1

1. Analyze text fragment 1. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. A T O N E M E N T
3. Ian McEwan 4.

5. There was a crime. But there were also the lovers. Lovers and their happy ends have been on my mind all night long. As into the sunset we sail. An unhappy inversion. It occurs to me that I have not travelled so very far after all, since I wrote my little play. Or rather, I've made a huge digression and doubled back to my starting place. It is only in this last version that my lovers end well, standing side by side on a South London pavement as I walk away. All the preceding drafts were pitiless. But now I can no longer think what purpose would be served if, say, I tried to persuade my reader, by direct or indirect means, that Robbie Turner died of septicaemia at Bray Dunes on 1 June 1940, or that Cecilia was killed in September of the same year by the bomb that destroyed Balham Underground station. That I never saw them in that year. That my walk across London ended at the church on Clapham Common, and that a cowardly Briony limped back to the hospital, unable to confront her recently bereaved sister. That the letters the lovers wrote are in the archives of the War Museum. How could that constitute an ending? What sense or hope or satisfaction could a reader draw from such an account? Who would want to believe that they never met again, never fulfilled their love? Who would want to believe that, except in the service of the bleakest realism? I couldn't do it to them. I'm too old, too frightened, too much in love with the shred of life I have remaining. I face an incoming tide of forgetting, and then oblivion. I no longer possess the courage of my pessimism. When I am dead, and the Marshalls are dead, and the novel is finally published, we will only exist as my inventions. Briony will be as much of a fantasy as the lovers who shared a bed in Balham and enraged their landlady. No one will care what events and which individuals were misrepresented to make a novel. I know there's always a certain kind of reader who will be compelled to ask, But what really happened? The answer is simple: the lovers survive and nourish. As long as there is a single copy, a solitary typescript of my final draft, then my spontaneous, fortuitous sister and her medical prince survive to love. 6. The problem these fifty-nine years has been this: how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.

7. I've been standing at the window, feeling waves of tiredness beat the remaining strength from my body. The floor seems to be undulating beneath my feet. I've been watching the first grey light bring into view the park and the bridges over the vanished lake. And the long narrow driveway down which they drove Robbie away, into the whiteness.
8. 9. (Ian McEwan. Atonemet. L.: Jonathan Cape, 2001. p. 370-371.) 10. 11. [()authors narration in the form of authors interior monologue. The author recollect the process of writing play and reflect over the problem of truthfulness, the necessary for author to adhere real facts. its argumentation.] 1)attachment; lovers.lovers catch repetition.2)sunset metaphor; unhappy emotive one-member epithet. 4)little play emotive epithet; huge epithet. 6)pitiless epithet. 7)say paranthessis. 8.9.10)that ..-parallel construction. 12) cowardly epithet; limped back image verb. 15)or or polysyndeton. 16)who would want to believe anaphora; never never repetition. 17) too too - parallel construction; shred of life metaphor.18)tide of forgetting metaphor. 19)courage of my pessimism metaphor; and and polysyndeton. 25)single copy, solitary typescript logical periphrasis.29) no no polysyndeton; or or or repetition. 34)waves of tiredness metaphor.35) undulating epithet.36)grey light bring into viewmetaphor.)long narrow, vanished ep. 12. 13.

14. Speak on the following theoretical question: Periodization of the history of the development of the English Language
A short history of the origins and development of English The history of the English language really started with the arrival of three Germanic tribes who invaded Britain during the 5th century AD. These tribes, the Angles, the Saxons and the Jutes, crossed the North Sea from what today is Denmark and northern Germany. At that time the inhabitants of Britain spoke a Celtic language. But most of the Celtic speakers were pushed west and north by the invaders - mainly into what is now Wales, Scotland and Ireland. The Angles came from Englaland and their language was called Englisc - from which the words England and English are derived. Old English (450-1100 AD) The invading Germanic tribes spoke similar languages, which in Britain developed into what we now call Old English. Old English did not sound or look like English today. Native English speakers now would have great difficulty understanding Old English. Nevertheless, about half of the most commonly used words in Modern English have Old English roots. The words be, strong and water, for example, derive from Old English. Old English was spoken until around 1100. Middle English (1100-1500)

In 1066 William the Conqueror, the Duke of Normandy (part of modern France), invaded and conquered England. The new conquerors (called the Normans) brought with them a kind of French, which became the language of the Royal Court, and the ruling and business classes. For a period there was a kind of linguistic class division, where the lower classes spoke English and the upper classes spoke French. In the 14th century English became dominant in Britain again, but with many French words added. This language is called Middle English. It was the language of the great poet Chaucer (c1340-1400), but it would still be difficult for native English speakers to understand today. Modern English Early Modern English (1500-1800) Towards the end of Middle English, a sudden and distinct change in pronunciation (the Great Vowel Shift) started, with vowels being pronounced shorter and shorter. From the 16th century the British had contact with many peoples from around the world. This, and the Renaissance of Classical learning, meant that many new words and phrases entered the language. The invention of printing also meant that there was now a common language in print. Books became cheaper and more people learned to read. Printing also brought standardization to English. Spelling and grammar became fixed, and the dialect of London, where most publishing houses were, became the standard. In 1604 the first English dictionary was published. Late Modern English (1800-Present) The main difference between Early Modern English and Late Modern English is vocabulary. Late Modern English has many more words, arising from two principal factors: firstly, the Industrial Revolution and technology created a need for new words; secondly, the British Empire at its height covered one quarter of the earth's surface, and the English language adopted foreign words from many countries.

15.a) Comment on the structure of the given sentence. He followed her that afternoon into the living room, where an older woman was sitting on a sofa (John Cheever. Selected Short Stories. M.: Progress Publishers, 1980. p. 88). b) Suggested Topic for Discussion What is your interpretation of the following statement: Educations purpose is to replace an empty mind with an open one Malcolm Forbes (US publisher)?
Malcolm Forbes suggests that "Education's purpose is to replace an empty mind with an open one." It is, then, my belief that nothing is more valuable in this period of human existence than education, for it is only through education that citizens will come to develop the skills and knowledge necessary to survive and thrive in this new knowledge-driven society. Furthermore, it is through exposure to new knowledge and concepts that minds become open to new ideas and possibilities. General Views on Education

Learning is a continual, lifelong process. Thus, it is important that educators avoid attempts to force knowledge upon learners but rather help them realize the importance of education in our society and teach using techniques that give learners a thirst for knowledge. Therefore, the educational experience should be more than simply the gathering of facts and information, but it should also foster the development of a worldview. It is my belief that education is an active rather than a passive process and that we not only learn from the material that is introduced in the classroom but also from the knowledge and the experiences brought into the classroom by the teacher as well as the student. I further believe that education should encourage the acquisition of knowledge not only for the purpose of acquiring the technical and social skills needed to function in the workplace, the classroom, and in society in general, but also for the purpose of appreciating different cultures, different disciplines and different philosophies. Education should affect the person in terms of who he/she is and enable them to better understand their world and those who live in it. Truth and opposing points of view should be welcomed and encouraged so that students may have a broader foundation upon which to develop and build their own worldview. Philosophy of Higher Education As we accept and embrace our changing society and the forces behind those changes such as the globalization of commerce and culture, the advanced educational needs of the high-tech/highperformance workplace, and the impact of new information technologies, a new paradigm in higher education must be considered. I believe that inter- and trans-disciplinary learning is vital in the educational process for today's student. It is imperative that we see sister academic disciplines as complementing and not competing with one another in the educational process. All study should be taught and pursued both objectively and critically, and each subject and discipline must be taught with a multicultural and global perspective. In an effort to enhance student development, satisfaction and success, I believe that increased opportunities for faculty-student interaction and student engagement, both on and off campus, must be encouraged and implemented. There must be an increased focus on the impact that higher education is having on both its students and the communities that are served by our colleges and universities. In addition, I believe that the structure and the various curricular offerings of our institutions of higher learning should take into account the increasing impact of a number of critical social issues that will continue to affect the future of higher education, such as: population growth and density; population aging; political, economic and cultural change due to internationalization; lifelong access to educational opportunities; and the management of an increased volume of new data and knowledge. Philosophy of Education Leadership and Planning The leadership of an institution is critical to its success. A successful education leader must be: a visionary; a team builder and team leader; a good listener; someone who asks the right questions and is able to identify and implement the best course of action for the institution; someone who is not afraid of conflict and respects and openly considers the opposing viewpoints of others; and someone who fully embraces the concept of shared governance and does not rely solely on his/her own limited perspectives, experiences and expertise to guide the institution. The management style of education leaders should be inclusive and leaders must not only lead by example, but also strive to demonstrate high levels of integrity in all of their moral, fiscal and daily dealings.

Institutional and strategic planning is critical to the achievement of short- and long-range goals, and the entire campus community should be engaged in the planning process. Furthermore, our institutions of higher learning must be flexible and never stagnant or complacent in regards to its academic programs, organizational structure or its policies of governance. Institutional leadership must be open to the notion of modifying or changing these components of the institution if the needs, concerns and best practices of the day warrant such changes. The effectiveness of a college or university should be the shared responsibility of its leaders, faculty, staff and students, and everyone associated with the institution should understand and accept the mission, goals and guiding principles of the university and work with others throughout the campus to ensure that all programs, activities, services and actions are in line with the overall mission of the institution. Finally, in order to ensure that higher education serves its expected purpose and that equal opportunities to learn are available to anyone who has an interest in receiving an education, the higher education community must do the following: take serious the concerns of providing greater access to higher education; become more vocal in response to local, state and national policies that impact education; look for new ways to partner with external entities that will not only bring in development dollars for the institution but also enhance work, research and learning opportunities for faculty, staff and students; and look for innovative ways to impact student recruitment and retention, the use of technology throughout the curriculum, campus globalization, and multiculturalism and diversity. Considering the many changing needs and expectations of education, institutions of higher learning must constantly assess where they are and where they are going. Those in leadership and positions throughout the institution should be sensitive and open enough to their role in the education process that they are able to determine when they are no longer effectively able to propel the mission of the institution forward and a change is needed to, once again, invigorate the process of educating and/or serving the needs of the students.

1. Analyze text fragment 2. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. Rebecca

4.

5.

6.

7.

8.

3. Daphne du Maurier Packing up. The nagging worry of departure. Lost keys, unwritten labels, tissue paper lying on the floor.I hate it all. Even now, when I have done so much of it, when I live, as the saying goes, in my boxes. Even today, when shutting drawers and flinging wide an hotel wardrobe, or the impersonal shelves of a furnished villa, is a methodical matter of routine, I am aware of sadness, of a sense of loss. Here, I say, we have lived, we have been happy. This has been ours, however brief the time. Though two nights only have been spent beneath a roof, yet we leave something of ourselves behind. Nothing material, not a hair-pin on a dressingtable, not an empty bottle of Aspirin tablets, not a handkerchief beneath a pillow, but something indefinable, a moment of our lives, a thought, a mood. This house sheltered us, we spoke, we loved within those walls. That was yesterday. Today we pass on, we see it no more, and we are different, changed in some infinitesimal way. We can never be quite the same again. Even stopping for luncheon at a wayside inn, and going to a dark, unfamiliar room to wash my hands, the handle of the door unknown to me, the wallpaper peeling in strips, a funny little cracked mirror above the basin; for this moment, it is mine, it belongs to me. We know one another. This is the present. There is no past and no future. Here I am washing my hands, and the cracked mirror shows me to myself, suspended as it were, in time; this is me, this moment will not pass. And then I open the door and go to the dining-room, where he is sitting waiting for me at a table, and I think how in that moment I have aged, passed on, how I have advanced one step towards an unknown destiny. We smile we choose our lunch, we speak of this and that, but I say to myself I am not she who left him five minutes ago. She stayed behind. I am another woman, older, more mature I saw in a paper the other day that the hotel Hotel Cote dAzur at Monte Carlo had gone to new management and had a different name. The rooms have been redecorated and the whole interior changed. Perhaps Mrs Van Hoppers suite on the first floor exists no more. Perhaps there is no trace of the small bedroom that was mine. I knew I should never go back, that day I knelt on the floor and fumbled with an awkward catch of her trunk. 9. (Daphne du Maurier. Rebecca . L.: Virago, 2003. p. 49.)

10. 11. Speak on the following theoretical question: Phonetic Expressive Means and Stylistic Devices
The sound of most words taken separately will have little or no aesthetic value. It is in combination with other words that a word may acquire a desired phonetic effect. The way a separate word sounds may produce a certain euphonic effect, but this is a matter of individual perception and feeling and therefore subjective. The theory of sense - independence of separate sounds is based on a subjective interpretation of sound associations and has nothing to do with objective scientific data. However, the sound of a word, or more exactly the way words sound in combination, cannot fail to contribute something to the general effect of the message, particularly when the sound effect has been deliberately worked out. This can easily be recognized when analyzing

alliterative word combinations or the rhymes in certain stanzas or from more elaborate analysis of sound arrangement.

