Ключи к учебнику Аракина

Ключи к учебнику Аракина, 5 курс: основные и необходимые задания, такие как работа над лексикой и стандартная работа по переводу над текстом словаря и выражений к тексту приведены в виде ключей, то есть в готовом для ответа виде. Преимущественно творческие задания не выполнены главным образом по причине отсутствия стандарта при их выполнении, то есть каждое творческое задание не должно быть повторено.

Автор (СТУДЕНТ филологического факультета) предупреждает, что правильность выполнения всех заданий не является 100% – для этого существуют (???) официально изданные издательством ВЛАДОС ключи к упражнениям.

Все задания Автор выполнил, используя материалы учебника, словарей ABBYY Lingvo 8.0 и AlphaLex 5.0 English, онлайн словарём Мультитран, ссылка на словарь: http://www.multitran.ru/c/m.exe?a=3&s=exchange%20words&sc=0&l1=1&l2=2

Таким образом, в ключах к упражнениям, выполненных Автором, имеются ошибки и неточности. Однако, Автор стремился максимально точно и добросовестно выполнять задания и надеется, что результат не слишком отличается от уровня требований, заявленных создателями учебника.

INSIGHT INTO PROFESSION

COMMUNICATION: THIS EVER NEW OLD PROBLEM

Talking Points:

1. Human relations can safely be said to be a basic human neces sity. In most cases it is regarded as one of the social or spiritual needs of the individual. But how to communicate effectively?

2. The profession of a teacher obviously implies the ability to speak in public — to students, parents, etc. Do you think this ability is inborn or one can acquire it through training?

I. a) Read the following text about public speaking.

B) Add a few more helpful hints if you know any.

C) Make a speech on any topic you choose trying to use all the helpful hints given above.

II. We often communicate today at meetings and conferences,

A) Read the following text.

Some more phrases for less formal occasions

The author is both a classroom teacher and a writer.

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3. Do you think the author managed to communicate his ideas to the class effectively? If so, say how he did it.

C) Discuss the article in pairs.

D) Give suggestions of your own how to conduct an interesting and effective lesson of English (in any stage) that would involve all the members of the class in work. Describe a few techniques that would maintain interest.

IV. Select a picture or series of pictures that you believe would be essential to teach a specific aspect of English at school to make it both instructive and enter taining. Be ready to tell the class how you would use it.

V. Make a round-table talk to discuss the problems raised in this section.

Key Words and Expressions: to get started; to follow through; to get oneself ready to work; to overcome smth.; to come up with нагонять a per­sonal solution; to have a personal style; to have feedback from the class; clear aims and objectives; in (at) the primary/intermediate/ advanced stage; to stimulate thinking; active response on the part of the class, etc.

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UNIT ONE

TEXT ONE

THE PASSIONATE YEAR

By James Hilton

Commentary

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text One and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

Read the text and consider its following aspects.

D)Indicate the use of formal (learned) words and colloquialisms. Explain their purpose.

e)What words and phrases give atmosphere to the description? Select descrip­tive details that contribute to the realism of the fragment.

F) Point out the climax of the episode. Give reasons for your choice.

g)Do you think that there are sentences where the author is over-emphatic? Select them and criticize or justify the emphasis.

Copy out from Text One the sentences containing the word combinations and phrases and translate them into Russian.

Study the vocabulary notes and translate the examples into Russian.

Write a one-page precis of Text One.

Give a summary of Text One.

Reread Text One to answer the following questions on its style.

a)How is the atmosphere of uneasiness and suspense created and maintained? Comment on, and illustrate, the methods used for heightening the emotion. What is the author's aim?

b) What are the outstanding qualities of the language of the extract?

c) Does the extract appeal to you? If so, why? If not, give well-founded criti­cism.

Topics for Written Composition

V. Prepare a list of specific features of English school system and school life that would be of particular interest to Russian schoolchildren.

Topical Vocabulary

Make up your own list of qualities that make a good foreign language teacher and compare it with the one given in the article.

Figure out the problems raised in the dialogues. Give your opinion of them in class.

III. 1. There are many different approaches to teaching and upbringing.

A)Study the extracts given below and single out the main idea of the author.

Now after your teaching practice you have some first-hand experience which you may use doing the tasks below.

С) Make up situations using the following conversational formulas of threat or warning and act the dialogues in class.

B)Give the message of the article.

c)Answer the following questions:

I. What is the author's argument against corporal punishment?
2. Judging by this letter, what are the arguments of some British educatiopists in favour of "caning" ? 3. What is the approach of Russian educationists to the problem of corporal punishment in general?
What are the reasons for it?

D) Write a paragraph to state your point of view on the problem.

II. a) Give a summary of the following article in English:

С самого первого урока

III. Make a round-table discussion based on the talking points of this section.

UNIT TWO

TEXT TWO

THE ESCAPE

By Somerset Maugham

Commentary

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text Two and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

J) Exemplify the use of metaphors, similes and repetition. Comment on their effect.

K) Indicate the variety of the sentences and the rhythmic effects achieved.

1) Point out the climax of the story. Comment on the methods used for height­ening the tension in the passages leading to the climax.

Copy out from Text Two the sentences containing the word combinations and phrases given above and translate them into Russian.

Write sentences of your own using the given list of word combinations and phrases (3 sentences on each item).

Compose short situations in dialogue form using the word combinations and phrases. Pay attention to the intonation of the stimuli and responses.

Study the vocabulary notes and translate the examples into Russian.

Write a one-page summary of Text Two.

II. As your fellow-students read out Ex. 3, write down their mistakes, analyse them and make all the necessary corrections.

III. Listen attentively to your fellow-students' reading of Ex. 5 and write down their mistakes. What recommendations will you give them if they make mistakes in assimilation, strong and weak forms and intonation-group division?

IV. Obviously the short story can be regarded as a most suitable literary genre for foreign-language learning. Brevity is a significant point, because it allows the

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class to focus on the story even within a single class period and within the limits of one textbook unit, a) List the requirements to the short story to be used as sub­ject matter for study at your level, b) Say what you consider to have been the best technique of working with a short story during your course of study.

