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Mark sentence stresses and underline all the form-words in the sentence: “They all went for a walk in the park.” What parts of speech are form-words?

Содержание

 

Введение ………………………………………………………………………4

Методические рекомендации по выполнению контрольных работ……......4

Оформление контрольных работ………………………….……….……........5

Контрольная работа № 1……………………………………………….....7

Контрольная работа № 2……………………………………………….....8

Контрольная работа № 3………………………………………………...10

Контрольная работа № 4………………………………………………...11

Библиографический список……………………………………….……........18

 


Введение

Данные контрольные задания составлены в соответствии с рабочей программой по дисциплине предметной подготовки «Практическая фонетика» для студентов Российского государственного профессионально-педагогического университета, обучающихся по направлению подготовки 050100.62 Педагогическое образование профиля подготовки «Образование в области иностранного языка (английского)», и отражает комплекс знаний и умений студента в соответствии с Государственным образовательным стандартом и квалификационной характеристикой бакалавра.

Контрольная работа – одна из форм проверки и оценки усвоенных знаний, получения информации о характере познавательной деятельности и активности студентов в учебном процессе, эффективности методов, форм и способов учебной деятельности.

Система заданий контрольных работ разработана с тем, чтобы выявить как знания студентов по определенной теме (разделу), так и умение творчески использовать приобретенные знания и навыки.

Данные контрольные работы являются индивидуальными письменными домашними заданиями, которые выполняются с 1-го по 4-й семестры и сдаются для проверки в сроки, определенные учебным планом.

Контрольная работа имеет титульный лист, перечень вопросов, заданий, список использованной литературы.

 

Методические рекомендации по выполнению контрольных работ

Особенностью овладения иностранным языком при заочном обучении является то, что объем самостоятельной работы студента по выработке речевых навыков и умений значительно превышает объем практических аудиторных занятий с преподавателем. Соотношение аудиторных и самостоятельных часов, отводимых на весь курс обучения равно 174 ч.: 432 ч. Таким образом, каждому аудиторному двухчасовому занятию должно предшествовать не менее полутора часов самостоятельной работы студента.

Для того чтобы добиться успеха, необходимо приступить к работе над языком с первых дней обучения в вузе и заниматься систематически.

Самостоятельная работа студента по изучению практической фонетики направлена на развитие речевой деятельности: аудирование (прослушивание учебных аудиотекстов диалогического и монологического характера с целью полного понимания); говорение (составление диалогов, а также монологов в форме интерпретации, аргументации, описания, повествования и рассуждения в рамках обозначенных в тематическом плане сфер общения с использованием аудио-записывающей и воспроизводящей техники); составление плана прочитанного/прослушанного текста, реферирование (лаконичное изложение основных мыслей текста-источника, их систематизация, обобщение и оценка), аннотирование (краткое связное изложение основного содержания текста-источника с целью ориентации реципиента, сообщения ему кратких сведений о заключенной в тексте информации, ее направленности, ценности и назначении).

Для того чтобы достигнуть требуемого уровня владения языком, следует систематически тренировать память заучиванием иноязычных слов, текстов. Надо помнить, что способности развиваются в процессе работы, что осмысленный материал запоминается легче, чем неосмысленный, что навык вырабатывается путем многократно выполняемого действия.

Оформление контрольных работ

1. Все контрольные задания, предусмотренные планом, следует выполнять в отдельной тетради или на скрепленных машинописных листах. На титульном листе укажите институт, курс, номер группы, фамилию, имя и отчество, дату, номер контрольного задания и варианта.

2. Контрольные задания следует выполнять четким почерком (или в напечатанном виде) с соблюдением полей, оставленных для замечаний, комментария и методических указаний преподавателя.

3. Строго соблюдайте последовательность выполнения заданий. Формулировку задания к каждому упражнению контрольной работы нужно обязательно переписать в тетрадь.

4. Текст или его фрагменты, предназначенные для письменного перевода, перепишите на левой стороне страницы, а на правой представьте его перевод.

5. В конце работы поставьте свою личную подпись.

Контрольная работа, выполненная не полностью или не отвечающая предъявляемым к ней вышеперечисленным требованиям, возвращается без проверки и не засчитывается.