Onomatopoeia
Onomatopoeia is a combination of speech sounds which alms at imitating sounds produced in nature (wind, sea, thunder, etc.) by things (machines or tools, etc.) by people (singing, laughter) and animals. Therefore the relation between onomatopoeia and the phenomenon it is supposed to represent is one of metonymy There are two varieties of onomatopoeia: direct and indirect. Direct onomatopoeia is contained in words that imitate natural sounds, as ding-dong, burr, bang, cuckoo. These words have different degrees of imitative quality. Some of them immediately bring to mind whatever it is that produces the sound. Others require the exercise of a certain amount of imagination to decipher it. Onomatopoetic words can be used in a transferred meaning, as for instance, ding - dong, which represents the sound of bells rung continuously, may mean 1) noisy, 2) strenuously contested. Indirect onomatopoeia demands some mention of what makes the sound, as rustling of curtains in the following line. And the silken, sad, uncertain rustling of each purple curtain. Indirect onomatopoeia is a combination of sounds the aim of which is to make the sound of the utterance an echo of its sense. It is sometimes called "echo writing". An example is: And the silken, sad, uncertain rustling of each purple curtain" (E. A. Poe), where the repetition of the sound [s] actually produces the sound of the rustling of the curtain.

Alliteration
Alliteration is a phonetic stylistic device which lies in the repetition of similar sounds, in particular consonant sounds, in close succession, particularly at the beginning of successive words: " The possessive instinct never stands still (J. Galsworthy) or, "Deep into the darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortals ever dared to dream before" (E. A. Poe). Alliteration, like most phonetic expressive means, does not bear any lexical or other meaning unless we agree that a sound meaning exists as such. But even so we may not be able to specify clearly the character of this meaning, and the term will merely suggest that a certain amount of information is contained in the repetition of sounds, as is the case with the repetition of lexical units.

Rhyme
Rhyme is the repetition of identical or similar terminal sound combination of words. Rhyming words are generally placed at a regular distance from each other. In verse they are usually placed at the end of the corresponding lines. Identity and similarity of sound combinations may be relative. For instance, we distinguish between full rhymes and incomplete rhymes. The full rhyme presupposes identity of the vowel sound and the following consonant sounds in a stressed syllable, including the initial consonant of the second syllable (in polysyllabic words), we have exact or identical rhymes. Incomplete rhymes present a greater variety They can be divided into two main groups: vowel rhymes and consonant rhymes. In vowel-rhymes the vowels of the syllables in corresponding words are identical, but the consonants may be different as in flesh - fresh -press. Consonant rhymes, on the contrary, show concordance in consonants and disparity in vowels, as in worth - forth, tale - tool -treble - trouble; flung - long. Modifications in rhyming sometimes go so far as to make one word rhyme with a combination of words; or two or even three words rhyme with a corresponding two or three words, as in "upon her honour - won her", "bottom

forgot them- shot him". Such rhymes are called compound or broken. The peculiarity of rhymes of this type is that the combination of words is made to sound like one word - a device which inevitably gives a colloquial and sometimes a humorous touch to the utterance. Compound rhyme may be set against what is called eye - rhyme, where the letters and not the sounds are identical, as in love - prove, flood - brood, have - grave. It follows that compound rhyme is perceived in reading aloud, eye - rhyme can only be perceived in the written verse.

Rhythm
Rhythm exists in all spheres of human activity and assumes multifarious forms. It is a mighty weapon in stirring up emotions whatever its nature or origin, whether it is musical, mechanical or symmetrical as in architecture. The most general definition of rhythm may be expressed as follows: "rhythm is a flow, movement, procedure, etc. characterized by basically regular recurrence of elements or features, as beat, or accent, in alternation with opposite or different elements of features" (Webster's New World Dictionary). Rhythm can be perceived only provided that there is some kind of experience in catching the opposite elements or features in their correlation, and, what is of paramount importance, experience in catching regularity of alternating patterns. Rhythm is a periodicity, which requires specification as to the type of periodicity. Inverse rhythm is regular succession of weak and strong stress. A rhythm in language necessarily demands oppositions that alternate: long, short; stressed, unstressed; high, low and other contrasting segments of speech. Academician V.M. Zhirmunsky suggests that the concept of rhythm should be distinguished from that of a metre. Metre is any form of periodicity in verse, its kind being determined by the character and number of syllables of which it consists. The metre is a strict regularity, consistency and unchangeability. Rhythm is flexible and sometimes an effort is required to perceive it. In classical verse it is perceived at the background of the metre. In accented verse by the number of stresses in a line. In prose - by the alternation of similar syntactical patterns. Rhythm in verse as a S. D. is defined as a combination of the ideal metrical scheme and the variations of it, variations which are governed by the standard. There are the following rhythmic patterns of verse: iambus dactul umphibrach anapaest. Rhythm is not a mere addition to verse or emotive prose, which also has its rhythm. Rhythm intensifies the emotions. It contributes to the general sense. Much has been said and writhen about rhythm in prose. Some investigators, in attempting to find rhythmical patterns of prose, superimpose metrical measures on prose. But the parametres of the rhythm in verse and in prose are entirely different.

Lexical Expressive Means and Stylistic Devices

Words in a context may acquire additional lexical meanings not fixed in the dictionaries, what we have called contextual meanings. The latter may sometimes deviate from the dictionary meaning to such a degree that the new meaning even becomes the opposite of the primary meaning. What is known in linguistics as transferred meaning is practically the interrelation between two types of lexical meaning: dictionary and contextual. The transferred meaning of a word may be fixe in dictionaries as a result of long and frequent use of the word other than in its primary meaning. In this case we register a derivative meaning of the word. Hence the term transferred should be used signifying th development of the semantic structure of the word. In this case we do not perceive two meanings. When we perceive two meanings of the word simultaneously, we are confronted with a stylistic device in which the two meanings interact.

Imagery
In philosophy "image" denotes the result of reflection of the object of reality in man's consciousness. On the sensible level our senses, ideas might be regarded as images. On a higher level of thinking images take the form of concepts, judgements, conclusions. Depending on the level of reflecting the objective reality ( sensual and conceptual) there are 2 types of images: 1. Art - reflects the objective reality in human life. While informing us of a phenomenon of life it simultaneously expresses our attitude towards it. 2. Literature - deals with a specific type of artistic images, verbal - is a pen - picture of a thing, person or idea expressed in a figurative way in their contextual meaning in music - sounds. The overwhelming majority of Iinguists agree that a word is the smallest unit being able to create images because it conveys the artistic reality and image. On this level the creation of images is the result of the interaction of two meanings: direct (denotation) and indirect (figurative). Lexical expressive meanings in which a word or word combination is used figuratively are called tropes. The verbal meaning has the following structure: 1. Tenor (direct thought) subjective; 2. Vehicle (figurative thought) objective; 3. Ground is the common feature of T and V; 4. The relation between T and V; 5. The technique of identification (The type of trope);

T G

R V

e. g. She is sly like a fox (simile). Images may be individual, general.

a) deal with concrete thing or idea e.g. Thirsty wind. b) embrace the whole book e. g. War and Peace. c) visual e. g. the cloudy lifeage of the sky d) oral - created by sound imitations

Classification of Lexical Stylistic Devices

There are 3 groups. 1. The interaction of different types of lexical meaning. a) dictionary and contextual (metaphor, metonymy, irony); b) primary and derivative (zeugma and pun); c) logical and emotive (epithet, oxymoron); d) logical and nominative (autonomasia);

2. Intensification of a feature (simile, hyperbole, periphrasis).

3. Peculiar use of set expressions (cliches, proverbs, epigram, quotations).

. We shall speak of such expressive phonetic means as means of intonation,

euphony, rhythm and onomatopoeia (sound imitation). Phonetic expressive means do not exist separately in speech. Intonation is one of the most effective means of emotionally influencing the reader. It colours the whole statement and is an important means of creating emphasis of words and phrases. The influence of intonation is so far-reaching that it may bring about a change of the main logical meaning of the word. Euphony may be explained as a combination of pleasant sounds that do not jar the ear. But in its wide meaning euphony is understood as a combination of sounds the expressive effect of which corresponds to the general mood or emotional tone of the extract. This last clause requires some explanation. The different effect produced by different sounds of the person is not sufficiently proved by scientific method as yet. That is why some authors such as professor Galperin for instance denounce it as something idealistic based on the conception that separate sounds have a meaning of their own. Other authors , speak of the emotional effect of sounds, and sound combinations. Probably there is something to be said in favour of this latter conception. Some authors speak of sound symbolism. Why not sound symbolism, we speak of colour symbolism black-gloomy; red-gay, etc. As to sounds, [s] usually produces an unpleasant effect, [d] a gloomy, dismal effect, [l] warm, tender feelings, etc. There are some rules of euphony which must not be violated and the most important one is that there must be no rhyme in prose. It produces a ludicrous effect. e.g. The speaker discussed the source of the force of international law. Sound Imitation, or Onomatopoeia refers to the use of words or combinations of words that imitate some natural sounds. Onomatopeia may be direct and indirect. Direct onomatopoeia is a source of word-building. It is a naming of an action or thing by a more or less exact reproduction of the sound associated with it. They are echoes of natural sounds. Many verbs denote sounds produced by human beings in the process of communication or in expressing their feelings: babble, chatter, giggle, grunt, grumble, titter, whine, whisper and many others. Then there are sounds produced by animals, birds and insects: buzz, cackle, croak, crow, hiss, honk, howl, moo, purr, roar a.o. There are also verbs imitating the sound

of water such as bubble, splash and others imitating the noise of metallic things click, tinkle, and many others. Alliteration is a deliberate use of similar sounds in close succession achieving a definite stylistic effect. It adds emotional colouring to the utterance suggesting the attitude of the writer to what he is describing. It is a peculiar musical accompaniment of the main idea of the utterance. Rhythm a metrical movement determined by various relations of long and short or accented and unaccented syllables; it is a measured flow of words and phrases in verse or prose. We shall deal with rhythm in prose. Rhythm in prose has a different quality than that in verse, but that it exists is undeniable. There is a certain rhythmical arrangement in sentences with homogeneous members (i.e. with enumeration), esp. when coupled with polysyndeton.

12.a) Comment on the structure of the given sentence. She spoke to Morris and cautiously asked if he had noticed anything developing between Helen and the clerk (Bernard Malamud. The Assistant.
N.Y.: Avon Books, 1981. p. 148).

b) Suggested Topic for Discussion Do you think it might be a good idea to introduce the British system of A-Levels in Ukraine? Would it work, in your opinion? Why/Why not?

28 2009 .

. ..

1. Analyze text fragment 3. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. THE GARDEN PARTY 3. * * * 4. . . . a white crow. 5. Hilde sat on the bed, transfixed. She felt her arms and her hands tremble, as they gripped the heavy ring binder. 6. It was almost eleven o'clock. She had been reading for over two hours. From time to time she had raised her eyes. From the text and laughed aloud, but she had also turned over on her side and gasped. It was a good thing she was alone in the house. 7. And what she had been through these last two hours! It started with Sophie trying to attract the Major's attention on the way home from the cabin in the woods. She had finally climbed a tree and been rescued by Morten Goose, who had arrived like a guardian angel from Lebanon. 8. Although it was a long, long time ago, Hilde had never forgotten how her father had read The Wonderful Adventures of Niles to her. For many years after that, she and her father had had a secret language together that was connected with the book. Now he had dragged the old goose out again. 9. Then Sophie had her first experience as a lone customer in a cafe. Hilde had been especially taken with what Alberto said about Sartre and existentialism. He had almost managed to convert her although he had done that many times before in the ring binder too. Once, about a year ago, Hilde had bought a book on astrology. Another time she had come home with a set of tarot cards. Next time it was a book on spiritualism. Each time, her father had lectured her about 'superstition' and her 'critical faculty,' hut he had waited until now for the final blow. His counterattack was deadly accurate. Clearly, his daughter would not be allowed to grow up without a thorough warning against that kind of thing. To be absolutely sure, he had waved to her from a TV screen hi a radio store. He could have saved himself the trouble .

10.What she wondered about most of all was Sophie. Sophie who are you? Where do you come from? Why have you come into my life? 11.Finally Sophie had been given a book about herself. Was same book that Hilde now had in her hands? This was only a binder. But even so how could one find a book about oneself j book about oneself? What would happen if Sophie began to that book? 12.What was going to happen now? What could happen now?' There were only a few pages left in her ring binder. 13.Sophie met her mother on the bus on her way home from town. Oh, no! What would her mother say when she saw the book in Sc hand? 14.Sophie tried to put it in the bag with all the streamers and balloons she had bought for the party but she didn't quite make it. 15.'Hi, Sophie! We caught the same bus! How nice!' 16.'Hi, Mom!' 17.'You bought a book?' 18.'No, not exactly.' 19.'Sophie's World . . . how curious.' 20. (Jostein Gaarder. Sophies World. N.Y.: Giroux Inc., 1999. p. 391.)