V. a) Adapt any short story you like for the 9th/10th form. (Be sure it introduc­es some "culture element"), b) Make it suitable for reading after some particular lesson, c) Make a list of essential vocabulary, d) Write questions covering the sto­ry to be asked in class.

VI. Prepare yourself to conduct a micro-lesson on oral and written reproduc­tion. Prepare a suitable story and write comprehension questions covering it. The story should be read over to the class twice. Don't forget to write the proper nouns and place names on the board. The following classroom expressions may come in handy:

1. I'm going to read it over again. 2. And now you'll have to do some writing. 3. Try to assemble your thoughts first. 4. These idioms will add a little colour to your work. 5. Don't write in the margin. 6. Be sure your paper has a name on it. 7. Form the letters clearly. 8. In­dent the line which begins a paragraph . 9. High time to hand in your papers! 10. Your time is up. 11. I'm going to mark them this week.

CONVERSATION AND DISCUSSION

BOOKS AND READERS

Topical Vocabulary

A) Read the following text dealing with comprehension of literature on school level.

B) Put down the main points raised by the author.

c) Make a list of questions that are suggested by the author to help the stu­dents to read between the lines. What other questions would you suggest on the plot and the situation, the characters, etc.?

II. 1. The author of the following text is trying to persuade the reader "to mark up a book", i.e. "to write between the lines".

A) Read it and pay attention to his argument.

C) Make dialogues to persuade your partner to read a certain book, or to do something you consider important. Follow the tactic suggestions given above. (Dissuasion dialogues are also suggested.)

2. Speak on the points given below with the aim of advising your partner on the choice of books or writers. Use the following conversational formulas of advice:

You'dbetter... If I were you, I shouldn't... Whynot... It'shightime to ... I'll tell you what... Make sure ... Make the best of it. I'll tell you what...

a) Speak on the literary merit of your favourite book to arouse your party's in­terest. Use the following words and expressions:

plot development; climax; to depict characters; to unmask char­
acters; an observer of human nature; character portrayal изображение; illustration
of; instances of humour; to give the impression of; difference in emo­
tion; to be employed by the author; to awaken interest; traces of; an
exciting (interesting, intriguing, etc.) story to read; brilliance of the
language; etc. '

b) Speak about your favourite modern English or American writer, and/or one
of the novels. Use the following:

a landmark in the history of modern fiction; it holds you with a firm grip; psychological insight into; a book to open anywhere; to bring into sharp focus the problems of the twentieth-century man; a great master of ironic style; full of critical spirit; beautiful descriptions of, based on actual facts; challenges of life; etc.

c) Speak about the kind of books you prefer to read in your spare time. Use the following:

a favourite pastime; fiction by the greats; to excite the mind; a true picture of life; (not) to be fascinated by the blood-and-bones atmo­sphere of detective stories; unflagging interest; tidy problems; neat solution; an entertaining puzzle element; a briskly developing plot; to hold the reader in suspense.

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III. It is common knowledge that the present-day flow of information, the ever-increasing bulk of reading matter is very great. Let us consider some ways to man­age the situation.

One of the ways is regular reading of digests, i. e. short condensed accounts and summaries of the most important books.

B) Speak to your group members giving your opinion of taking up digests as reading matter in the target language. Consider both the pros and cons of this kind of approach.

c) Discuss the idea of thesaurus of book digests in terms of computer informa­tion banks.

2. Another obvious way is to read faster — just as simple as that! What do you think of learning how to do it?

A) Here are some helpful hints how to read better and faster. (Certainly it is not a course of speed reading.)

C) Discuss the effect of such techniques with the group members.

IV. 1. Discuss a few professional problems on reading at a school level.

Read the following text and make a round-table talk on the point raised by the author.

For Role-play

Situation:Readers' Conference on Television

Characters:Author

Chairman председатель

A few televiewers invited to the studio

Televiewers asking questions by phone

Talking Point:Discussing any book you choose

Topics for Oral and Written Composition

1. The more you do the more you can do.

2. Reading is to the mind what exercise is to the body.

3. You must run very fast to stay where you are.

4. "No reading is worthwhile unless you enjoy it." (S. Maugham)

5. "Some books are to be tasted, others to be swallowed, and some few to be chewed and digested." (F. Bacon)

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INSIGHT INTO PROFESSION

INCREASING THE STUDENTS VOCABULARY

UNIT THREE

TEXT THREE

ONE STAIR UP

Commentary

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

Copy out from Text Three the sentences containing the word combinations and phrases given above and translate them into Russian.

Compose two dialogues using the word combinations and phrases. Mind the intonation patterns in the stimuli and responses to convey proper attitudes.

Study the vocabulary notes and translate the examples into Russian.

Give the gist of Text Three.

Topical Vocabulary

A) Read the following text about the first silent films.

Silent Movies

A) Read the text for obtaining information.

II. 1. Read the following dialogue which presents an interview with a famous American character actor Tom Buchanan. Pay special attention to the phrases in bold type used for expressing opinion.

/.: How did you get into movies in the first place?

Buchanan: I first became interested in acting when I was in col­lege. I had a sister, and she told me about a class in play interpreta­tion. So the old instructor who also directed the little theater in col­lege, let me sit there and listen to him while they were reading Shakespeare's Two Gentlemen of Verona. I was particularly in­trigued with Shakespeare's fools. Two weeks later I was playing with the regular company on the stage. I was really stagestruck увлечённый театром. It took about ten years to realize that people were laughing with me and not at me. I thought I was God's gift to the world as a dramatic heavy роль злодея,¹ but the more sincere I'd play a heavy, the louder they'd laugh.

/.: And what kind of parts did you usually play?

В.: Heavies and old men. I was playing old men when I was in my twenties, when I started. My voice put me in the character class характерный тип; I've always had that voice. I had a seven-year contract in pictures because of my voice,

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/.: Did the director give you any special consideration соображения in your first picture?