6. Полученная от преподавателя проверенная контрольная работа с замечаниями и методическими указаниями должна быть переработана (только та часть, где содержатся ошибки или неточности перевода) на отдельном листке, который затем прилагается к контрольной работе.

7. Только после этого можно приступать к изучению и выполнению очередного контрольного задания.

8. Все контрольные задания с исправлениями и дополнениями являются важными учебными документами, которые служат основанием для допуска студента к очередному зачету или экзамену.


Контрольная работа № 1

Для выполнения контрольной работы № 1 по практической фонетике необходимо изучить следующие темы: артикуляция английских гласных и согласных; особенности слогоделения в английском языке; словесное ударение.

Вариант № 1

1. Modification of consonants in connected speech:

1) Give three examples illustrating different degrees of assimilation.

2) What allophone of the phoneme [l] is used within the word health? How does this allophone differ from the principal one?

3) Read and transcribe the words train, trifle. Say what consonant is assimilated in them and what degree of assimilation it is.

2. Vowels:

1) Give examples where [x] is the longest.

2) Is the diphthong longer in laid or in late?

3. Modification of vowels in connected speech:

1) Transcribe the following sentence: “I can read it alone.” What type of reduction is observed in the word can?

4. Strong and weak forms:

Mark sentence stresses and underline all the content words in the sentence: “I sent him a photo of the children.” What parts of speech are content words?

5. The degrees and the position of word stress:

1) Give a series of examples to illustrate the fact that the qualitative modification of unstressed vowels is not obligatory in English.

Вариант № 2

1. Modification of consonants in connected speech:

1) Give three examples illustrating different degrees of assimilation.

2) What consonant in the sentence “Call the boy” is affected by regressive assimilation?

3) Transcribe and pronounce the words three, thread. Say what allophones of the phoneme [r] are used in them.

2. Vowels:

1) Give examples to illustrate that [R] is not equally long in different phonetic contexts.

2) Give examples where [OI] is the longest.

3. Modification of vowels in connected speech:

1) Transcribe the following sentence: “He is right.” What type of reduction is observed in the word he?

4. Strong and weak forms:

Mark sentence stresses and underline all the form-words in the sentence: “They all went for a walk in the park.” What parts of speech are form-words?

5. The degrees and the position of word stress:

1) Compare the accentual patterns of the words unusual and unshaven. What is the difference between them due to?

Контрольная работа № 2

Для выполнения контрольной работы № 2 по практической фонетике необходимо изучить следующие темы: интонация (интонационная структура и ее основные элементы; интонационная разметка текста; употребление основных интонационных структур в английской речи в четырех коммуникативных типах предложения: повествовательном, повелительном, вопросительном и восклицательном в некоторых стилистически различных речевых реализациях).

Вариант № 1

1. Intonation.

1) Write the tone-and-stress marks in the text for ascending heads. Illustrate them with your own examples.

2) What attitudes of a speaker are expressed by the Low Level Head + the Low Fall?

3) Give your own examples with several High Falls within an intonation group. Explain what attitudes are conveyed in them.

4) Suppose you want to sound impressed, or challenging. What pattern would you choose for it?

5) Draw the Sliding Head + Rise-Fall pattern. Give your own examples with it. Define the attitudes expressed.

2. Intonation patterns and sentence types.

1) How does the use of the Fall-Rise change the common meaning of a statement? Illustrate it by your own examples.

2) How would you subdivide imperatives from the point of view of the attitudinal meaning expressed in them? Give the contrasted pairs with command-request intonation. Show how the meaning is changed.

Вариант № 2

1. Intonation.

1) Write the tone-and-stress marks in the text for ascending heads. Illustrate them with your own examples.

2) Define the attitude expressed by the High Pre-Nucleus + the Low Fall.

3) Give your own examples with several High Falls within an intonation group. Explain what attitudes are conveyed in them.

4) If you want to sound antagonistic or disclaiming responsibility, what pattern would suit this occasion?

5) Draw the Sliding Head + Rise-Fall pattern. Give your own examples with it. Define the attitudes expressed.

2. Intonation patterns and sentence types.

1) How does the use of the Fall-Rise change the common meaning of a statement? Illustrate it by your own examples.