21. Speak on the following theoretical question: The Etymological Structure of the English Vocabulary
3.Etymological structure of English vocabulary Et of the English language is far from being homogenous. It consists of 2 layers-the native stock of words and the borrowed stock of words.numerically, the borrowed stock of words is considerably larger than the native stock.. in fact the native stock comprise only 30 % of the total number of the words in the eng vocabulary but the native words are the frequently used words. Borrowed words are words taken from another r lang. And modified according to the pattern of t he receiving language..in many cases a borrowed word especially the one borrowed long ago is practicallu indistinguishable from the native word without the etymological analysis The most effective way of borrowing is the direct borrowing from another lang as a result of the contacts with other nations.though the word may be borrowed indirectely not from the source language but through another language. The reason of borrowings 1. to fill a gap in vocabulary Potato,tomato from Spanish when appeared in English (these vegetables) 2. It represents the same concept but in some aspect: a new shade of meaning. Ex.: friendlycordial (Latin), Desire(French)-wish, Admire(Latin)-adore( French) When borrowed words become assimilated in the language and the process of assimilation develops to the point when its practically impossible to recognize the origin of a word. Ex.: cat, dinner, cup Other words bear trace of their background. Ex.: distance, development (French suffixes); Skin, sky (Scandinavian); Police, garage, cafe (French) Stress on the last syllable. Some Norman borrowings have become fully adopted, no phonetic traces of their French origin: table. Big in size as first it retained a trace of its former meaning wide because it was applied to object with vast horizontal dimension. No Native Etymologically the vocabulary of the English language is far from being homogenous. It consists of two layers - the native stock of words and the borrowed stock of words In fact native words comprise only 30% of the total number of words in the English vocabulary. The native words have a wider range of lexical and grammatical valency, they are highly polysemantic and productive in forming word clusters and set expressions.

Why are words borrowed? Wars, conquests; trade, international and cultural relations; to fill the gap in vocabulary; words, which express some particular notion; enrich

22.a) Comment on the structure of the given sentence. Two elderly men sat together in a room whose furnishings were of the most modern kind (Agatha Christie. After the Funeral. L.: Harper Collins, 1993. p. 129). b) Suggested Topic for Discussion If parents disapprove of the way their children are being educated at school, should they have the right to take them away and educate them at home?
28 2009 .

. ..

1. Analyze text fragment 4. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. TEXT 4 3. The Family Way

4. Tony Parsons 5. Cat Jewell loved her life. 6. Every time she entered her Thames-side flat, Tower Bridge glittering just for her beyond her windows, it felt like she was taking a little holiday from the world. 7. Almost twenty years after leaving home she had finally found a place of stillness and silence and fabulous riverside views, a place that felt like the home she had been looking for all these years. 8. In an underground car park, there was her silver Mercedes-Benz SLK, and although her brother-m-law Paulo, who knew about these things, made gentle fun of her Thats not a sports car, Cat, it's a hairdryer' she loved zipping about town in a car that, rather like her life, was built for two. At the very most. 9. It was true that her flat was the smallest one in the riverside block, and the car was five years old and etched with a beading of rust. But these things filled her with a quiet pride. They belonged to her. She had worked for them. After escaping from the prison of her childhood, she had made a life for herself. 10.When she had come back to London after university, the woman who gave Cat her first proper job told her that you could get anything in this town, but sometimes you had to wait a while for a good apartment and true bye. At thirty-six, she finally had the apartment. And she believed she also had the man. 11.Cat had met Rory when he was teaching Megan karate. He was standing in the corner at a party celebrating Megan's end of term at medical school, and Cat had taken pity on him. You could tell he didn't have it in him to start a conversation with anyone. To Cat he had seemed an unlikely martial artist soft-spoken, socially awkward, no swagger about him. Then as the party rapidly degenerated into what Megan said was a typical med school do, full of legless nurses and young doctors off their faces on half an E, Rory explained to Cat how he came to the martial arts. 12.'I was bullied at school. The tough guys didn't like me for some reason. They were always pushing me around. Then one day they went too far. I had concussion, broken ribs, a real mess.' 13. 'So you decided to learn what is it? kung fu?' 14.'Karate. And I enjoyed it. And I was good at it. And soon nobody pushed me around any more.' 'And you mashed up the bullies?' He grimaced, wrinkling his nose, and she realized she liked this man, 'It doesn't really work like that.' 15. Thirty years on, you could still glimpse the quiet, bullied kid he had once been. Despite his job, all those days spent teaching people to kick and punch and block, there was a real gentleness about him. A strong but gentle man. The kind of man you might want to have children with, if you were the kind of woman who wanted children. Which Cat Jewell was most certainly not. 16. (Tony Parsons. The Family Life. L.: Harper Collins, 2005. p. 39.)

17. Speak on the following theoretical question: Development of Modern Grammatical Theory: Types of Grammars
The hypothesis of generative grammar is that language is a structure of the human mind. Thegoal of generative grammar is to make a complete model of this inner language (known as i-language ). This model could be used to describe all human language and to predict thegrammaticalityof any given utterance (that is, to predict whether the utterance would soundcorrect to native speakers of the language). This approach to language was pioneered by NoamChomsky. Most generative theories (although not all of them) assume that syntax is based uponthe constituent structure of sentences. Generative grammars are among the theories that focus primarily on the form of a sentence, rather than its communicative function.Among the many generative theories of linguistics, the Chomskyan theories are: Transformational Grammar (TG) (Original theory of generative syntax laid out byChomsky in Syntactic Structures in 1957 [4]

) Government and binding theory(GB) (revised theory in the tradition of TG developedmainly by Chomsky in the 1970s and 1980s). [5]

The Minimalist Program(MP) (revised version of GB published by Chomsky in 1995) [6] Other theories that find their origin in the generative paradigm are

Modern Grammar is the study of the theories and application of English language structural systems as developed since the onset of the Early Modern English period. The study focuses on American English textsspoken and written--and applies traditional, structural, and modern linguistic theories to the analysis of English language constructions: words, phrases, clauses, and discourse. The intent of the course is to assist students ability to describe, analyze, and restructure words, phrases, clauses, and sentences, within the contexts of oral and written discourse. The course encourage collaborative learning through mini-conferences and research team

Linguists are quick to remind us that there are different varieties of grammar--that is, different ways of describing and analyzing the structures and functions of language. One basic distinction worth making is that between descriptive grammar and prescriptive grammar (also called usage). Both are concerned with rules--but in different ways. Specialists in descriptive grammar examine the rules or patterns that underlie our use of words, phrases, clauses, and sentences. In contrast, prescriptive grammarians (such as most editors and teachers) try to enforce rules about what they believe to be the correct uses of language. But that's just the beginning. Consider these ten varieties of grammar--and take your pick. Comparative Grammar The analysis and comparison of the grammatical structures of related languages. Contemporary work in comparative grammar is concerned with "a faculty of language that provides an explanatory basis for how a human being can acquire a first language . . .. In this way, the theory of grammar is a theory of human language and hence establishes the relationship among all languages." (R. Freidin,Principles and Parameters in Comparative Grammar. MIT Press, 1991)

 Generative semantics(now largely out of date) Relational grammar (RG) (now largely out of date) Arc Pair grammar Generalized phrase structure grammar (GPSG; now largely out of date) Head-driven phrase structure grammar (HPSG) Lexical-functional grammar (LFG) Categorial grammar Categorial grammar is an approach that attributes the syntactic structure not to rules of grammar, but to the properties of thesyntactic categories themselves. For example, rather than assertingthat sentences are constructed by a rule that combines a noun phrase (NP) and a verb phrase (VP)(e.g. the phrase structure ruleS NP VP), in categorial grammar, such principles are embeddedin the category of theheadword itself. So the syntactic category for anintransitiveverb is acomplex formula representing the fact that the verb acts as afunctor which requires an NP as aninput and produces a sentence level structure as an output. This complex category is notated as(NP\S) instead of V. NP\S is read as " a category that searches to the left (indicated by \) for a NP(the element on the left) and outputs a sentence (the element on the right)". The category of transitive verbis defined as an element that requires two NPs (its subject and its direct object) toform a sentence. This is notated as (NP/(NP\S)) which means "a category that searches to theright (indicated by /) for an NP (the object), and generates a function (equivalent to the VP)which is (NP\S), which in turn represents a function that searches to the left for an NP and produces a sentence).Tree-adjoining grammar is a categorial grammar that adds in partialtree structuresto thecategories. Dependency grammar

Dependency grammar is a different type of approach in which structure is determined by therelations(such asgrammatical relations) between a word (a head ) and its dependents, rather than being based in constituent structure. For example, syntactic structure is described in terms of whether a particular nounis thesubjector agentof theverb, rather than describing the relationsin terms of phrases.Some dependency-based theories of syntax: Algebraic syntax Word grammar Operator Grammar Stochastic/probabilistic grammars/network theories Theoretical approaches to syntax that are based upon probability theoryare known asstochasticgrammars. One common implementation of such an approach makes use of aneural network or connectionism. Some theories based within this approach are: Optimality theory

Stochastic context-free grammar

1.

Generative Grammar The rules determining the structure and interpretation of sentences that speakers accept as belonging to the language. "Simply put, a generative grammar is a theory of competence: a model of the psychological system of unconscious knowledge that underlies a speaker's ability to produce and interpret utterances in a language." (F. Parker and K. Riley, Linguistics for Non-Linguists. Allyn and Bacon, 1994)

2.

Mental Grammar The generative grammar stored in the brain that allows a speaker to produce language that other speakers can understand. "All humans are born with the capacity for constructing a Mental Grammar, given linguistic experience; this capacity for language is called the Language Faculty (Chomsky, 1965). A grammar formulated by a linguist is an idealized description of this Mental Grammar." (P. W. Culicover and A. Nowak, Dynamical Grammar: Foundations of Syntax II. Oxford Univ. Press, 2003)

3.

Pedagogical Grammar Grammatical analysis and instruction designed for second-language students. "Pedaogical grammar is a slippery concept. The term is commonly used to denote (1) pedagogical process--the explicit treatment of elements of the target language systems as (part of) language teaching methodology; (2) pedagogical content-reference sources of one kind or another that present information about the target language system; and (3) combinations of process and content." (D. Little, "Words and Their Properties: Arguments for a Lexical Approach to Pedagaogical Grammar." Perspectives on Pedagogical Grammar, ed. by T. Odlin. Cambridge Univ. Press, 1994)

4.

Performance Grammar A description of the syntax of English as it is actually used by speakers in dialogues. "[P]erformance grammar . . . centers attention on language production; it is my belief that the problem of production must be dealt with before problems of reception and comprehension can properly be investigated." (John Carroll, "Promoting Language Skills." Perspectives on School Learning: Selected Writings of John B. Carroll, ed. by L. W. Anderson. Erlbaum, 1985)

5.

Reference Grammar A description of the grammar of a language, with explanations of the principles governing the construction of words, phrases, clauses, and sentences. Examples of contemporary reference grammars in English include A Comprehensive Grammar of the English Language, by Randolph Quirk et al. (1985), the Longman Grammar of Spoken and Written English(1999), and The Cambridge Grammar of the English Language (2002).

6.

Theoretical Grammar The study of the essential components of any human language. "Theoretical grammar or syntax is concerned with making completely explicit the formalisms of grammar, and in providing scientific arguments or explanations in favour of one account of grammar rather than another, in terms of a general theory of human language." (A. Renouf and A. Kehoe,The Changing Face of Corpus Linguistics. Rodopi, 2003)

7.

Traditional Grammar The collection of prescriptive rules and concepts about the structure of the language. "We say that traditional grammar is prescriptive because it focuses on the distinction between what some people do with language and what they ought to do with it, according to a pre-established standard. . . . The chief goal of traditional grammar, therefore, is perpetuating a historical model of what supposedly constitutes proper language." (J. D. Williams, The Teacher's Grammar Book. Routledge, 2005)

8.

Transformational Grammar A theory of grammar that accounts for the constructions of a language by linguistic transformations and phrase structures. "In transformational grammar, the term 'rule' is used not for a precept set down by an external authority but for a principle that is unconsciously yet regularly followed in the production and interpretation of sentences. A rule is a direction for forming a sentence or a part of a sentence, which has been internalized by the native speaker." (D. Bornstein, An Introduction to Transformational Grammar. Univ. Press of America, 1984)

9.

Universal Grammar The system of categories, operations, and principles shared by all human languages and considered to be innate. "Taken together, the linguistic principles of Universal Grammar constitute a theory of the organization of the initial state of the mind/brain of the language learner--that is, a theory of the human faculty for language." (S. Crain and R. Thornton, Investigations in Universal Grammar. MIT Press, 2000) If ten varieties of grammar aren't enough for you, rest assured that new grammars are emerging all the time. There's word grammar, for instance. And relational grammar. And that brings to mind arc pair grammar. Not to mention cognitive grammar, lexical functional grammar, head-driven phrase structure grammar . . . and many more.

4.General characteristics of the verb and its categories??????internet According to content, verbs can be described as words denoting actions (e.g. to walk, to speak, to play), process (e.g. to sleep, to wait, to live), state (e.g. to be, to like, to know), relation (e.g. to consist, to resemble, to lack) and the like.According to form, verbs can be described as words that have certain grammatical features that they have the categories of tense, aspect, voice and etc. According to function, verbs can be defined as words making up the predicate of the sentence. Verbs can be classified under different heads.