В.: You're supposed to know what you're doing in this business. The second day we were shooting on this very first picture, the di­rector came to me and said "Would you like to see the rushes текущий съёмочный материал? "² and I said "What's that? " He said "That's the work we shot yesterday." I went in and saw it, and I saw myself... I saw what was wrong. I was playing for the back row играл в кино так, как актёр в театре,³ and I was mugging гримасничал.⁴

/.: Did you enjoy doing Penny Serenade (мелодрама 1941)?

В.: That was a big thrill глубокое волнение for me, a big thrill. I learned a lot on that picture. George Stevens, in my opinion,is the greatest director we've ever had. He's a wonderful director for an actor. Once I asked him: "George, what do you credit your success to чему вы приписываете свой успех? Is it your knowledge of the camera? I know you used to be a cameraman." He said "It's two things. The camera is one of them... I know what I can do with a cam­era. The other one is that I've always wanted to be an actor. I come from an acting family, but I never could make it. And I think I know what actors want." And he really does. You'll have a scene to do two weeks later, and he'll come and be talking to you about something, just get­ting you in the mood приводя тебя в нужное настроение, making you think correctly for that particular scene. A wonderful guy... he listens, doesn't do a lot of talking.

/.: Would you improvise different things in such a situation?

В.: Most directors will allow that... but don't tell them you've dis­covered something, or you should do this. Go ahead действуй and do it, let them see it, then they'll come and tell you to do it. Then they've thought of it.

/.: It's been said that the character actor актёр, играющий характерные роли doesn't get directed as much as the lead.

В.: Well, as a rule, he's had more experience than the lead and doesn't need the direction. They hesitate не решаются to tell him what to do; he's probably been on the stage, or on the screen for fifty years, and if he doesn't know it by now he'll never know it. But they can always sug­gest, believe me. I thinkthe director should watch every actor. It was a great thrill working with young people. They all looked up to смотрели почтительно me, they didn't know it, but I was looking up to them, and learning a lot from these kids.

/.: Did you find yourself getting stale выдохнувшимся at all?

B.: Yes, you do. You have to watch it constantly. You become careless, your work becomes slovenly сделанной кое-как. Some days you don't feel up быть в состоянии to it. It's the same character year after year, day after day. It's not good, it's not healthy.

/.: What do you do to avoid it?

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В.: Just keep alert будь начеку, if you can. Be alert, and when you start out собираешься сделать to do a scene, be thinking about it. The minute you're not sincere you're licked разгромлен. And if you don't enjoy doing it, the audience won't enjoy watching it.

/.: Did you feel that you were typecast занят в однотипных ролях?⁵

B>: Yes, in a way в некоторой степени. I had a variety of roles, but they principally typed me as a "lovable rogue милый негодяй". He'd be a heavy, but everyone would be on his side.

I/ Then you got into TV in a big way с энтузиазмом? ...Has the TV series done much to change your public status?

В.: Oh sure; I can go anywhere in the country — to foreign coun­tries, in fact — and the kids will holler "Hi, Uncle Joe!" More peo­ple can see you in one night than used to see you in a whole career . The only thing isпросто надо,they may get tired of you, which I don't thinkis good. I thinkthere are more bad things against TV than good, as far as the actor is concerned имеет отношение.

/.: Do you have a favorite film?

B.:Yes, Texas . Because I knew what I was doing. I'd only practised ten years for that part, as a dentist. I never realized before how im­portant your "business" is, until that picture. I bet I received about a hundred letters on that picture, some of them from dentists. You know,the greatest compliment you can get, when somebody sees you in a picture, is for somebody to say "Anybody could do." It's a great compliment when you're portraying изображаете a part so it looks natural. That means you're doing well.

(From: The Real Stars/Ed, by L. Maltin. N.Y., 1973.) Commentary

1. a heavy:theat. a villainous part or character

2. a rush: a print of a motion picture scene processed directly af­ter the shooting

3. to play for the back rowhere: to exaggerate; to act the way one acts on the stage

4. to mug:to make faces to attract the attention of an audience

5. to typecast:to cast an actor repeatedly in the same type of role calling for the same characteristics possessed by the actor

2. Here are some more phrases for expressing opinion and responding to it.

From my point of view... As I see it. Personally I think... As far as I'm concerned... It would seem to me that... As far as I'm able to

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judge... I am of the same opinion. That's it (right). That's just what I was going to say! Right you are! I disagree with you on that point! But... Do you mean to say... I'm afraid I don't follow...

3. Work in pairs. Discuss the problems given below using the phrases for ex­pressing opinions and responding to them. Use the material of the interview .

1. Character actor. Do you think it is always some peculiari­ties, like figure, features of the face, voice that put an actor into a character class? Is a character actor who is typecast as a villain or a fool confined for ever to these roles? If so, how to avoid get­ting stale?

2. Character actor — the lead. Can character actors display an acting which overshadows many a "star" and transforms a poor film into a work of art? Should they act at all, or should they merely be natural and "play themselves" ?

3. Actor — professional training. Do you think that professional training, including such things as a voice production or bodily con­trol, is a must for an actor? Is it possible to come into this profession by some other way than drama school?

4. Acting — its popularity. What is it to your mind that makes this profession so popular? Is it viewed as the surest road to fame or is it that "everyone wants to be somebody else" ?

5. Actor: stage — cinema — television. Is it true that nowadays no actor is confined to only one medium? Do you think that working for television is good for the actor?

6. Actor — director. What-makes a good director? Is it true that we live in an age of director's cinema and actors are merely puppets in his hands? Are there any ways to achieve a fruitful collaboration between the talents of writer, director and actor?

4. Role-playing. Get ready for an interview . One part of the group is asked to make an actor's character sketch for themselves in written form. The other part is getting ready with the questions putting the spotlight on the main events of the actor's career and his views on the problems of modern cinema. Act the interview in class. By the end of it the interviewer is supposed to make a character sketch of : the actor and compare it to the original one made by his partner.