2) How would you subdivide imperatives from the point of view of the attitudinal meaning expressed in them? Give the contrasted pairs with command-request intonation. Show how the meaning is changed.

Контрольная работа № 3

Для выполнения контрольной работы № 3 по практической фонетике необходимо изучить следующие темы: интонация (темп; ритмическая группа; фразовое ударение; интонационная реализация семантической структуры текстовых отрезков).

Вариант № 1

1. Sequence of tones:

1) Explain the use of the low rising tone in the sentence:

“‚Sometimes | I æcome 'home ֻearly”

2) Mark the stresses and tunes in the following sentence; intone it: “Students should note that spoken English presents much difficulty for foreigners.”

2. Sentence stress:

1) Translate the following sentence into Russian: “How badly he had said it. Yet he HAD said it.” What is the attitude of the speaker?

2) Transcribe, mark stresses and tunes and read the sentence: “Who will meet him at the airport?” Give examples where form-words are used in their weak forms.

3. Tempo of speech:

1) What are the main kinds of pauses in English and how are they marked?

4. Rhythm:

1) In what way will you divide the following sentence into rhythmic groups?

“I hope you won’t be late for your train.”

2) Say what you know about rhythmical variations of stress in compounds (adjective-noun; adverb-adjective; adverb-verb) when they are used in connected speech: when final, and immediately preceded by a stress.

Вариант № 2

1. Sequence of tones:

1) Explain the difference between the meaning of the sentences:

“I’ll æcome to your 'place toֻmorrow.”

“I’ll àcome to your ‚place toֻmorrow.”

2) Look for a sentence with a fairly long subordinate clause in post-position. Find the best way to split it into intonation groups.

2. Sentence stress:

1) Translate the following sentences into Russian: “Speak out!” said Martin, “and speak the truth.” – “I fear this IS the truth.” What kind of attitude is expressed in the reply of the second speaker?

2) Transcribe, mark stresses and tunes and read the sentence: “They aren’t ready, are they?” Give examples where link verbs are used in their strong forms.

3. Tempo of speech:

1) What are the main kinds of pauses in English and how are they marked?

4. Rhythm:

1) In what way will you divide the following sentence into rhythmic groups?

“I read an account of it in The Times. ”

2) Say what you know about rhythmical variations of stress in compounds (adjective-noun; adverb-adjective; adverb-verb) when they are used in connected speech: when a stress immediately follows the word.

Контрольная работа № 4

Для выполнения контрольной работы № 4 по практической фонетике необходимо изучить следующие темы: фоностилистика.

Вариант № 1

1. Informational (formal) style:

(a) Read the following text silently to make sure that you understand each sentence.

"Eighteen workers who have been locked out of a Brighton textile factory because they joined a union, are to seek the support of the trade union group of Labour MPs next Tuesday. The meeting with the executive of the group of the House of Commons has already been arranged. Last week-end more than 200 Sussex University students attended a special meeting of the University Union and passed unanimously a resolution supporting the dismissed workers. Their resolution, copies of which were sent to the Prime Minister and Minister of Labour, 'expressing union disgust at the dismissal of the 18 workers and the scandalously low rate of pay.' It calls on the management to reinstate tile locked-out workers and recognize the employees' right to organize themselves into a branch of the National Union."

(A News Bulletin Item)

(b) Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Find the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c)Get prepared to read the text aloud as if you were a radio announcer. Let the teacher and fellow-students listen to you and decide whether your reading conforms to the required pattern. Try to keep the listeners' interest but do not allow personal attitude to be introduced. Bear in mind the absence of visual contact between the radio announcer and his listeners.

2. Scientific (academic) style:

(a)Read the following extract silently to make sure that you understand each sentence.