1. According to their meaning verbs can be divided into two groups - terminative and durative verbs. Terminative verbs imply a limit beyond which the action cannot continue. To put it differently, they have a final aim in view, e.g. to open, to close Durative verbs do not imply any such limit, and the action can go on indefinitely, e.g. to carry, to live, to speak, to know, to sit, to play. According to their meaning and function in the sentence English verbs are classified into notional and structural ones. Notional verbs always have a lexical meaning of their own and can have an independent syntactic function in the sentence. (e.g. During the war he lived in London.) When a verb is used as a structural word, it may either preserve or lose its lexical meaning.. Here belong modal verbs and link-verbs. A modal verb is always accompanied by an infinitive - together they form a modal predicate. (e.g. The party is at eight. You must dress suitably for it) A link-verb is followed by a predicative; together they form a nominal predicate. (e.g. It became very hot by noon.) English verbs are characterized by a great variety of forms which can be divided into two main groups according to the function they perform in the sentence: the finite forms and the non-finite forms. The finite forms have the function of the predicate in the sentence and may also be called the predicative forms. The non- finitive or non-predicative forms can have various other functions; they are used as the predicate of the sentence only by way of exception. The finitive forms of the verb have the following grammatical categories: 1. Person and Number. We find three persons (the first, the second and the third) and the two numbers (the singular ant the plural) in finitive verbs. 2. Tense, Aspect and Phase. 3. Voice. 4. Mood.

18.a) Comment on the structure of the given sentence. Maria stood up and went to the table and picked up a sheet of paper and handed it to Sherman and returned to the edge of the bed (Tom
Wolfe. The Bonfire of the Vanities. Toronto/N.Y.: Bantam Books, 1988. p. 24).

b) Suggested Topic for Discussion What is your take on the following: Petty crimes are punished; great

ones are rewarded?

28 2009 . .

. ..

1. Analyze text fragment 5. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. The Appeal of Jazz 3. Marshall Stearn 4. JAZZ STANDS ACCUSED of being unnatural, abnormal and just plain unhealthy. Its harmonies appear childish, its melodies a series of clichs and its rhythms monotonously simple. Nothing could be further from the truth. The criticisms are not valid; they arise from a failure to realize that jazz is a separate and distinct art, existing only at the moment of creation. It should be judged by separate and distinct standards. 5. An attempt has been made by social scientists to explain the appeal of jazz. Two psychiatrists formulated this hypothesis: jazz is essentially a protest music. For the very reason that it is looked down upon by the general public, its followers choose it as a way of expressing resentment towards the world in general. The general public has rejected jazz because they think of it in connection with the lax moral standards that surround it. The three main groups to whom it appeals are those who isolate themselves from normal standards negroes, intellectuals and adolescents. And of these, jazz seems to be made-to-order for the adolescent.

6. The adolescent is, understandably, a rebel. He has good reason, caught between childhood and adulthood. There are sudden pressures upon him to grow up, leave home and be an independent creative adult. At the same time, there are opposing pressures. He is trapped. At first comes confusion, then conflict, then resentment and hostility. But with jazz, he can have his cake and cat it. Becoming a jazz addict is a good (and adequately noisy) way to protest against society. On the other hand, he now belongs to a tight little group of sympathizers, a cult with ready-made and dependable opinions. The jazz community reflects their views; exhibitionism is tolerated. The faddish clothes; unusual appearance (goatees, beards); childishly exaggerated jargon (the greatest, the most) set the group apart, and at the same time, hold it securely together. 7. While there is undeniable truth in this theory, and it fits a certain type, and seems to explain the 'jitterbugs' of the thirties and the 'rock' of the mid-fifties, together with all the exhibitionism of modern popular jazz which prevents it from becoming 'respectable', it does nothing to explain the large following of those who take a mature interest in this form of music. To these it gives an emotional and artistic satisfaction; it is creative and often inspired and can be a rich and rewarding experience. Who can, nowadays, deny that there is great art in jazz? And if there is, one must consider whether any great art is created by people who are merely against this or that. 8. Much of the cheapness of jazz has been imparted by its commercialization, which often creates taste and then feeds it with 'pop-food' of little value. There is a distinction. Jazz is essentially a social growth with deep roots, realistically founded in sorrow and pain, and eventually triumphing over them. It is an art in which insincerity is detected, and pretentiousness has little place. Genuine jazz does not suffer fools gladly. 9. (J.R.C. Yglesis, I.M. Mewnham. Pleasure in English. L.: Longmans Green and Co. Ltd., 1965. Marshall Stearn. JaZZ. p. 169).

10. Speak on the following theoretical question: Functional Aspects of Speech Sounds (vowels and consonants)
5. Functional aspects of speech sounds. ( The phoneme; main trends in phoneme theory; the system of English phonemes; English consonants and vowels as units of phonological system). A phoneme is the smallest contrastive unit in the sound system of a language.Phonologists have differing views of the phoneme. Following are the two major views : 1.In the American structuralist tradition, a phoneme is defined according to its allophones and environments.2.In the generative tradition, a phoneme is defined as a set of distinctive features. The founder of the phoneme theory was Polish linguist Jan Niecisaw Baudouin de Courtenay. His theory of phoneme was developed and perfected by L.V. Shcherba the head of the Leningrad linguistic school, who stated that in actual speech we utter a much greater variety of sounds than we are aware of, and that in every language these sounds are united in a comparatively small number of sound types, which are capable of distinguishing the meaning and the purpose of social intercommunication. There are different opinions to the nature of phoneme and its definition. 1).Jan Niecisaw Baudouin de Courtenay defined the phoneme as a psychical image of sound. He originated the so called mentalist view of phoneme.2).The abstractional conception of the phoneme was originated by Ferdinand de Saussure, the famous Swiss linguist and the Danish linguist Hjelmslev. The abstract view regards the phoneme independent of the phonetic properties. The theory was advocated by their pupils in the Copenhagen Linguistic Circle. 3). N.S. Trubetskoy, L. Bloomfield. R. Jakobson viewed the phoneme as the minimal sound units by which meanings may be differentiated. They stated that the features of the phoneme involved in the differentiation of words are called distinctive. They can be found in contrastive sets.4). The physical view on the phoneme was originated by D. Jones he defined the phoneme as a family of sounds. The members of family show phonetic similarity. V. Shcherba was the first to define the phoneme as a real, independent distinctive unit which manifests itself in the form of allophones. The system of English phonemes is classified into consonants and vowels. Speech sounds are divided into consonants and vowels. A vowel is a voiced sound produced in the mouth with no obstruction to the air stream. A consonant is a sound produced with an obstruction to the air stream. Consonants(21 consonants letters) can be classified according to the following principles : According to the type of obstruction (occlusivepb t dk mn, constrictivef v th, 3 r j, affricates(ts, d3)) According to the active organs of speech and point of articulation (labial, lingual(forelingual, apical, cacuminal, interdental, alveolar, palatal, velar)) According to the work of vocal cords (voiced and voiceless, lenies and forties) According to the position of the soft palate (oral, nasal(m,n n)) Vowels are classified: According to the horizontal position of the tongue (front, front-retracted, central, backadvanced, back) According to the vertical position of the tongue (close, mid-open, open)

11.a) Comment on the structure of the given sentence. He still hoped that he could pay off all his creditors even if the shares he and his fellow directors held remained worthless (Jeffrey Archer. First
among Equals. N.Y.: Pocket Books, 1985. p. 232).

b) Suggested Topic for Discussion What is your take on the following observation by Th.Eddison: Genius is 1% inspiration and 99% perspiration.

28 2009 .

. ..

1. Analyze text fragment 6. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. The New Educators 3. Ann Chesney 4. WHETHER WE LIKE it or not, more and more of the practical education of children today is coming not from mothers, as it once did, nor from schools, as we may suppose, but from advertisers. Television, disguised advertisements in comics, the women's magazines whose popularity and circulation continue to grow, and the strips in daily papers have an even stronger

5.

6.

7.

8.

influence; it could hardly be otherwise, for their luscious illustrations and mnemonic slogans are far more effectively and attractively presented than school lessons and they teach very easily assimilable ideas. Children are bombarded by all these at least as much as adults, and generally have less resistance. Yet it is a very undesirable thing that a group of commercial interests should be having so strong an influence with so little counter-attack from parents and teachers. Advertising is inculcating a set of very alarming moral attitudes. Keeping up with the Joneses is something to do; it is now a reality of British life and a nasty one. It is a particularly odious form of snobbery: that you are not as good as the next person unless you have the same group of material possessions, representing the same outlay of money. Incidentally, a widespread critical approach to advertising methods would also produce a more intelligent electorate, to whom the fallacious arguments common to all politicians would be less persuasive. Surely it is time that universal education caught up with universal suffrage? On a practical level, there are further objections to the unrestricted influence of advertising. One obvious one is that girls are surely particularly vulnerable while adolescent to advertisements which promise a magic way to prettiness, popularity, sex-appeal, and more self-confidence. Playing on this, the manufacturers of beauty products can claim what they will, in either romantic or pseudo-scientific terms, and be believed, although too heavy use of cosmetics on young skins can be really harmful. Expensive slimming preparations, either dangerous or more often ineffective, are sold on the same kind of appeal. Another practical point is that there is every incentive to buy the mostadvertised and the glossiest-packaged foods, rather than the fresh meat and potatoes. It is true that some important fresh foods are currently advertised: eggs, cheese and some kinds of fruit, but usually with a colder touch than the gives a meal man-appeal and Sunday-best taste slogans. In any case, unless consumers are given a standard to judge by, one claim seems no truer than another. Domestic science courses in schools should not ignore these advertising pressures: they should teach resistance to the hard sell and point to specific untruths. There is no reason why people should not be free to be extravagant if they choose. But they ought to be given the opportunity to see what they are doing. Advertising shapes attitudes unconsciously. People, and especially children, should be shown ways of resistance. For real human misery can result from such things as failure to keep up with hire-purchase payments on equipment that was never really needed at all. (J.R.C. Yglesis, I.M. Mewnham. Pleasure in English. L.: Longmans Green and Co. Ltd.,1965. Ann Chesney. The Guardian p. 80).

9. Speak on the following theoretical question: Exercises for Teaching Grammar(www.nclr.org)

Grammar is central to the teaching and learning of languages. It is also one of the more difficult aspects of language to teach well. Many people, including language teachers, hear the word "grammar" and think of a fixed set of word forms and rules of usage. They associate "good" grammar with the prestige forms of the language, such as those used in writing and in formal oral presentations, and "bad" or "no" grammar with the language used in everyday conversation or used by speakers of nonprestige forms. Language teachers who adopt this definition focus on grammar as a set of forms and rules. They teach grammar by explaining the forms and rules and then drilling students on them. This results in bored, disaffected students who can produce correct forms on exercises and tests, but consistently make errors when they try to use the language in context. Other language teachers, influenced by recent theoretical work on the difference between language learning and language acquisition, tend not to teach grammar at all. Believing that children acquire their first language without overt grammar instruction, they expect students to learn their second language the same way. They assume that students will absorb grammar rules as they hear, read, and use the language in communication activities. This approach does not allow students to use one of the major tools they have as learners: their active understanding of what grammar is and how it works in the language they already know. The communicative competence model balances these extremes. The model recognizes that overt grammar instruction helps students acquire the language more efficiently, but it incorporates grammar teaching and learning into the larger context of teaching students to use the language. Instructors using this model teach students the grammar they need to know to accomplish defined communication tasks.

10.a) Comment on the structure of the given sentence. He was obscurely terrified lest she should cease to be something he could feel himself unworthy of (Aldous Huxley. Brave New World. L.:
Granada, 1984. p. 138).

b) Suggested Topic for Discussion Please elaborate on the following proverb: Good laws spring from bad morals.

28 2009 .

. ..

1. Analyze text fragment 7. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. THE PROBLEM WITH GERMAN 3. Keith Ridgway 4. ANGER is a place to put things, for a while. It is like a refuge, temporary, constructed from what is at hand, filled with huddled fears, and confusion, and the failure to understand. It serves a purpose. The contents rattle and knock against the edges, contained only by the hardness of the anger, its width and its depth. It is a weak structure. And when what it holds is strong, anger is brittle and thin. There is a strange bench at the corner. It is a circular heap of concrete with a flat hollow top where flowers should be, but which is filled instead with dead mud and litter. A ledge in the concrete, lined with wooden slats, serves as a seat. The bench is ugly and the wood is scratched and written on, and cold. Robert sits there, angry. His legs are stretched out before him and crossed at the ankle, the upper foot twitching furiously. He folds and unfolds his arms, puts his hands in his pockets and takes

5.

6.

7.