III. Many famous directors expressed their ideas about the role of cinema and its task to reflect life as it is, to pose problems and discuss them. The question emerges: Should cinema preserve its function as an entertainment?

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1. Read the essay by J.B. Priestley and single out the author's main idea on the function of art.

Disturbing?

What has been puzzling me for some time now is this. Why does ev­erything worth reading, hearing, looking at, have to be disturbing? That is according to all reviewers обозревателям and critics. Among the men and women who count считают, the pacesetters задающий тон in taste вкусе, the highest term выражения of praise восхваления is disturbing.

But now I must ask a question that will show how far out of touch потерял связь I am. Why do I have to be disturbed all the time? Why do the newer novelists романисты and playwrights (sometimes on TV too) and their critics and admirers think it is necessary I should be disturbed? Why should disturbing be the term of highest praise now? Why am I supposed to regard иметь this as the strongest recommendation ? What do they think I ought to be disturbed out of? Where the devil do they imagine I've been all my life — lolling сидел развалившись; in a rose-garden? However, let's forget me and consider рассмотреть the public in general. Why do they have to be disturbed all the time? For my part I can't believe it is necessary.

There are of course a certain number of stupidly complacent самодовольных peo­ple in this country who would be better after a jolt удара or two. Oh yes, such people exist and no doubt they ought to be disturbed.

They ought to be, but they won't be. Not for them the "disturb­ing" novels, plays, films, painting, sculpture, music. They keep well away избегают from such things. They take care to guard their complacency самодовольстве.

When we move away from these people to the population at large ко всему населению, the very notion сама идея of a general complacency that needs a shock потрясение is laugh­able. Never have the English felt more disturbed. They wonder интересуются day and night where the money's to come from and where it goes to. Crime increases and the prisons are overcrowded. Mental homes психиатрические лечебницы are packed out and psychiatrists desperately безнадёжно overworked. People take barbiturates and pep pills таблетки для повышения тонуса as they took acid drops леденцы (с кисло-сладким вкусом) when I was young. They spend not hundreds but thousands of millions on gambling азартные игры, amusements, cigarettes and booze спиртное, not out of из-за confidence or any ex­cess чрезмерности of joy but largely out of an attempt попыток to cope with worry, anxiety страха, deep-seated укоренившихся feelings of unease тревоги.

What they don't spend their money on is all that work, so fashion­able among the intelligentsia , which is praised восхваляется because it's disturbing. They want, as they say, to be taken out of themselves, not further into themselves. They don't want to pass their evenings being told what life's like, they've had that all day, thank you. And yet, being the chil-

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dren of their ancestors предков, not some race род newly created, when they watch their favourite television series or go to the pictures, they are really groping for what our age has deprived лишил them of—mythology, the time­less world of gods and heroes, unchanging and shining выдающиеся immortals.

Now we come to the inner circle узкому кругу of the educated , the sensitive, the cultured, the people to whom these reviews and notices of nov­els, plays, films, the visual arts изобразительные искусства, are being addressed. It is for their sake, to attract their attention, that disturbing is trotted out излагаются over and over again, with an occasional change to deeply disquieting беспокойства.

The truth is of course that these are the very people who have been feeling disturbed for years. Disturbing these people seems to me like watering наполнение водой the Thames . I shall be told of course that the really signifi­cant writers and artists of our time are expressing what such people feel. It is their duty to keep right on disturbing the disturbed, just as it is the duty of the intelligent and conscientious сознательной critic to single out выделять and recommend предлагать whatever will best disturb the disturbed. And to show them what they may not have noticed, that what they thought was still dark grey in fact now a deep black.

If the universe вселенная were absurd , we'd never realize it, having nothing to compare it with. Life can be disturbing of course, but it can't be all disturbance, without any point of reference отношение outside it; and I feel it's about time we kept this in mind запомнить — while we still have minds.

(From: "Essays of Five Decades" by J.B. Priestley. Abridged.)

3.Single out the main arguments given by the author against art being "disturb­ing". Do you agree with them? If you do, enlarge on his reasoning, giving illustra­tions from your firsthand experience. If you don't, give your counter arguments.

4.Make a round-table talk to discuss the points raised by the author in refer­ence to cinema as art and its function in the society.

IV. Group Discussion. The Future of Cinematography.

B) Consider the following talking points. Choose one of them, express your opinion and make practical suggestions for the effective use of video.

A) Make a round-table talk on the state of film-making in this country. Be ready to make suggestions about the possible improvements in film-making.

IV. Design a language lesson for the 9th-10th form that could be efficiently taught by film.

* hardware — technical equipment such as tape- and cassette-recorders, film- and slide-projectors, record players, television and videotape recorders, computers, etc.; software — slides, films, records and other materials used with the equipment.

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UNIT FOUR

TEXT FOUR

DANGEROUS CORNER опасный поворот

By John Boynton Priestley

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text Four and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

Read the text and consider its following aspects.

Copy out from Text Four the sentences containing the word combinations and phrases and translate them into Russian.

Compose two dialogues using the word combinations and phrases. Mind the intonation patterns in the stimuli and responses to convey proper attitudes.

Study the vocabulary notes and translate the examples into Russian.

Render Text Four in detail (use indirect speech).

Give the gist of Text Four.

Reread Text Four to speak on the following points of style.

IV. There is no denying the fact that appropriate reading matter in the target language can effectively be used for educational objectives as well. Try to recol lect an interesting class discussion you had in the course of teacher training that was both entertaining and instructive. Describe the discussion in terms of teach ing methods.

V. Think up a list of topics that could raise debates in your class. Select the best one and prepare yourself to conduct a class discussion on it. Use the following phrases (for the discussion leader):

1. Avoid elliptical, loaded or vague questions. 2. First arrange in your mind all you are going to say. 3. Don't monopolize the discus­sion! 4. You are too subdued подавлен. 5. What do you think on the point? 6. Do you share her view? 7. Give your reasons, etc.