"To the question: 'What is language?' many and varied answers have been given. Some linguists, fastening upon the phonetic aspect of speech, have defined language as being basically a series of sounds produced by certain human organs and received by others. Another school replies that since the main characteristic of language is meaningfulness, and since a transfer of meaning can take place without the medium of sound, as witnessed by semaphoric or gestural systems of communication, the phonetic aspect of language is secondary to the semantic feature. To the grammarian, language is primarily a series of grammatical forms, roots, and endings. To the literary specialist, language is a series of words so arranged as to produce a harmonious or logical effect. To the lexicographer, language is fundamentally a list of words with their separate derivations, histories, and meanings. To the man in the street, language is what he uses, quite unconsciously, to communicate with his fellow man. Obviously, these partial definitions are all correct. But precisely because they are ALL correct, the sum total of language amounts to something greater than any of them. Sounds in themselves do not constitute language; yet the spoken language consists of sounds. Meaningfulness may be achieved in a number of nonlinguistic ways, therefore meaningfulness alone does not constitute language; yet language, to be worthy of the name, must be meaningful. Grammatical forms and grammatical categories, taken by themselves, are dead things, as will be attested by many former students who 'went through' Latin and French in certain educational institutions; yet language is characterized by their presence to the extent that there is no language, however primitive, that does not possess some system of grammar. Spoken and written language consists of separate words; but unless these words are arranged in certain sequences, they will not only fail to convey beauty or logic but will even fail to convey complete meaning. Lastly, a language that does not serve as a medium of communication is a traitor to its function."

(M. Pei. "The Story of Language")

(b)Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c)Get prepared to make an oral presentation of this text in class as if you were a university lecturer. Let the teacher and fellow-students listen to you and decide whether your lecture conforms to the required pattern. Introduce alterations in the text, if necessary, and use some hesitation phenomena to obtain a balance between formality and informality. It will enable you to establish a closer contact with the audience. Remember that the success of any kind of lecturing depends on your ability to do so.

3. Familiar (conversational) style: the Rise-Fall pattern.

Read the dialogue silently. Underline the communicative centre in each phrase and decide what attitude should be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in mind. Do not forget that one of the partners sounds impressed. It is not expected that each member of the class will mark the dialogue in exactly the same way. Practise reading your corrected variant. Memorize the dialogue and get ready to act it with your fellow-student.

— Did I tell you I went to Switzerland for my holiday?

— Well.

— I flew there by jet.

— Did you?

— It only took an hour and a half.

— Quick.

— Yes, but we had to wait an hour at London Airport. Fog, you know, is dangerous.

— Well when you fly a lot, you get used to it.

— Oh.

— I remember once I was flying over the Alps when one of the engines stopped.

— Good heavens.

Вариант № 2

1. Declamatory style.

(a)Read the following text silently to make sure that you understand each sentence.

"Fleur, leaning out of her window, heard the hall clock's muffled chime of twelve, the tiny splash of a fish, the sudden shaking of an aspen's leaves in the puffs of breeze that rose along the river, the distant rumble of a night train, and time and again the sounds which none can put a name to in the darkness, soft obscure expressions of uncatalogued emotions from man to beast, bird and machine, or, maybe, from departed Forsytes, Darties, Cardigans, taking night strolls back into a world which had once suited their embodied spirits. But Fleur heeded not these sounds; her spirit, far from disembodied, fled with swift wing from railway-carriage to flowery hedge, straining after Jon, tenacious of his forbidden image, and the sound of his voice, which was taboo. And she crinkled her nose, retrieving from the perfume of the riverside night that moment when his hand slipped between the may-flowers and her cheek. Long she leaned out in her freak dress, keen to burn her wings at life's candle; while the moths brushed her cheeks on their pilgrimage to the lamp on her dressing-table, ignorant that in a Forsyte's house there is no open flame. But at last even she felt sleepy, and, forgetting her bells, drew quickly in."

(J. Galsworthy. "The Forsyte Saga")

(b)Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between sentences and intonation groups.

(c) Get ready to read the text aloud in class. Let the teacher and fellow-students listen to you and decide whether your reading is expressive enough to be easily understood without reference to the printed version.

2. Publicistic style.

(a)Read the following text silently to make sure that you understand each sentence.

"Four score and seven years ago our fathers brought forth on this continent a new nation conceived in liberty and dedicated to the proposition that all men are created equal. Now we are engaged in a civil war testing whether that nation or any nation so conceived and dedicated can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting place for those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate — we cannot consecrate — we cannot hallow this ground. The brave men living and dead who struggled here have consecrated it far above our poor power to add or detract. The world will little note nor long remember what we say here but it can never forget what they did here. It is for us the living rather to be dedicated here to the unfinished work which they who fought here have thus far so nobly advanced. It is rather for us to be here dedicated to the great task remaining before us — that from these honoured dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain — that this nation under God shall have a new birth of freedom — and that government of the people by the people for the people shall not perish from the earth."