8.

them out again. Every few moments his head jerks tightly to his right and stays still, and then slowly turns back again in an arc, looking up at the sky and down at the hard ground where the grass is losing its colour. When he looks to his right it is a distant corner that interests him. And every time a figure appears from around that corner Robert squints at it for a moment without moving, except for a kind of craning, a barely perceptible stretching. And then he looks away again, moving his head through the same arc, resuming his twitching, rearranging his arms once more. It is dusk now, and quite cold. Robert smokes a cigarette and decides what to do. He jumps from one notion to the next, fixing on one thing and then another, his insides raging, deciding to go here and there and elsewhere, but in the end staying exactly where he finds himself sitting in anger on the ugly bench. He will do nothing. He will stay where he is and do nothing. It is not up to him to do anything. He will sit here and wait. Across the street is a bar, its window filling with a watery grey light, a couple of shadows moving about in its gloom. He thinks of going in for a drink, of sitting at the window and watching the distant corner from there. But he does not want a drink. And anyway, Karl would not see him in there. He wants Karl to see him. Karl will stop when he sees him, and then approach him and sit down. And Robert, after a long pause, will say something angry. Something memorable, something so precise and to the point and perfect, that it will cover everything, and that will be that. There will be no need for anything else to be said. Then Karl will realize what has been going on, and he will feel in his heart what Robert feels, and he will apologize, and they will sort it out. Robert considers what he might say. He decides to leave it until the moment. Maybe Karl will speak first. Maybe he will have spent this time on his own considering everything that has happened and not happened, and he will realize what he needs to realize, and he will apologize, and speak about the future and will not need to be told. It should be like that. He should apologize. After all, if he thought for a moment, for even a moment, about why it is he is on his own in the launderette, and then he could not possibly fail to realize what the situation is. What the problem is. If he even spent half a minute thinking about what had gone on in the last ten days, about how he had treated Robert, about how he had behaved, about how he had left everything unsaid after all this time, then surely he would realize. Robert had, after all, come all this way. Across Europe. For silence? No. It would not take a lot of figuring out. (New Writing 6. An Anthology. Ed. A.S. Byatt & P. Porter. L.: Vintage, 1997. p. 186).

9. Speak on the following theoretical question: Testing Vocabulary (methodological aspect) David Wilkins summed up the importance of vocabulary for language learning: Without grammar very little can be conveyed, without vocabulary nothing can be conveyed. However many theories about vocabulary learning process were written , it still remains the matter of memory. Thus, there are several general principles for successful teaching , which are valid for any method. According to Wallace, 1988 the principles are: - aim what is to be taught, which words, how many - need target vocabulary should respond students real needs and interests - frequent exposure and repetition - meaningful presentation clear and unambiguous denotation or reference should be assured Learning vocabulary is a complex process. The students aim to be reached in learning vocabulary process is primarily their ability to recall the word at will and to recognize it in its spoken and written form. Generally, knowing a word involves knowing its form and its meaning at the basic level. In deeper aspects it means the abilities to know its (Harmer 1993): 1) Meaning, i.e. relate the word to an appropriate object or context 2) Usage, i.e. knowledge of its collocations, metaphors and idioms, as well as style and register (the appropriate level of formality), to be aware of any connotations and associations the word might have 3) Word formation, i.e. ability to spell and pronounce the word correctly, to

know any derivations (acceptable prefixes and suffixes), 4) Grammar, i.e. to use it in the appropriate grammatical form 10.a) Comment on the structure of the given sentence. He feared that his father might die while he alone was with him (A.M.
Maughan. Harry of Monmouth. N.Y.: Bantam Books, 1956. p. 125).

b) Suggested Topic for Discussion Please elaborate on the following proverb: Punishment is always a two-edged sword.

28 2009 .

. ..

1. Analyze text fragment 8. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. O'Brien's First Christmas 3. Jeanette Winterson

4. Anyone who looked up could see it. TWENTY-SEVEN SHOPPING DAYS TILL CHRISTMAS, in red letters, followed by a stream of dancing Santas, then a whirlwind of angels, trumpets rampant. The department store was very large. If you were to lay its-merchandise from end to end, starting with a silk stocking and ending with a plastic baby Jesus, you would encompass the world. The opulence of the store defeated all shoppers. Even in the hectic twentyseven days before Christmas, no mass exodus of goods could have made the slightest impression on the well-stocked shelves. 5. O'Brien worked in the pet shop. She had watched women stacking their baskets with hand and body lotion in attractive reindeer wrap. Customers, who looked normal, had fallen in delight upon pyramids of fondant creams packed in 'Bethlehem by night' boxes. It made no difference; whatever they demolished returned. This phenomenon, as far as O'Brien could calculate, meant that two-thirds of the known world would be eating sticky stuff or spreading it over themselves from December 25th onwards. 6. She poured out a measure of hand and body lotion and broke open a fondant cream; the filling seemed to be the same in both. Somewhere, probably in a village that no one visited stood a factory dedicated to the manufacture of pale yellow sticky stuff waiting to be dispatched in labelless vats to profiteers who traded exclusively in Christmas. 7. O'Brien didn't like Christmas. Every year she prayed for an ordinary miracle to take her away from the swelling round of ageing aunts who gave her knitted socks and asked about her young man. She didn't have a young man. She lived alone and worked in the pet shop for company. At thirty-five per cent staff discount, it made sense for her to have a pet of her own, but her landlady, a Christian Scientist, didn't like what she called 'stray molecules'. 8. 'Hair,' she said, 'carries germs, and what is hairier than an animal?' So O'Brien faced another Christmas alone. In the department store, shoppers enjoyed the kind of solidarity we read about in the war years. There was none of the vulgar pushing and shoving so usually associated with peak-time buying. People made way for one another in the queues and chatted about the weather and the impending snowfall. 'Snow for Christmas,' said one, 'that's how it should be.' It was right and nice; enough money, enough presents, clean log fires courtesy of the Gas Board, and snow for the children. 9. She had once answered a Lonely Hearts advertisement and had dinner with a small young man who mended organ pipes. He had suggested they get married by special license. O'Brien had declined on the grounds that a whirlwind romance would tire her out after so little practice. It seemed rather like going to advanced aerobics when you couldn't manage five minutes on an exercise bicycle. She had asked him why he was in such a hurry. 'I have a heart condition,' he said. 10.So it was like aerobics after all. 11. (Womans Hour. 50th Anniversary Short Story Collection. Ed. by D. Speirs. L.: Penguin Books, 1996. p. 139).

12. Speak on the following theoretical question: Articulatory transition of vowel and consonant phonemes
8. Articulatory transition of vowel and consonant phonemes.

Cases of loose and close articulatory transition can be observed on: a) the mechanism of the aspiration of the initial stressed /p, t, k/ in English. Aspiration is a delay in the onset of voicing. A brief period of voicelessness is heard after the hold of /p, t, k/, which sounds like a puff of air after the release of the stop: Pete, tick, Kate /phi:t/, /thik/, /kheit/ before the vowel, which follows /p, t, k/. c) Labialization in English (no lip protrusion) Paul tool- tall , pull , call , boor , cool . merging of stages when the final stage of the first sound merges with the initial stage of the second sound, loose type of articulatory transition For example in the word law the two sounds / l / and /o:/are joined by way of merging their stages. interpenetration of stages when the final stage of the first sound penetrates not only the beginning but also the middle of the second sound close type of articulatory transition Interpenetration of stages takes place when sounds of a similar, or identical nature are joined together. For example: in the words act, bottle, vehicle the clusters /kt/, /tl/, Ikll are pronounced with the "loss of plosion" /kt/ and lateral plosion /tl/, Ikll. Assimilation is the chief factor under the influence of which the principal variants of phonemes are modified into subsidiary ones. Assimilation is a modification of a consonant under the influence of a neighbouring consonant. types of assimilation: I) progressive, when the first of the two sounds affected by assimilation makes the second sound similar to itself, e. g. in desks, pegs, the sounds Ikl and /g/ make the plural inflection /s/ similar to the voiceless Jkl in /desks/ and to the voiced /g/ in /pegz/; 2) regressive, when the second of the two sounds affected by assimilation makes the "first sound similar to itself, e. g. in the combination at the the alveolar HI becomes dental, assimilated to the interdental Idl which follows it; 3) double, or reciprocal, when the two adjacent sounds influence each other, e.g. twice HI is rounded under the influence of /w/ and /w/ is partly devoiced under the influence of the voiceless/ t /

When a consonant is modified under the influence of an adjacent vowel or vice versa this phenomenon is called adaptation or accommodation, e. g. tune, keen.

When one of the neighbouring sounds is not realized in rapid or careless speech this process is called elision, e. g. a box of I matches e box 9v metsiz, may be pronounced without/v/in /9V/e box 9 metsiz. Waste paper /weis peipe/ in rapid or careless speech//. Elision can be historical and contemporary. English spelling is full of "silent" letters which bear witness to historical elision, e.g. walk /wa:k/, knee /ni:/, knight /nait/, castle /ikarsl/, write /rait/, iron /'aian/, etc. The most common cases of contemporary elision are the following: elision of /t, d/ in a) /ft, st, Jt, 0t, vd,zd/ sequences: cleft palate /'kief Syllables have different structural types: a syllable can be formed by a vowel: (V) in English, by a vowel and a consonant: (VC) in English, by a consonant and a sonorant (CS). V-types of syllable called uncovered close; VC- types uncovered closed; CVC- covered closed; CVcovered open/

13.a) Comment on the structure of the given sentence. Diana was ashamed because she thought she might have hurt my feelings (Robert Davis. Fifth Business. L.: Penguin Books, 1977. p. 81). b) Suggested Topic for Discussion What is your understanding of the following: The other arts persuade us, but music takes us by surprise (E.Hanslick)?

28 2009 .

. ..

1. Analyze text fragment 9. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. Ind Aff or Out of Love in Sarajevo 3. Fay Weldon 4. This is a sad story. It has to be. It rained in Sarajevo, and we had expected fine weather. 5. The rain filled up Sarajevo's pride, two footprints set into a pavement which mark the spot where the young assassin Princip stood to shoot the Archduke Franz Ferdinand and his wife. (Don't forget his wife: everyone forgets his wife, the archduchess.) That was in the summer of 1914. Sarajevo is a pretty town, Balkan style, mountain-rimmed. A broad, swift, shallow river runs through its centre, carrying the mountain snow away, arched by many bridges. The one nearest the two footprints has been named the Princip Bridge. The young man is a hero in these parts. Not only does he bring in the tourists look, look, the spot, the very spot! but by his action, as everyone knows, he lit a spark which fired the timber which caused World War One which crumbled the Austro-Hungarian Empire, the crumbling of which made modern Yugoslavia possible. Forty million dead (or was it thirty?) but who cares? So long as he loved his country. 6. The river, they say, can run so shallow in the summer it's known derisively as 'the wet road'. Today, from what 1 could see through the sheets of falling rain, it seemed full enough. Yugoslavian streets are always busy no one stays home if they can help it (thus can an indecent shortage of housing space create a sociable nation) and it seemed as if by common consent a shield of bobbing umbrellas had been erected two metres high to keep the rain off the streets. It just hadn't worked around Princip's corner. 7. 'Come all this way,' said Peter, who was a professor of classical history, 'and you can't even see the footprints properly, just two undistinguished puddles.' Ah, but I loved him. I shivered for his disappointment. He was supervising my thesis on varying concepts of morality and duty in the early Greek States as evidenced in their poetry and drama. I was dependent upon him for my academic future. He said I had a good mind but not a first-class mind and somehow I didn't take it as an insult. I had a feeling first-class minds weren't all that good in bed. 8. Sarajevo is in Bosnia, in the centre of Yugoslavia, that grouping of unlikely states, that distillation of languages into the phonetic reasonableness of

Serbo-Croatian. We'd sheltered from the rain in an ancient mosque in Serbian Belgrade; done the same in a monastery in Croatia; now we spent a wet couple of days in Sarajevo beneath other people's umbrellas. We planned to go on to Montenegro, on the coast, where the fish and the artists come from, to swim and lie in the sun, and recover from the exhaustion caused by the sexual and moral torments of the last year. It couldn't possibly go on raining for ever. Could it? Satellite pictures showed black clouds swishing gently all over Europe, over the Balkans, into Asia practically all the way from Moscow to London, in fact. It wasn't that Peter and myself were being singled out. No. It was raining on his wife, too, back in Cambridge. 9. Peter was trying to decide, as he had been for the past year, between his wife and myself as his permanent life partner. To this end we had gone away, off the beaten track, for a holiday; if not with his wife's blessing, at least with her knowledge. 10. (Womans Hour. 50th Anniversary Short Story Collection. Ed. by D. Speirs. L.: Penguin Books, 1996. p. 35).