VI It has been acknowledged by educationists that drama can help the devel opment of children in a number of specific ways. What are the implications of that view for teacher training in general/foreign-language teaching in particular?

VII Take up problem-solving situations 6-10 (See the Appendix). Discuss them in class.

CONVERSATION AND DISCUSSION

THE THEATRE

Topical Vocabulary

A) Read the. following.

C) Summarize in one paragraph the main ideas of the extract.

F) Read the following text and summarize it in English.

A) Read the following extract from an essay by V. Belinsky and summarize it in English.

D) Tell the class what is the role of the theatre in the lives of people and in your own life.

II. 1. Different people have different opinions about the theatre. The short monologues that follow will acquaint you with seven persons expressing their views on theatrical problems. Enact the monologues in the form of interviews.

Use the following conversational formulas of encouraging people to speak and avoiding being misunderstood.

David Stone, 42, artist

Charles Sanders, 30, musician

Eugene Morris, 25, worker

Irene Finch, 50, teacher

Helen Green, 16, schoolgirl

Elisabeth Allen, 20, student

III. In the extract that follows several actors are discussing their trade.

Find in the extract the main points of argument. State with which of the speakers you agree. Motivate your opinion.

Debate the following. Keep it in mind that some of the statements are disputable.

THE TEACHING OF MEANING

Ш. a) Choose a text from the 5th- or 6th-form textbook and prepare a micro- lesson at which you will present the meanings of new words. Try to vary your methods of presentation.

b) Prepare a similar micro-lesson based on a text of the 9th- or lOth-form text­book.

Key Words and Expressions: to communicate (teach) meanings of words by demonstration, pictures, verbal explanation; to convey the meaning; exclusion of the mother tongue; encoding; decoding

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UNIT FIVE

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text Five and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

Read the following words;

Read out the following words and word combinations paying attention to the phonetic phenomena of connected speech.

Read the text and consider its following aspects.

Copy out from Text Five the sentences containing the word combinations and phrases and translate them into Russian.

Compose short situations in dialogue form using the word combinations and phrases.

Study the vocabulary notes and translate the examples into Russian.

Give the gist of Text Five.

Reread Text Five to speak on the following points of its style.

E) Point out the sentences bearing touches of humour or irony. (Prove which it is.)

F) Comment on the language. Compare it with that of James Hilton (Text One).

PROFESSION-ORIENTED QUESTIONS AND ACTIVITIES

I. Listen attentively to your fellow-student's reading of Ex. 2. In what way will you correct his mistakes if he makes any?

II. Ask your fellow-student to read out loud Ex. 3; ask him to beat the time to observe proper stresses; correct his mistakes in the pronunciation of vowels.

III. While listening to your fellow-students' reading of Ex. 4, write down their mistakes, then analyse them and ask the students to correct them orally.

IV. Ask your fellow-student to read the passages given in Ex. 5 observing the intonation of parentheses; correct his mistakes.

VIII. The text of this lesson is given in a form of a letter. That should remind you of the peculiarities of letter-writing in English, a) Write down the expressions for the salutation, the body of the letter and the complimentary clause that you

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think appropriate for teaching on a school level, b) Speaking in terms of meth­ods, why do you think letter-writing is so essential in foreign-language teach­ing at all levels?

IX. Give a professional account of the papers or written homework at your teacher's choice that you have corrected. Use the following:

1. I've marked/corrected your papers. 2. Will you do your correc­tions now! 3. Now I'm going to give you your homework back. 4. Would you read the last sentence again, please! 5. In this way we check on the proficiency of the students. 6. All students of English especially those who are trained to become school teachers must have legible writing. 7. Give it a suitable title.

X. Take up problem-solving situations 11-15 (See the Appendix). Discuss them in class.

CONVERSATION AND DISCUSSION

NEW CHALLENGESпроблемыIN EDUCATION

Topical Vocabulary

Scientific and technological revolution

In this text the author presents a personalized view of what has happened in the first decades of modern computers in American education.

C) Summarize the whole of the text in two paragraphs.

D) Tell the class how you think computer-aided instruction should be used in language teaching at school.

H. Muchofthe information we need in carrying on either our professional work or leisure-time activities we gather through interviews — purposeful conversa­tions, as we might call them.

I. Use the following monologues for making imaginary interviews with the speakers on the current problems of education.

Mind that besides asking questions the interviewer should encourage people to speak.

John Kemeny, 60, mathematician

Dan Bright, 23, primary school teacher

Jill Adams, 13, schoolgirl

The teachers get annoyed with me if I don't do my homework. But it's difficult to concentrate when the telly's on all evening. A few of the boys and girls in my class work but a lot of them never do any­thing. They say there's no point in it. There are some subjects I like, and a few of the teachers are all right, but you don't want everybody to call you a teacher's pet.

(From: Fowler W. Incentive Themes. Surrey, 1980.)

Act out the interviews in class.

Figure out the problems raised by the speakers. Give your opinion and tell the class how you would solve those professional problems.

B) Make a round-table talk to discuss the points raised by the author. The leader should keep the ball rolling and bring the participants to working out the main techniques of teaching communicative competence.

2. People who like to study don't always fit into the modern scheme of things,

A) Read this poem by J.E. Faulks.

Problem Child

Before starting the debate make up a list of counterarguments.

2. Make a round-table talk to discuss the best ways to improve your profession­al efficiency in your teaching career.

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For Role-Play

Situation: Informal talk out of class.

Characters: "Conscientious сознательный " student

Student who is not quite "conscientious" Day-dreamer

Loafer Talking Point: Is learning how to study that important?

Topics for oral and written composition

1.The teacher must live to teach and not teach to live.

2. The most valuable gift you can give another is a good example.

3. Men learn while they teach.

INSIGHT INTO PROFESSION

HOW TO TEACH WRITING

UNIT SIX

TEXT SIX

ANTHONY IN BLUE ALSATIA ( местечко вокруг Уайтфрайеза (Лондон), в 17 в. убежище для преступников)

By Eleanor Farjeon

A Minor Mystery

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text Six and mark the stresses and tunes, b) Repeat the text in the intervals after the model.

