executed a god-awful smudge which he called "Trees Dressed in White". Then he made a startling announcement. He was going to exhibit it in the Summer show at the Lathrop Gallery! For the Summer show at the Lathrop Gallery was the biggest art exhibit of the year in quality, if not in size. The lifetime dream of every mature artist in the United States was a Lathrop prize. Upon this distinguished group Ellsworth was going to foist his "Trees Dressed in White", which resembled a gob 22 of salad dressing thrown violently up against the side of a house! "If the papers get hold of this, Mister Ellsworth will become a laughing-stock. We've got to stop him," groaned Koppel. "No," admonished 23 the doctor. "We can't interfere with him now and take a chance of spoiling all the good work that we've accomplished." To the utter astonishment of all three — and especially Swain — "Trees Dressed in White" was accepted for the Lathrop show. Fortunately, the painting was hung in an inconspicuous place where it could not excite any noticeable comment. Young Swain sneaked into the Gallery one afternoon and blushed to the top of his ears when he saw "Trees Dressed in White", a loud, raucous splash on the wall. As two giggling students stopped before the strange anomaly Swain fled in terror. He could not bear to hear what they had to say. During the course of the exhibition the old man kept on taking his lessons, seldom mentioning his entry in the exhibit. He was unusually cheerful. Two days before the close of the exhibition a special messenger brought a long official- looking envelope to Mister Ellsworth while Swain, Koppel and the doctor were in the room. "Read it to me," requested the old man. "My eyes are tired from painting." "It gives the Lathrop Gallery pleasure to announce that the First Landscape Prize of $1,000 has been awarded to Collis P. Ellsworth for his painting, "Trees Dressed in White"." Swain and Koppel uttered a series of inarticulate gurgles. Doctor Caswell, exercising his professional self-control with a supreme effort, said: "Congratulations, Mister Ellsworth. Fine, fine ... See, see ... Of course, I didn't expect such great news. But, but — well, now, you'll have to admit that art is much more satisfying than business." "Art's nothing," snapped the old man. "I bought the Lathrop Gallery last month."
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