11. Speak on the following theoretical question: Morphological Level and its Units
9. Structural types of grammar. Oppositional,distributional,IC analyses, transformational grammar. Distributional analysis. Morphemic analysis. IC-analysis By the term distribution we understand the occurrence of a lexical unit relative to other lexical units of the same level (words relative to words / morphemes relative to morphemes, etc.). In other words by this term we understand the position which lexical units occupy or may occupy in the text or in the flow of speech. The distribution of a unit is the sum total of all its environments. The environment of a unit may be either right or left. It is readily observed that a certain component of the word-meaning is described when the word is identified distributionally. The distributional analysis is used to fix and study the units of language in relation to their contextual environments, i. e. adjoining elements in the text. In the distributional analysis at the morphemic level, phonemic distribution of morphemes and morphemic distribution of morphemes are discriminated. The study is conducted in two stages. At the first stage, the analyzed text is divided into recurrent segments consisting of phonemes. These segments are called morphs. At the second stage, the environmental features of the morphs are established and the corresponding identifications are effected. Three main types of distribution are discriminated: contrastive, noncontrastive and complementary. Contrastive and non-contrastive distribution concern identical environments of different morphs. The morphs are said to be in contrastive distribution if their meanings are different. Such morphs constitute different morphemes (eg. played, playing). The morphs are said to be in noncontrastive distribution if their meaning is the same. Such morphs constitute free alternants, or free variants of the same morpheme (eg. burned, burnt).

12 Complementary distribution concerns different environments of formally different morphs which are united by the same meaning. If two or more morphs have the same meaning and the difference in their form is explained by different environments, these morphs are said to be in complementary distribution and considered the allomorphs of the same morpheme (eg. desks, girls, glasses). The morphemic analysis (sometimes also called morphological) is one of possible methods of analyzing word structure along with the word-building analysis. The morphemic analysis is a process of singling out morphs in a word and stating their meaning. To state the borders between morphemes correctly, it is necessary to study the word in a row of words which are structurally similar (words with the same root and suffixes). The procedure of the morphemic analysis states the morphemic structure of the word. The procedure consists of two operations: 1) the stem is separated from the inflection by means of comparing wordforms of the word; 2) relations between morphemes in the stem are stated by means of comparing cognate words. The morphemic analysis based on the distributional analysis gave rise to such notions as morph, allomorph, morpheme, etc. The theory of Immediate Constituents (IC) was originally elaborated as an

attempt to determine the ways in which lexical units are relevantly related to one another. It was discovered that combinations of such units are usually structured into hierarchically arranged sets of binary constructions. For example in the wordgroup a black dress in severe style we do not relate a to black, black to dress, dress to in, etc. but set up a structure which may be represented as a black dress / i n severe style. Thus the fundamental aim of IC analysis is to segment a set of lexical units into two maximally independent sequences or ICs thus revealing the hierarchical structure of this set. Successive segmentation results in Ultimate Constituents (UC), i.e. two-facet units that cannot be segmented into smaller units having both sound-form and meaning. The Ultimate Constituents of the word-

13 group analysed above are: a | black | dress | in | severe | style. The meaning of the sentence, word-group, etc. and the IC binary segmentation are interdependent. For example, fat majors wife may mean that either the major is fat or his wife is fat. The former semantic interpretation presupposes the IC analysis into fat majors | wife, whereas the latter reflects a different segmentation into ICs and namely fat | majors wife.

12.a) Comment on the structure of the given sentence. Life, which in those first months had been at least tolerable, now started to become really agreeable (Simon Winchester. The Surgeon of
Crowthorne. L.: Penguin Books, 1998. p.109).

b) Suggested Topic for Discussion Please interpret the following quote from A.H.Sulzberger: We, journalists, tell the public which way the cat is jumping. The public will take care of the cat?
28 2009 .

. ..

 10

1. Analyze text fragment 10. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. Saturday 3. Ian McEwan 4. The matter must be dropped. Let them go after the other man. Baxter has a diminishing slice of life worth living, before his descent into nightmare hallucination begins. Henry can get a colleague or two, specialists in the field, to convince the Crown Prosecution Service that by the time it comes round, Baxter will not be fit to stand trial. This may or may not be true. Then the system, the right hospital, must draw him in securely before he does more harm. Henry can make these arrangements; do what he can to make the patient comfortable, somehow. Is this forgiveness? Probably not, he doesn't know, and he's not the one to be granting it anyway. Or is he the one seeking forgiveness? He's responsible, after all; twenty hours ago he drove across a road officially closed to traffic, and set in train a sequence of events. Or it could be weakness after a certain age, when the remaining years first take on their finite aspect, and you begin to feel for yourself the first chill, you watch a dying man with a closer, more brotherly interest. But he prefers to believe that it's realism: they'll all be diminished by whipping a man on his way to hell. By saving his life in the operating theatre, Henry also committed Baxter to his torture. Revenge enough. And here is one area where Henry can exercise authority and shape events. He knows how the system works the difference between good and bad care is near-infinite. 5. Daisy recited a poem that cast a spell on one man. Perhaps any poem would have done the trick, and thrown the switch on a sudden mood change. Still, Baxter fell for the magic, he was transfixed by it, and he was reminded how much he wanted to live. No one can forgive him the use of the knife. But Baxter heard what Henry never has, and probably never will, despite all Daisy's attempts to educate him. Some nineteenth-century poet Henry has yet to find out whether this Arnold is famous or obscure - touched off in Baxter a yearning he could barely begin to define. That hunger is his claim on life, on a mental existence, and because it won't last much longer, because the door of his consciousness is beginning to close, he shouldn't pursue his claim from a cell, waiting for the absurdity of his trial to begin. This is his dim, fixed fate, to have one tiny slip, an error of repetition in the codes of his being, in his genotype, the modern variant of a soul, and he must unravel another certainty Henry sees before him.

6. Quietly, he lowers the window. The morning is still dark, and it's the coldest time now. The dawn won't come until after seven. Three nurses are walking across the square, talking cheerfully, heading in the direction of his hospital to start their morning shift. He closes the shutters on them, then goes towards the bed and lets the dressing gown fall to his feet as he gets in. Rosalind lies facing away from him with her knees crooked. He closes his eyes. This time there'll be no trouble falling towards oblivion, there's nothing can stop him now. Sleep's no longer a concept, it's a material thing, an ancient means of transport, a softly moving belt, conveying him into Sunday. He fits himself around her, her silk pyjamas, her scent, her warmth, her beloved form, and draws closer to her. Blindly, he kisses her nape. There's always this, is one of his remaining thoughts. And then: there's only this. And at last, faintly, falling: this day's over. 7. (Ian McEwan.Saturday. L.: Vintage, 2006. p. 278).

8. Speak on the following theoretical question: Word-Building

10. Word- building Word formation is a branch of science of the language which studies the patterns on which a language forms new lexical items (new unities, new words). Word formation is a process of forming words by combining root & affixal morphemes. 2 major groups of word formation: 1) words, formed as grammatical syntagmas, combinations of full linguistic signs (types: compounding (), prefixation, suffixation, conversion, back derivation). 2) words, which are not grammatical syntagmas, which are not made up of full linguistic signs. Ex.: expressive symbolism, blending, clipping, rhyme & some others. Different types of word formation: COMPOUNDING is joining together 2 or more stems. Types: 1) without a connecting element (headache, heartbreak); 2) with a vowel or consonant as a linking element (speedometer, craftsman); 3) with a preposition or conjunction as a linking element down-and-out () son-in-law. - PREFIXATION Prefixes are such particles that can be prefixed to full words. But are themselves not with independent existence. - SUFFIXATION A suffix is a derivative final element which is or was productive in forming new words. It has semantic value, but doesnt occur as an independent speech use. - CONVERSION (zero derivation) A certain stem is used for the formation of a categorically different word without a derivative element being added.(Bag - to bag) - BACK DERIVATION is deraving a new word, which is morphologically simpler from a more complex word. ( A babysitter - to babysit Television - to televise) - PHONETIC SYMBOLISM is using characteristic speech sounds for name giving. Very often we imitate by the speech sounds what we hear: (tinkle, splash, t). - CLIPPING Consists in the reduction of a word to one of its parts. ( Mathematics - maths) - BLENDING is blending part of two words to form one word ( Smoke + fog = smog)

9. a) Comment on the structure of the given sentence. He wandered about the country for a year thinking he was a peasant, until rescued by his ever-faithful friend, a fellow by the name of Lumpkin who brought him back to his senses with another blow
(Dorothy Cannell. The Importance of Being Ernestine. L.: Penguin Books, 2003. p. 81).

b) Suggested Topic for Discussion How would you answer the following question: Is there a meaning to music?

28 2009 .

. ..

11

1. Analyze text fragment 11. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)
2. 3. Sara Waters 4. I think the people who came to Lant Street thought me slow. Slow I mean, as opposed to fast. Perhaps I was, by Borough standards. But it seemed to me that I was sharp enough. You could not have grown up in such a house that had such businesses in it, without having a pretty good idea of what was what of what could go into what; and what could come out. Do you follow? 5. You are waiting for me to start my story. Perhaps I was waiting, then. But my story had already started I was only like you, and didn't know it. This is when I thought it really began. 6. A night in winter, a few weeks after the Christmas that marked my seventeenth birthday. A dark night a hard night, full of a fog that was more or less a rain, and a rain that was more or less snow. Dark nights are good to thieves and fencing-men; dark nights in winter are the best nights of all, for then regular people keep close to their homes, and the swells all keep to the country, and the grand houses of London are shut up and empty and pleading to be cracked. We got lots of stuff on nights like those, and

Mr Ibbs's profits were higher than ever. The cold makes thieves come to a bargain very quick. 7. We did not feel the cold too much at Lant Street, for besides our ordinary kitchen fire there was Mr Ibbs's locksmith's brazier: he always kept a flame beneath the coals of it, you could never say what might not turn up that would need making up or melting down. On this night there were three or four boys at it, sweating the gold off sovereigns. Besides them was Mrs Sucksby in her great chair, a couple of babies in a cradle at her side; and a boy and a girl who were rooming with us then John Vroom, and Dainty Warren. 8. John was a thin, dark, knifish boy of about fourteen. He was always eating. I believe he had the worm. This night he was cracking peanuts, and throwing their shells on the floor. 9. Mrs Sucksby saw him do it. 'Will you watch your manners?' she said. 'You make a mess, and Sue shall have to tidy it.' John said, 'Poor Sue, ain't my heart bleeding.' 10. He never cared for me. I think he was jealous. He had come to our house as a baby, like me; and like mine, his mother had died and made an orphan of him. But he was such a queer-looking child, no-one would take him off Mrs Sucksby's hands. She had kept him till he was four or five, then put him on the parish even then, however, he was a devil to get rid of, always running back from the workhouse: we were forever opening the shop-door and finding him sleeping on the step. She had got the master of a ship to take him at last, and he sailed as far as China; when he came back to the Borough after that, he did it with money, to brag. The money had lasted a month. Now he kept handy at Lant Street by doing jobs for Mr Ibbs; and besides them, ran mean little dodges of his own, with Dainty to help him. She was a great red-haired girl of three-and-twenty, and more or less a simpleton. She had neat white hands, though, and could sew like anything. John had her at this time stitching dog-skins onto stolen dogs, to make them seem handsomer breeds than what they really were. 11. He was doing a deal with a dog-thief. This man had a couple of bitches: when the bitches came on heat he would walk the streets with them, tempting dogs away from their owners, then charging a ten pounds' ransom before he'd give them back. That works best with sporting dogs, and dogs with sentimental mistresses; some owners, however, will never pay up you could cut off their little dog's tail and post it to them and never see a bean, they are that heartless and the dogs that John's pal was landed with he would throttle, then sell to him at a knocked-down price. 12. (Sara Waters. Fingersmith. L.: Virago, 2003. p.14 ).

13. Speak on the following theoretical question: The Notion of Rhetorical Image. Major Tropes. Lexical and LexicalSyntactic Stylistic Devices
Words in a context may acquire additional lexical meanings not fixed in the dictionaries, what we have called contextual meanings. The latter may sometimes deviate from the dictionary meaning to such a degree that the new meaning even becomes the opposite of the primary meaning. What is known in linguistics as transferred meaning is practically the interrelation between two types of lexical meaning: dictionary and contextual. Classification of Lexical Stylistic Devices There are 3 groups. 1. The interaction of different types of lexical meaning. a) dictionary and contextual (metaphor, metonymy, irony); b) primary and derivative (zeugma and pun); c) logical and emotive (epithet, oxymoron); d) logical and nominative (autonomasia); 2. Intensification of a feature (simile, hyperbole, periphrasis). 3. Peculiar use of set expressions (cliches, proverbs, epigram, quotations). The term metaphor means transference of some quality from one object to another. We define metaphor as the power of realizing two lexical meaning simultaneously: Dear Nature is the kindest Mother still (Byron). Zeugma is the use of a word in the same grammatical but different semantic relations to two adjacent words in the context, the semantic relation being, on the one hand, literal, on the other, transferred: Dora, plunging at once into privileged intimacy and into the middle of the room (B. Show). Antonomasia is a lexical SD in which a proper name is used instead of a common noun or vice verse: You are Romeo (not from Romeo and Juliet); Mrs. Snake. Simile is a comparison between objects belonging to one class of things with the purpose of establishing the degree of their sameness or difference: The boy seems to be as cleaver as his mother. 12. The old English period in history of English

14.a) Comment on the structure of the given sentence.

A small sore that might have been made by a grass cut peeped through a hole in the canvas of his grimy ankle (Yukio Mishima. Thirst for
Love. N.Y. : Berkley Medallion Books, 1971. p. 84).

b) Suggested Topic for Discussion How big of a crime is computer hacking, in your view?