Read the text and consider its following aspects.

I) Point out the climax of the story motivating your choice.

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J) Comment on the composition device used in the last three lines of the story.

Compose short situations in dialogue form using the word combinations and phrases. Pay attention to the intonation patterns of the stimuli and responses to convey proper attitudes.

10. Translate the following sentences into English using the word combinations and phrases:

1. Он решил, что если он будет внимательно следить за сосе­дями по столу и делать все, как они, он не ошибется. He decided that if he would observe attentively his tablemates and do as they do, he cannot go far wrong. 2. На этот раз нам не повезло. Luck was not with us this time. Наша машина сломалась. Our car came to a standstill. Она остановилась в пустынном месте. It held up in backwoods. Поблизости не было ни одной деревни, до которой было бы легко добраться. There were no villages within easy reach of here. Хоть бы какая-нибудь маши­на проехала! We wished there would be any car on the road! Но не тут-то было. It was not to be.Нам ничего не оставалось, как довериться случаю и ждать. The only thing there was to do was to put ourselves in hands of fortune and wait. 3. Он прекрасно понимал, что лю­-

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дям с иными вкусами и наклонностями его хобби, наверное, показалось бы смешным. He realized that people with a different order of mind from him would probably found his hobby ridiculous. 4. В газетной заметке сообщалось о бандитском налете, которому подвергся пассажирский поезд в горах Адельяно. There was an account of a mob, which had hold up a passenger train in Adelyano mountains. 5. Он вздохнул с облегчением, когда вступил, наконец, на палубу корабля. He breathed with relief having set foot on the deck. Скоро берега чужой земли пропа­ли из вида. The shore of foreign soul lost to sight soon. Снова и снова он повторял себе: «Домой! Я возвра­щаюсь домой!» Time and again he repeated himself: "Home! I'm going home!" 6. «Вас к телефону!» —улыбаясь, сказала хозяй­ка дома. "There's a call for you!"- the hostess said with a smile. Он вышел в переднюю, взял трубку. He went out into the anteroom and took the call. Незнакомый голос в трубке сказал: «Завод горит. Немедленно приезжайте». A strange voice on the phone said: "The plant is on fire. Come here right now."

11. Answer the following questions:

1. In what way did Anthony read his morning paper? 2. Why couldn't he concentrate on vital жизненно важными facts in the paper? 3. Why was it that the article about the breakdown of the Alsatian Express captured his attention? 4. What were the contents of the article? 5. What was the "minor mystery" connected with the accident? 6. What is the draw­back помеха of the railways in the author's opinion? Do you share this opin­ion? 7. Have you ever experienced the feeling described in this para­graph and summed up in the words: "If only the train would stop!" ? Describe an incident when you did. 8. How did it happen that Antho­ny found himself in a carriage of the Blue Alsatian Express? (Was it a real fact or only his day-dream?) 9. What did he see when he looked out of the window? 10. The rest of the passengers were also fascinat­ed by what they saw out of the windows, weren't they? 11. Why was it that Anthony was the only passenger who seemed to appreciate the loveliness of the place? 12. Why did Anthony leave the train? 13. Where did he go? 14. Whom did he meet? 15. Then he returned to the train, didn'the? 16. Comment on the final paragraph of the sto­ry: how did Anthony, all of a sudden, return to his tea-cup and his paper again? 17. What is the point of the story?

Study the vocabulary notes and translate the examples into Russian.

Render Text Six.

Give the gist of Text Six.

Reread Text Six to speak on the following points of its composition and style.

F) Make a detailed analysis of the rhythmic effects in the whole story.

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G) Point out lines bearing touches of irony or humour. Prove which И is.

B) Read your account to your comrades in class. Arrange a competition for the best version.

23. Compose a second part of the story "Anthony in Blue Alsatia" with the view of showing how the newspaper article influenced Anthony's further life, behaviour or psychology.

Make a round-table discussion of the story in which one part of the partic ipants will criticize the story pointing out its weak points, and the other will de fend it enlarging on its merits.

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PROFESSION-ORIENTED QUESTIONS AND ACTIVITIES

I. Listen to your fellow-students' reading of Ex. 2, detect their mistakes and cor rect them.

II. Analyse your fellow-students' reading of Ex. 3 by demonstrating the correct way of pronouncing the word combinations.

III. Read out Ex. 4 to your fellow-student; ask him to analyse your mistakes and correct them.

IV.a) Adapt the text for the 10th form level, b) Make up 10 questions covering the adapted text. (Lay emphasis on the beautiful nature that fascinated Anthony.)

V.a) Make a list of possible talking points on the topic "Man and Nature" that would be of particular interest for teen-agers, b) Work out topical vocabulary lists on some of them.

VI. Conduct a part of the lesson. Test the members of the class on their home work (check on their spelling, vocabulary or the content of the text). Use the fol lowing for prevention and analysis of their mistakes:

1. Open your books at...; 2. Your wording is wrong. 3. You've mispronounced the word. 4. I've lost the gist because of the bad wording. 5. You don't keep up with class. 6. It's too fragmentary to be pieced together. 7. That was a glaring error! 8. We could gain lit­tle information from your answer. 9. This is a troublesome letter/ sound/word. 10. A bad/good choice of words! 11. You don't seem to have prepared anything.

VII. Take up problem-solving situations 16-20 (See the Appendix). Discuss them in class.

CONVERSATION AND DISCUSSION

TRAVELLING. HOLIDAY-MAKING. ENVIRONMENTAL PROTECTION

Topical Vocabulary

Get back to nature

Travel for pleasure

C) Summarize in one paragraph the essentials of the extract.

The Only Way to Travel is On Foot

C) Find in the text statements with which you agree and support them by your own arguments. Find statements with which you disagree and explain why you do.

D) Study the counter-arguments to the text and discuss it in teams using both the arguments of the text and the counterarguments below.