("The Gettysburg Address" by Abraham Lincoln)

(b)Divide the text into paragraphs, if possible. Try to find the main idea in each paragraph. Split up sentences into intonation groups. Single out the communicative centre and the nuclear word of each intonation group. Think of the intonation means they are to be made prominent with. Mark the stresses and tunes. Observe the difference in the duration of pauses between paragraphs, sentences and intonation groups.

(c) Get ready to make an oral presentation of this text in class as if you were a political speech-maker or a commentator. To do so you are to avoid the newsreader's neutral position and introduce personal attitude. Remember that the success of this kind of public oration depends on the speaker's ability to persuade the listeners of the merits of his case. Bear in mind that the human voice is the most powerful instrument of persuasion. Let your teacher and fellow-students listen to you and decide whether your presentation conforms to the required pattern.

3. Familiar (conversational) style: the Fall-Rise pattern.

Two fellow-students are discussing a party they are going to have in their hostel. Read the dialogue silently. Underline the communicative centre in each phrase and decide what attitude should be expressed in it. Mark the stresses and tunes, keeping the attitude constantly in mind. It is not expected that each member of the class will mark the dialogue in exactly the same way. Practise reading your corrected variant. Memorize the dialogue and get ready to act it with your fellow-student.

— Well we'd better make a list of the people we're going to invite. There's the Smiths and John...

— We ought to invite John.

— But not the Smiths? All right. But Chris Smith is rather nice, I think.

— Yes, Chris is.

— I suppose his wife is slightly strange. She's attractive though.

— She's certainly attractive.

— She has a charming voice too.

— She has a charming voice.

— I see you're jealous!


БИБЛИОГРАФИЧЕСКИЙ СПИСОК

Основная литература

1. Дубовский Ю.А. Основы английской фонетики: учеб. пособие/ Ю.А. Дубовский, Б.Б. Докуто, Л.Н. Переяшкина.-М.: Флинта: Наука, 2009.-344 с.

2. Карневская Е.Б. Практическая фонетика английского языка. Для продвинутого этапа обучения/ Е.Б. Карневская, Е.А. Мисуно, Л.Д. Раковская; под общ. ред. Е.Б. Карневской.- 3-е изд., испр. и доп.- М.: Эксмо, 2009.- 416 с. + 1 CD.

3. Соколова М.А. Практическая фонетика английского языка: Учеб. для фак. англ. яз. пед. ин-тов / Соколова М.А., Гинтовт К.П., Кантер Л.А. и др. - М.: Высш. Шк., 2006. – 352 с.

Дополнительная литература

1. Бужинский В.В. Функциональный подход к обучению английскому произношению: метод. пособие / В.В. Бужинский, С.В. Павлова, Р.А. Старикова.- М.: Дрофа, 2004.- 154 с. + 2 аудиокассеты.

2. Варпахович Л.В. Лингвистика в таблицах и схемах: Пособие /Л.В. Варпахович.- Мн.: Новое знание, 2003. – 128 с.

3. Давыдов М.В., Малюга Е.Н. Интонация коммуникативных типов предложений в английском языке: Учебник.- М.: Издательство «Дело и сервис», 2002.- 224 с. + 1 CD.

4. Корчажкина О.М., Тихонова Р.М. Мои любимые звуки: Фонетико-орфографический справочник английского языка / Под общ. ред. доц. Тихоновой Р.М. – М.: Гуманит. Изд. Центр ВЛАДОС, 1996. – 256 с.

5. Лебединская Б.Я. Практикум по английскому языку: Английское произношение.- 2-е изд, испр.- М.: ООО «Издательство Астрель»: ООО «Издательство АСТ», 2000.- 176 с.

6. Лукина Н.Д. Практический курс фонетики английского языка: Учеб. пособие для ин-тов и фак. иностр. яз./ Н.Д. Лукина.- 2-е изд., испр. и доп.- М.: ООО «Издательство Астрель»: ООО «Издательство АСТ», 2003.-272 с.

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