28 2009 .

. ..

12

1. Analyze text fragment 12. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. TEXT 12 3. PEARL 4. W 5. E HAVE as yet hardly spoken of the infant; that little creature, whose innocent life had sprung, by the inscrutable decree of Providence, a lovely and immortal flower, out of the rank luxuriance of a guilty passion. How strange it seemed to the sad woman, as she watched the growth, and the beauty that became every day more brilliant, and the intelligence that threw its quivering sunshine over the tiny features of this child! Her Pearl! For so had Hester called her; not as a name expressive of her aspect, which had nothing of the calm, white, unim-

passioned lustre that would be indicated by the comparison. But she named the infant 'Pearl,' as being of great price, purchased with all she had, her mother's only treasure! How strange, indeed! Man had marked this woman's sin by a scarlet letter, which had such potent and disastrous efficacy that no human sympathy could reach her, save it were sinful like herself. God, as a direct consequence of the sin which man thus punished, had given her a lovely child, whose place was on that same dishonored bosom, to connect her parent for ever with the race and descent of mortals, and to be finally a blessed soul in heaven! Yet these thoughts affected Hester Prynne less with hope than apprehension. She knew that her deed had been evil; she could have no faith, therefore, that its result would be for good. Day after day, she looked fearfully into the child's expanding nature; ever dreading to detect some dark and wild peculiarity, that should correspond with the guiltiness to which she owed her being. 6. Certainly, there was no physical defect. By its perfect shape, its vigor, and its natural dexterity in the use of all its untried limbs, the infant was worthy to have been brought forth in Eden; worthy to have been left there, to be the plaything of the angels, after the world's first parents were driven out. The child had a native grace which does not invariably coexist with faultless beauty; its attire, however simple, always impressed the beholder as if it were the very garb that precisely became it best. But little Pearl was not clad in rustic weeds. Her mother, with a morbid purpose that may be better understood hereafter, had bought the richest tissues that could be procured, and allowed her imaginative faculty its full play in the arrangement and decoration of the dresses which the child wore, before the public eye. So magnificent was the small figure, when thus arrayed, and such was the splendor of Pearl's own proper beauty, shining through the gorgeous robes which might have extinguished a paler loveliness, that there was an absolute circle of radiance around her, on the darksome cottage-floor. And yet a russet gown, torn and soiled with the child's rude play, made a picture of her just as perfect. Pearl's aspect was imbued with a spell of infinite variety; in this one child there were many children, comprehending the full scope between the wild-flower prettiness of a peasant-baby, and the pomp, in little, of an infant princess. Throughout all, however, there was a trait of passion, a certain depth of hue, which she never lost; and if, in any of her changes, she had grown fainter or paler, she would have ceased to be herself; - it would have been no longer Pearl! 7. (Nathaniel Hawthorne. The Scarlet Letter. L.: Everymans Library, 1992. p.92).

8. Speak on the following theoretical question: Old English Period in the History of the English Language 9. a) Comment on the structure of the given sentence. He sat and thought and thought, until his head nearly burst, but no bright idea would come (J.R. R. Tolkien. The Hobbit. L.: Unwin Paperbacks,
1983. p. 170).

b) Suggested Topic for Discussion Give your views on the purpose of prison and share your thoughts concerning the following observation: The concept of prison as societys punishment of the offender is both barbaric and ineffective.
28 2009 .

. ..

13

1. Analyze text fragment 13. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. The Flies 3. 'We hadn't the pleasure now of feeling we were starting a new life, only a sense of dragging on into a future full of new troubles.' 4. Italo Calvino, "The Argentine Ant' 5. One morning after a disturbed night, a year after they moved into the flat, and with their son only a few months old, Baxter goes into the box-room where he and his wife have put their wardrobes, opens the door to his, and picks up a pile of sweaters. Unfolding them one by one, he discovers that they all appear to have been crocheted. Not only that, the remaining threads are smeared with a viscous yellow deposit, like egg yolk, which has stiffened the remains of the ruined garments. 6. He shakes out the moths or flies that have gorged on his clothes, and stamps on the tiny crisp corpses. Other flies, only stupefied, dart out past him and position themselves on the curtains, where they appear threateningly settled, just out of reach. 7. Baxter hurriedly rolls up the clothes in plastic bags, and, retching, thrusts them into the bottom of a dustbin on the street. He goes to the shops and packs his wardrobe with fly killer; he sprays the curtains; he disinfects the rugs. He stands in the shower a long time. With water streaming down him nothing can adhere to his skin. 8. He doesn't tell his wife about the incident, thinking, at first, that he won't bother her with such an unimportant matter. He has, though, spotted flies all over the flat, which his wife, it seems, has not noticed. If he puts mothballs in his pockets, and has to mask this odour with scents, and goes about imagining that people are sniffing as he passes them, he doesn't care, since the attack has troubled him. 9. He wants to keep it from himself as much as from her. But at different times of the day he needs to check the wardrobe, and suddenly rips open the door as if to surprise an intruder. At night he begins to dream of ragged bullet-shaped holes chewed in fetid fabric, and of creamy white eggs hatching in darkness. In his mind he hears the amplified rustle of gnawing, chewing, devouring. When this wakes him he rushes into the box-room to shake his clothes or stab at them with an umbrella. On his knees he scours the dusty corners of the flat for the nest or bed where the contamination must be incubating. He is convinced, though, that while he is doing this, flies are striking at the bedsheets and pillows. 10. When one night his wife catches him with his nose against the skirting board, and he explains to her what has happened, she isn't much concerned, particularly as he has thrown away the evidence. Telling her about it makes him realize what a slight matter it is. 11. He and his wife acquired the small flat in a hurry and consider themselves fortunate to have it. For what they can afford, the three rooms, with kitchen and bathroom, are acceptable for a youngish couple starting out. Yet when Baxter rings the landlord to enquire whether there have been any 'outbreaks' before, he is not sympathetic but maintains they carried the flies with them. If it continues he will review their contract. Baxter, vexed by the accusation, counters that he will suspend his rent payments if the contagion doesn't clear up. Indeed, that morning he noticed one of his child's cardigans smeared and half-devoured, and only just managed to conceal it from his wife. 12. Still, he does need to discuss it with her. He asks an acquaintance to babysit. They will go out to dinner. There was a time when they would have long discussions

about anything they particularly enjoyed talking over their first impressions of one another so happy were they just to be together. 13. (Hamif Kureishi. Love in a Blue Time. L.: Faber & Faber, 1997. p.189).

14. Speak on the following theoretical question: Expressive Syntax

13. Expressive syntax 1. Stylistic Inversion, Detached Construction, Parallel Construction, Chiasmus, Repetition, Enumeration, Suspense, Climax, Antithesis. 2. Asyndeton, Polysyndeton, The Gap-Sentence Link. 3. Ellipsis, Break-in-the-Narrative (Aposiopesis), Question-in-the-Narrative. 4. Rhetorical question, Litotes. Parallel construction is a device which may be encountered not so much in the sentence as in the macro-structures dealt with earlier, viz. the SPU and the paragraph. The necessary condition in parallel construction is identical, or similar, syntactical structure in two or more sentences or parts of a sentence in close succession: There were,, real silver spoons to stir the tea with, and real china cups to drink it out of and plates of the same to hold the cakes and toast in (Dickens). Enumeration is a SD by which separate things, objects, phenomena, properties, action are named one by one so that they produce a chain, the links of which, being syntactically in the same position (homogeneous parts of speech), are forced to display some kind of semantic homogeneity, remote though it may seem: The principle production of these townsappear to be soldiers, sailors, Jews, chalk, shrimps, officers and dock-yard men (Dickens). Antithesis is a SD based on the authors desire to stress certain qualities of the thing by appointing it to another thing possessing antagonistic features. e. g. They speak like saints and act like devils. Climax (Gradation) is an arrangement of sentences which secures a gradual increase in significance, importance, or emotional tension in the utterance: It was a lovely city, a beautiful city, a fair city, a veritable gem of a city (Byron).Little by little, bit by but, and day by day, and year by year the baron got the worst of some disputed question (Dickens).

15.a) Comment on the structure of the given sentence. The room in which he found himself was bright and comfortably furnished and certainly lived in (Mary Nichols. A Desirable Husband. Surrey:
Mills and Boon Ltd, 2007. p. 133).

b) Suggested Topic for Discussion How severely, in your view, should crimes against the environment be punished?
28 2009 .

. ..

14

1. Analyze text fragment 14. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. THE PRIEST AND THE WIND 3. Anthony James 4. Their eyes watched him almost unblinking, neither friendly nor hostile and he knew that they silently noticed the awkward way he was holding his head. He was impressed by the strangely dignified stillness of their manner and by their shrewdness, acute yet neutral. 5. "I just called to say how sorry I am that this has happened. I feel ashamed to live in this community. I would like you to believe that not everyone here is alike. Many of us are ... sickened by what was done to you." 6. "It is good of you to call, Father," the man said. Eugene was surprised by the cultured, perfect English which the man spoke and then was immediately ashamed of his surprise. There were fine, soft lines around the man's eyes which, together with his greying hair, gave an impression of weariness and sophistication. Below the eye there was a deep raised cut in the dark brown skin with four stitches in it. The woman smiled, but painfully; the left side of her face was swollen to twice its normal size and its colour, Eugene guessed, was as bright as the colours of the sari she wore, though the lividness was muted by make up. He knew that she was watching the rather twisted posture of his neck and head. 7. There was a sudden, swirling knot of movement behind him at the door of the shop. A boy of seven came to the counter, levered himself half up on it with his elbows and pointed to some chocolate bars. The woman passed the bar and took the money in a single soft movement, while looking at Eugene. 8. "It is kind of you to come. We will remember," she said in English, not quite as perfect as her husband's. The little boy's mother shouted coarsely at him and coming into Eugene's line' of vision, she made an obscurely frightening impression on him. She wore jeans which were very faded and her hair was short,

but her fair hair, pale face and eyes all seemed to be the same, almost colourless, shade as her jeans. 9. A man with a thick short neck and a dungaree jacket with no buttons walked purposefully to the counter with a tabloid newspaper, on the front of which was a coloured photograph of a young woman taken from behind, naked except for a tiny pair of white pants which were around her knees, beneath the photograph was a headline: VIRGIN'S FIVE HOUR ORDEAL WITH SEX FIEND. 10. "If there is anything I can do anything at all, please let me know," he said. "Thank you," they both said with the same absence of any warmth or any abruptness. 11. Eugene left the shop and walked a little way down the hill. The wind seemed not so much cruel as impatient, streaming out of the west, up from the sea and over the mountains, a restless March wind full of the mingled elements of Winter and Spring, tearing on, changing the world, transforming sky and land. 12. This area was pitched on the highest ground for many miles and the whole industrial landscape, muted, half healed, oddly tranquil in this age in which the heavy industry had gone, could be seen for mile after mile and so could the city itself, right to its centre. A disconcerting city, Eugene had thought, five years ago when he had first come here. The rolling slopes of pine, with their secretive clearings, their burnt-out cars and their stray horses, reached almost into the centre of the city. The wind was dragging the loose grey hems of clouds over the forested slopes, but in the west the weather was clearer and the clouds were coloured crimson, pink and apricot by the setting sun. 13. (Mamas Baby Papas Maybe. Cardiff: Parthian Books, 1999. p. 380).

14. Speak on the following theoretical question: The Problem of Meaning

There are many causes of semantic change: 1) Historical causes. According to historical principle, everything develops changes, social institutions change in the course of time, the words also change. Ex.: car which goes back to Latin carfus which meant a four wheeled (vehicle) wagon, despite of the lack of resemblance. 2) Psychological causes. Taboos of various kinds. Words are replaced by other words, sometimes people do not realize that they use euphemisms. Ex.: ladys room instead of the lavatory 3) Linguistic causes. Tendency of a language to borrow a particular metaphorical development of a word from another language. Metaphor accounts for a very considerable proportions of semantic changes. Language is full of so-called fossilized (trite-, , ) metaphors, which no longer call up the image of an object from which they were borrowed. Ex.: the leaf of a book; hands of a clock; a clock face; hands of a cabbage.

15.Comment on the structure of the given sentence. Mr Audley seemed at first to hesitate whether it was gentlemanly to be in such a hurry about anything (G.K. Chesterton. The Innocence of Father
Brown. L.: Penguin Books, 1950. p. 68).

b) Suggested Topic for Discussion How far do you agree with the following statement: The worst crimes are those against the whole of humanity?
28 2009 .

. ..