A) Travelling and holiday-making are in a way related to each other. Read the following dialogue for enlarging your topical vocabulary (A — student of English; В — teacher).

A: How d'you explain it when people go abroad in a group, with all the arrangements приготовлениями taken care of by a travel agency?

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В: You go abroad on a package tour турпутёвка, включающая проезд, проживание, питание, экскурсии.

A: What about someone who doesn't like planning, but just likes doing what he feels like at any particular moment or going where he feels like?

B: People like that play it off the cuffдействуют по обстановке.

A: So, it's all right if I say I like playing it off the cuff when I'm on holiday?

B: Yes, perfect. That's what you plan doing, isn't it?

A: Well, for some of my holiday, anyway. What about when I'm on the beach and lying in the sun?

B: Use to sunbathe or to do some sunbathing or to soak up the sunпринимаете солнечные ванны.

A: And if I soak up the sun for two weeks?

B: Then you become tannedor you get a tan. The simile сравнение, by the way, is as brown as a berryзагорелый.

A: And if I just go horribly red?

B: As redas a lobster красный как рак.

A: Well, I just want to get a lovely tan and be lazy.

B: A good verb for just being lazy and relaxing is to laze aroundвылёживать.

A: So it's correct if I say I'm going to spend two weeks lazing around on the beach?

B: Yes, I hope you have good weather.

A: So do I. Talking of weather how d'you explain it when you take a chance on having good weather?

B: That's the actual expression, to take a chance with the weather понадеяться на хорошую погоду.

A: Assuming the weather's good and I have a good time, how will I feel when I get back?

B: Well, you can say my holiday did me the world of good or I feel as fit as a fiddleподняли мне настроение.

A: I see. Now what about expressions connected with places which have been discovered and those which haven't? If, for instance, I want to find somewhere well away from the usual tourist places?

В: Use off the beaten trackместа, лежащие в стороне. For instance there are hundreds of lovely places in Britain off the beaten track.

A: And if a hotel, for example, is miles from anywhere у чёрта на куличках?

B: Just say, "I stayed at a hotel in the middle of nowhere."

A: My car once broke down in the middle of nowhere в безлюдном месте. What about when a place is full of tourists ?

B: Well, if it's one of those places that's really crowded use to be swarming with быть заполненным. For example, "St. Paul's Cathedral was swarming with tourists when I was there."

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A: And if all the hotels are full?

B: Just say the hotels were booked solidне имеют свободных местor there wasn't a bed to be had anywhere.

A: And if a person doesn't stay in a hotel, but sleeps in parks or railway stations, and so on?

B: Use to sleep roughночевать под открытым небом. I remember I used to sleep rough sometimes when I was a student.

A: How about a few expressions connected with camping?

B: Well, I suppose most people who go camping like to get back to nature. Don't forget, by the way, that the place where you camp is the camp site кемпинг and not "the camping лагерь (спортивный, детский, учебный) ". What else? You either pitch or put up the tent. You take some camping equipment полевое снаряжение with you. Equipment, by the way, is always singular.

A: What about people who take everything with them? There's an expression, isn't there?

B: Yes, they take everything bat the kitchen sink.

A: I like that one. Getting back to town, what's the expression for having a look at the famous places?

В: Well, use to do some sightseeing or to go sightseeing or to see the sights.

A: Well, thanks for all that.

(From: "BBC English by Radio and Television")

b) Make up dialogues of your own describing your travelling or holiday im­pressions. Use the vocabulary of the dialogue above. (Keep it in mind that most of it represents informal style.)

II Environmental Protection.

Read the texts and enact them either in the form of interviews or as role plays enlarging on the words of each speaker.

Situation

Characters

Mrs Mabel Bloxford

Last year when my husband found out that he had cancer, the doctor advised us to leave Crowchester . We planned to buy a farm 50 miles away. But before we could save enough money for the de­posit задаток, he lost his job. Now we'll never be able to get away from here.

Leonard Miles

Henry Murdoch

Brian Thatcher

Veronica Wade

Ted Sherwood

Litter

Situation

Last weekend Nick West was jogging along a popular path when he stumbled on a broken bottle and injured his leg. He wrote a letter to the editor of the local newspaper complaining выражая недовольство about litter.

Characters

Nick West

Ann Scott, a housewife with two children

Linda Mitchell, a member of a local anti-litter group

Nina Haines, a journalist of the local newspaper

Fred Hurst, a representative of the local council совета

Reg Giles, a local policeman

Albert Greaves, the manager of a soft drinks company

Nick West

People who leave litter behind them are anti-social. They spoil the countryside and create all sorts of danger for other people. Broken bottles and rusty ржавые cans cause serious injuries, especially to children. Old magazines and empty packages help to start fires when fools throw away matches and cigarette butts окурки. Why can't people be more careful?

Ann Scott

Dropping litter is a disgusting habit . If you don't do it in your own house why should you do it anywhere else? I never drop litter and I don't allow my children to. Unfortunately, most parents these days don't bring their children up properly как следует. It's a mother's duty to teach her children how to behave and to set a good example herself.

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Linda Mitchell

I belong to an anti-litter group. Recently we cleaned up a beach. We collected over 150 tons of garbage. We burned half of it and we sold the rest to scrap dealers торговцам утилём for $ 100. We spent that money on lit­ter cans мусорные бачки which we placed at regular intervals along the beach. Every local government ought to do the same thing.

Nina Haines

Fred Hurst

There's not much we can do. There are a thousand square miles of countryside around this town. We can't afford to supply a million litter cans to empty them regularly. Why should local taxpayers be responsible for litter left by holiday visitors from other towns?

Reg Giles

Albert Greaves

Characters

Read the text.

Holiday Heroes

By W. Davis

Sum up the content of the text in six sentences.

Debate the following in pairs or in teams.

