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Дагестанский государственный университет
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МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РФ
Федеральное государственное бюджетное образовательное учреждение высшего образования
Дагестанский государственный университет
СROSSING BARRIERS
(Пособие по самостоятельной работе)
для студентов 3 курса бакалавриата
по направлению Лингвистика / Филология
Махачкала 2020
Издается в соответствии с планом учебно-методической работы Дагестанского государственного университета
ББК
Рецензенты:
Гаджиева Луиза Гаджиевна. – к. ф. н., Дагестанский государственный педагогический университет;
Абдуллабекова Умсалимат Багаутдиновна - к. ф. н., Дагестанский государственный университет народного хозяйства.
Пособие по самостоятельной работе «Сrossing Barriers. Self Study Book»: учебное пособие. / составители: П. М. Омарова, З. С. Гусейханова, Х. А. Дарбишева, Т. И. Рагимханова, Д. М. Эмирова, З. М. Эфендиева, С. М. Магомедова, А. М. Хайбулаева; Дагест. гос ун-т – Махачкала: 2020. – с.
ISBN
Учебное пособие предназначено для самостоятельной работы студентов бакалавриата языковых факультетов и нацелено на развитие навыков устной и письменной речи. Пособие состоит из II частей. I часть разделена на 7 уроков, включающих аутентичный текстовый материал, активный словарь, а также комплекс упражнений к текстам на развитие всех видов речевой деятельности. Во II части приводится схема лингвостилистического анализа текста. Пособие также снабжено приложением, в котором даны определения и примеры основных стилистических приемов, а также правила написания рецензии на фильм или художественное произведение.
ISBN
ББК
© ДГУ 2020
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CONTENTS
| UNIT 1. COMMUNICATION | |
| Reading. Theatre for the Deaf……………………………… | |
| Focus on discussion. A World of Gestures... ……………….. | |
| UNIT 2. MOODS AND FEELINGS | |
| Reading. Sense and Sensibility............................................... | |
| Focus on discussion. Growing Pains……………….............. | |
| UNIT 3. JOB HUNTING | |
| Reading. Great British jobs………………………………… | |
| Focus on discussion. Regulation of the professions………… | |
| UNIT 4. MODERN LIVING | |
| Reading. The Magic of Pantomime………………………… | |
| Focus on discussion. One Man’s Music is Another Man’s Noise …………………. …………………………….. | |
| UNIT 5. TRAVEL AND TOURISM | |
| Reading. The Moon and Sixpence …………………………. | |
| Focus on discussion. Iceland……………………………….. | |
| UNIT 6. EDUCATION | |
| Reading. Tom Brown’s Schooldays……………………….. | |
| Focus on discussion. Parents are too Permissive with their Children Nowadays……....................................................... | |
| UNIT 7. PLANET ISSUES | |
| Reading. Save our Seeds…………….. ……... ……….. | |
| Focus on discussion. Recycling in the United Kingdom…………………………………………………… | |
| PART II. | |
| STRATEGIES FOR TEXT ANALYSIS…………………… | |
| How to write a summary……………………………………. | |
| Scheme of analysis I (first term)……………………………. | |
| Scheme of analysis II (second term)……………………….. | |
| Sample I. Stylistic Analysis of While the Auto Waits by O. Henry…………………………………………….. ……. | |
| Sample II. Stylistic analysis of the story A Friend in Need by W. S. Maugham……………………………………….. | |
| Sample III. Stylistic analysis of the story ‘The Angel of the Bridge’……………………………………………………… | |
| Sample IV. Stylistic analysis of the story 'The Wrysons'…... | |
| Sample V. Stylistic analysis of Regret | |
| APPENDIX | |
| Phonetic Expressive Means and Stylistic Devices.................. | |
| Lexical Expressive Means and Stylistic Devices.................... | |
| Syntactical Stylistic Devices................................................... | |
| Self test.................................................................................... | |
| Texts for stylistic analysis for 3rd year students...................... | |
| How to write a book report..................................................... | |
| How to write a film review…………………………………. | |
| Top 100 works in English literature........................................ |
UNIT 1
READING
THEATRE FOR THE DEAF
There was a time when deaf people couldn’t experience the joy of a theatrical performance. This is all changing, thanks to Sign Language theatre interpreters.
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Deaf people should enjoy a play as much as the hearing audience. This is the thinking behind the Americans with Disabilities Act, which requires that theatres become accessible to deaf people.
Theatre producers, on the other hand, are beginning to realize that such a feature makes their product attractive to a wider audience – with considerable financial rewards.
Interpreted theatre usually takes place as two or three performances in a theatre season. Preference for tickets is given to the deaf and their guests, but tickets are also sold to hearing people who are interested in seeing theatre interpreters at work.
It is a colossal project for the interpreters. Ian Cox works for See Theatre, a Chicago-based association of interpreters. He says, “For about a month we work with the support of a Sign Language consultant to translate and rehearse an entire play. The workload is immense. Consider that each actor in the play has about four weeks to rehearse his or her lines; we have to learn the whole play in as much time. And, when interpreting musicals, where timing, rhythm and harmonies must be practiced, the workload doubles. ”
“The most important technical aspect of theatre interpretation for the deaf is the location of the interpreter. Placement strategies can be categorized into three styles: “placed”, where interpreters are located outside the acting space and do not move; “zoned”, where interpreters are within the acting space, but usually move only during a change of scene or act; and, finally, “shadowed”, where interpreters move freely within the acting space, shadowing the movement of the actors for whom they are interpreting.
The “placed” style of interpreting in the theatre is by far the most common. The interpreters are side-by-side and face the audience (although some interpreters interact with each other as appropriate). The location of the interpreter is generally in one of three places: stage right or stage left, or on the floor of the house.
The “zoned” style of interpreter placement is a happy medium between the “placed” and “shadowed” styles. Here, interpreters are placed side-by-side within the acting space. Usually, they change position on stage from scene to scene – or from act to act – in order to be within the same “zone” as the majority of the action. Zone placement makes it easier for the deaf patron to see the interpreters and actors at the same time.
The “shadowed” style of interpreting is the most inclusive style of interpreting for the theatre. It involves placing the interpreters directly within the action – nearly making them “sign language actors”. The interpreters are “blocked” into each scene, and literally shadow the actors. The advantage of this is clear: the interpreter is in such close proximity to the actor that the deaf patron need not make a decision about whom to watch – he or she can watch both at the same time. In the best of cases, the deaf patron mentally blends the interpreter with the actor, and forgets that the actor does not sign.
Theatre interpreters for the deaf are dedicated professionals who take great pride in their work. “Theatre, ” says Ian, “is the art of communicating beautiful ideas in interesting ways. Interpreted theatre, therefore, is an art in itself. Thankfully, instead of seeing us as “additions”, producers nowadays think of interpreters for the deaf as a new avenue to creativity. ”
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