IV. Arrange discussions and round-table talks on the following.

THE UNEXPECTED INTO THE CLASSROOM

Test Your Power of Observation and Memory

Shopping at the Grocery Store

A Story Without Adjectives

Sustained Speech Exercises

Reinforcement Games

Contrastive statements can be practised with 2 pictures alike in all but a few minor details. As well as eliciting patterns with "while", "whereas", "however", "on the other hand", "not only, but also", "the other one", those pictures can be used on other occasions for con- textualized practice.

Many structures can be enjoyably reinforced after presentation or revision, by simple question-and-answer games, or other. .

Scoring

Any exercise can be made enjoyable by scoring right answers and penalizing wrong ones in an entertaining way: a question-answer drill подготовка can be turned into a game of football or tennis. The class is di­vided into two teams. A correct answer is a "goal".

(Compiled from "ELT Journal", L., 1973, No. 2; "English Teaching Forum", Washington, 1973, No. 3)

B) Play the games in class. Let each member of the class take one game and use it for revision of one of the textbook sections or topics you had during the term.

C) Discuss each game in terms of suitability to different teaching levels.

UNIT SEVEN

TEXT SEVEN

ANGEL PAVEMENTмостовая

By John B. Priestley

ESSENTIAL VOCABULARY

Vocabulary Notes

Word Combinations and Phrases

EXERCISES

A) Listen to the recording of Text Seven and mark the stresses and tunes,

B) Repeat the text in the intervals after the model.

Read the text and consider its following aspects.

Copy out from Text Seven the sentences containing the word combinations and phrases given above and translate them into Russian.

Compose two dialogues using the word combinations and phrases. Mind the intonation patterns in the stimuli and responses to convey proper attitudes.

Study the vocabulary notes and translate the examples into Russian.

Translate the following sentences into English using the essential vocabulary.

Use the following in brief situations. See to it that the situation enhances the meaning of the word or phrase from your essential vocabulary. May be done in pairs.

1. Where did she acquire such beautiful accent? 2. You needn't cheapen yourself in this way. 3. Did you actually assist in producing the film? 4. You shouldn't nurse grievances. 5. Adolescents подростки are sel­dom tolerant. 6. It is a temporary arrangement. 7. Yes, she is a viva­cious child. 8.1 refuse to pursue the subject. 9. You have a very vivid imagination. 10. What are the girl's acquirements?

Give the gist of Text Seven.

Compose dialogues.

Reread Text Seven to discuss the following points of its style.

HE GENERATION GAP. THE PROBLEMS OF THE YOUNG

Topical Vocabulary

Lack of understanding

negligence небрежность; невнимательность, халатность n

parent(-s') authority (lax authority слабое руководство)

Parent-child relationship

Read the text

The Younger Generation Knows Best

Find in the text its leading ideas and present them in the form of clear-cut statements.

Find in the text statements with which you agree; with which you disagree. Explain your attitude.

Study the counter-arguments to the text you have read and discuss the problems raised in class using both the arguments of the text and the counter-arguments that follow.

(The group should be as usual divided into two parts, one part supporting the cause of the young and theother that of the older generation.)

The young do not seek responsibility: they evade it.

They are not interested in important questions; avoid involve­ment: e.g. major political issues, etc.; they lack noble ideals .

They want expensive clothes, cars, etc. without working for them.

The young should be grateful to the older generation.

The older generation bequeathed оставили в наследство peace and freedom which the young enjoy.

The older generation provides the young with good education, money to spend.

The older generation fought World War II, faced difficult, some­times tragic problems. The young have had everything easy.

The young cling to passing fashions: clothes, pop music, rock music. The modern phenomenon is mass hysteria.

Too much permissiveness вседозволенность leads to immorality when normal mor­al standards are labelled as "inhibitions".

Appearance of many young people is unpleasant: too long un­kempt hair, dirty clothes, unwashed bodies.

5. Tell the class what you think about the parent-child relationship. What should it be like? What is the way to achieve a perfect mutual understanding?

II. 1. Read the following dialogue dealing with the same problems of the generation gap.

Summarize the content of the conversation in indirect speech accentuating the major problems touched in it.

Discuss the following in dialogues arguing the point.

Use the following conversational formulas of agreeing and disagreeing.

Read the text

Childhood is Certainly not the Happiest Time of your Life

Debate the major points of the text either in pairs or in teams. Use the arguments and counter-arguments below.

For

1. A happy childhood is a myth.

2. Children have no right to opinions of their own; adults choose their clothes, books, even friends.

3. The children are manipulated by the grown-ups so as not to interfere with them.

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4. The difference between manhood and childhood is the difference between independence and subjection.

5. The years of school are hard: homework to prepare every day, examinations to take, lack of understanding on the part of the teachers.

6. The grown-ups are tyrants : the everlasting "don't-do-that's" and "do-as-I-tell-you's" are hard to bear.

7. Children are vulnerable ; they suffer from the ignorance of the world around them, from unreasonable fears, nightmares faced alone.

8. Adolescence подростковый возраст is the most painful time: lack of self-confidence; over-consciousness понимание of one's appearance; shyness and diffidence робость, неуверенность в себе.

9. Adolescence is the time of intense, sometimes violent feelings which may lead to unpredictable actions.

10. An adolescent подросток may feel himself alone in what seems to him a hostile adult world.

Against

IV. Arrange discussions and round-table talks on the following.

III. Fashionable Scorn for Traditional Approaches

This is a pity,-because, once again, things which began as sensi­ble suggestions, e.g.: 1) teachers should not be dominated by text­books, 2) unseen dictations at too early a level are risky, 3) reading unprepared material round the class can be bori,ng and frustrating, etc. become extreme pronouncements: 1) textbooks are useless, 2) dictations are useless, 3) reading aloud is useless, etc.

IV. Taking Too Much for Granted

Oral approach techniques and principles which seem so interest­ing, sensible and useful to teachers encountering them for the first time, should all be thought about in order to decide on their real func­tions, and hence their advantages and dangers.

V. Not Looking Before You Leap

Give a summary of the article.

APPENDIX

SITUATIONS FOR PROBLEM-SOLVING ACTIVITY