 15

1. Analyze text fragment 15. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. THE VIRGIN IN THE GARDEN 3. A.S.Byatt 4. Easter, in that year of extremes, was freakish, especially in the North. In the north-west there was heavy snow, in places, on Good Friday, and on Easter Monday there were hailstorms. In Calverley and Blesford black sleet alternated with glassy sun. 5. The play people temporarily vanished. Felicity Wells turned her attention from carnation ribbons to the decoration of the dear little Easter garden in the nave of St Bartholomew's. Alexander bought and rode away in a secondhand silver grey Triumph. He also bought the new gramophone record of T. S. Eliot reading the Four Quartets. Frederica managed by furious concentration and an assumption of pupil-to-master virtue to borrow this to play during the school holidays. She then played it repeatedly, in a talismanic manner, until everyone in that unmusical household was driven to a frenzy of irritation by the repeated rhythms. 6. On Easter Day Stephanie decided to go to church. She found herself a hat, to observe the proprieties, a half-melon of navy velvet with a wisp of veiling. Under this, preceded by a wavering circle of scarlet umbrella, she fought her way across tombstones and wet grass. 7. She might have come to church anyway without the problem of Daniel. She might have come to please Felicity. She might have come because she liked to take part in the ceremonies of the year. At other Easters she had dyed eggs, cochineal crimson, onion-skin gold, and had travelled to mining villages to see eggs on trestle tables in the upper rooms of pubs, tie-dyed, boiled with ferns and lace doileys, boiled with lurid socks and old dub ties, beetroot, wax and gentians. Bill liked the eggs, but never went near Easter in Church. Stephanie had taken both as they came. This year was different. She was angry with Daniel. She had come to take a look at him, there, in the Church. Where he belonged. 8. He had upset her. He had pushed his consecrated huge face between her knees and trembled. He had declared passion and told her to go home and disregard it. He had involved her in his jumble of tea-party politeness, dead stories and ceremonial: he had made her feel like a professional teaser. When he saw her in

Church he would see she was sorry and respectful. When she saw him in Church she would know for certain it was all ridiculous; she could wipe her feet of it, after, in the Church porch. 9. One of her own Fourth form handed her a prayer-book: she sat down at the back, against a pillar, and watched Miss Wells come in, fluttering chiffon scarves in various pinks, depending from a dish-shaped hat and bursting like bedraggled butterflies out at the neck and between the buttons of her rat-coloured gabardine. The next people to come in were her brother Marcus, and a young man she vaguely recognized, and then placed, as the curious biology chap who had once, at a school Christmas do, repeatedly asked her to dance, and had left large sweaty hand-prints on the back of a pale evening dress. Simmonds bowed and smiled to everyone and then ushered Marcus into a pew, like a hen with a chicken, a chamberlain with a prince. 10. Stephanie was profoundly shocked to see them both genuflect and cross themselves. What was this? How long had it been going on? Marcus had not seemed to see her, but then he never did. 11. (A.S.Byatt. The virgin in the garden. L.: Vintage, 1995. p.152).

12. Speak on the following theoretical question: Lexico-Grammatical Word-Classes

Part of speech in modern English The words of language are divided into grammatically relevant sets or classes. The traditional grammatical classes or words are called parts of speech. Words on the upper level of classification are divided into notional and functional. To the notional parts of speech of the English language belong the noun, the adjective, the numeral, the pronoun, the verb, the adverb. The features of the noun are the following: 1) the categorial meaning of substance (thingness); 2) the changeable forms of number and case; the specific suffixal forms of derivation (prefixes in English do not discriminate parts of speech as such); 3)the substantive functions in the sentence (subject, object, substantival predicative); prepositional connections; modification by an adjective. The features of the adjective: 1) the categorial meaning of property (qualitative and relative); 2) the forms of the deof comparison (for qualitative adjectives); the specific lorms of derivation; 3) adjectival functions in the Sentence (attribute to a noun, adjectival predicative). The features of the numeral: 1) the categorial meaning of number (cardinal and ordinal); 2) the narrow set of simple numerals; the specific forms of composition for compound numerals; the specific suffixal forms of derivation for ordinal numerals; 3) the functions of numerical aitributeand numerical substantive. The features of the pronoun: I) the categorial meaning of indication (deixis); 2) the narrow sets of various status with the corresponding formal properties of categorial changeability and word-building; 3) the substantival and adjectival functions for different sets. The features of the verb: 1) the categorial meaning of process (presented in the two upper series of forms, respectively, as finite process and non-finite process); 2) the forms of the verbal categories of person, number, tense, aspect, voice, mood; the opposition of the finite and nonfinite forms; 3) the function of the finite predicate for the finite verb; fhe mixed verbal - other than verbal functions for the non-(inite verb. The features of the adverb: 1) the categorial meaning of the secondary property, i.e. the property of process or another property; 2) the forms of the degrees of comparison for

qualitative adverbs; the specific suffixal forms of derivation; 3) the functions of various adverbial modifiers. To the basic functional series of words in English belong the article, the preposition, the conjunction, the particle, the modal word, the interjection. The article expresses the specific limitation of the substantive functions. The preposition expresses the dependencies and interdependences of substantive referents. The conjunction expresses connections of phenomena. The particle unites the functional words of specifying and limiting meaning. To this series, alongside of other specifying words, should be referred verbal postpositions as functional modifiers of verbs, etc. The modal word, occupying in the sentence a more pronounced or less pronounced detached position, expresses the attitude of the speaker to the reflected situation and its parts. Here belong the functional words of probability (probably, perhaps, etc.), of qualitative evaluation (fortunately, unfortunately, luckily, etc.), and also of affirmation and negation. The interjection, occupying a detached position in the sentence, is a signal of emotions. Nouns are subcategorized into proper and common, animate and inanimate, countable and uncountable, concrete and abstract, etc. Cf.: Mary, Robinson, London, the Mississippi, Lake Erie - girl, person, city, river, lake; man, scholar, leopard, butterfly - earth, field, rose, machine; coin/coins, floor/floors, kind/kinds - news, growth, water, furniture; stone, grain, mist, leaf - honesty, love, slavery, darkness. Verbs are subcategorized into fully predicative and partially predicative, transitive and intransitive, actional and statal, factive and evaluative, etc. Cf.: walk, sail, prepare, shine, blow - can, may, shall, be, become; take, put, speak, listen, see, give - live, float, stay, ache, ripen, rain; write, play, strike, boil, receive, ride -exist, sleep, rest, thrive, revel, suffer; roll, tire, begin, ensnare, build, tremble - consider, approve, mind, desire, hate, incline. Adjectives are subcategorized into qualitative and relative, of constant feature and temporary feature (the latter are referred to as statives and identified by some scholars as a separate part of speech under the heading of category of state), factive and evaluative, etc. Cf.:

long, red, lovely, noble, comfortable - wooden, rural, daily, subterranean, orthographical; healthy, sickly, joyful, grievous, wry, blazing - well, ill, glad, sorry, awry, ablaze; tall, heavy, smooth, mental, native - kind, brave, wonderful, wise, stupid. The adverb, the numeral, the pronoun are also subject to the corresponding subcategorizations

13.a) Comment on the structure of the given sentence. I rose and went down to the dispensary, where I began to make up the stock bromide and chloral solutions for the galleries (A.J. Cronin.
Shannons Way. L.: A Four Square Book, 1966. p. 238).

b) Suggested Topic for Discussion How would you interpret the following quote from A.Einstein: Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world?
28 2009 .

. ..

16

1. Analyze text fragment 16. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Sounds of speech and their phonetic aspects
16 .Sounds of speech and their phonetic aspects

Classification of Vowels

Vowels are normally made with the air stream that meets no obstruction in the mouth, pharyngeal and nasal cavities.

1. 2. 3. 4.

On the articulatory level the description of vowels notes changes: in the stability of articulation in the tongue position in the lip position in their length

The stability of articulation All English vowels are divided into 3 groups: monophthongs, diphthongs, diphthongoids.

Monophthongs are vowels the articulation of which is almost unchanging. They are [i e a: o o: U : ]. Consonants are known to have voice & noise combined. In case of consonants various obstructions are made. So consonants are characterized by close articulation, that is by a complete, partial or intermittent blockage of the air-passage by an organ or organs. As a result consonants are sounds which have noise as their indispensable and most defining characteristic. On the articulatory level each consonant may be identified by stating two general facts about it: 1) what sort of articulatory posture it is formed by;

2) whereabout in the mouth (or pharynx) it is produced. The particular quality of consonant may depend on a lot of other factors, that is by what articulatory organ (or organs) an obstruction is made, how vocal cjiords work at the moment of production, what cavity is used as a resonator, what is the force of articulatory effect, etc. Classification of Consonants. There are few ways of seeing the situation of classification. According to V.A. Vassilyev primary importance should be given to the type of obstruction and the manner of production of noise. On this ground he distinguishes two large classes of consonants: a) occlusive, in the production of which a complete obstruction is formed; b) constrictive, in the production of which an incomplete obstruction is formed. [ti:] - [si] tea-sea (occlusive - constrictive) [si:d} - {si:z} seed-seas (pcclusive-constrictive)
Each of the two classes is subdivided into noise consonants and sonorants. The division is based on the factor of pravailing either noise or tone component in the auditory characteristic of a sound. In their turn noise consonants are divided into plosive consonants (or stops) and affricates

3. a) Comment on the structure of the given sentence. A week and a half had passed since Harry Tomaselli had told ODonnel that construction of the hospitals extension was planned to begin in the spring (Arthur Hailey. The Final Diagnosis. N.Y.: Bantam
Books, 1980. p. 57).

b) Suggested Topic for Discussion Speak on the following observation made by A.Einstein: The difference between what the most and the least learned people know is inexpressibly trivial in relation to that which is unknown.
28 2009 .

. ..

 17

1. Analyze text fragment 17. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Teaching listening at the intermediate level 3. a) Comment on the structure of the given sentence. There was no humour in that smile, it was the stretching of the lips of someone who has superior knowledge and knows it, a facial expression of triumph (Ruth Rendell. The Babes in the Wood. L.: Arrow
Books, 2003. p. 91).

b) Suggested Topic for Discussion If you had to rely on only one of the media, which would you choose? Explain your choice.
28 2009 .

. ..

 18

1. Analyze text fragment 18. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Variety of reading types of exercises

3. a) Comment on the structure of the given sentence. We talked along during dinner about where she went to school, and why she didnt go to college, and a whole lot of stuff (Great Stories
of Mystery and Suspense. N.Y.: The Readers Digest Association, 1963. p. 71).

b) Suggested Topic for Discussion Share your thoughts on the following: In what ways can the media show subjectivity in their coverage of the news?
28 2009 .

. ..

19

1. Analyze text fragment 19. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Explanation of the sounds and the stress at the English lesson

3. a) Comment on the structure of the given sentence. I was cramped and dirty from the shop below, and I felt all itchy, as though there were insects crawling over me (Edmund Crispin. The Moving
Toyshop. L.: Penguin Books, 1958. p. 107).

b) Suggested Topic for Discussion What is your interpretation of the following statement: Journalism can never be silent: that is its greatest virtue and its greatest fault (H.A.Grunwald, US writer and diplomat)?
28 2009 .

. ..

20

1. Analyze text fragment 20. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Syntactical Units

20. The phrase and sentence as units of synt level Structural classification of sentence. The meaning of an English sentence depends on the word order. We put the subject before the verb and the object after the predicate. The cook burnt the dinner. From the point of view of their structure sentences can be divided into: two-membered; onemembered; complete; incomplete; simple; composite (compound, complex). A simple sentence contains a subject and a verb followed if necessary. Tom open the door. Two-membered sentence contains two principle parts - the subject and the predicate. (Fleur had established immediate contact with an architect).

A two-membered sentence can be complete and incomplete. It is complete when it has a subject and a predicate (Young John could not help smiling). It is incomplete when one of the principal parts or both of them are missing. One-membered sentence have only one principal part (Dusk - of a summer night). Composite sentence is formed by two or more predicative groups. According to the traditional view, all composite sentences are to be classed into: - compound sentences (coordinating their clauses), - complex (subordinating their clauses). The compound sentence. The form of a compound sentence -when we join two or more simple sentences we get a compound sentence. Tom phoned. He left the message. - Tom phoned and left the message. The name which we give to joining words is conjunction. These are the conjunctions which we use to make compound sentences: and, and then, but, for, nor, or, not only The complex sentence. We can join two or more simple sentences to get complex sentences: The alarm was raised. The fire was discovered. The alarm was raised as soon as fire was discovered. The alarm was raised after the fire was discovered. The alarm was raised when the fire was discovered. We use many different kinds of joining words (or conjunctions) to make complex sentences: after, as soon as, when, that, if, so that etc. In a complex sentence there is one main idea and one or more subordinate ideas (clauses).

3. a) Comment on the structure of the given sentence. It was almost impossible to imagine that this creature of vast bulk had ever been a boy who ran about (W. Somerset Maugham. Rain and other
short stories. M.: Progress Publishers, 1977. p. 250).

b) Suggested Topic for Discussion What is your understanding of the following: Newspapers should have no friends (J.Pulitzer)?
28 2009 .

. ..

21

1. Analyze text fragment 21. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Homonyms

21. Homonyms. Homonyms are words which are identical in sound and spelling, or, at least, in one of these aspects, but different in their meaning. bank, n.-a shore bank, n.-an institution for receiving, lending, exchanging, and safeguarding money ball, n. - a sphere; any spherical body ball, n.-a large dancing party In the process of communication they are more of an encumbrance, leading sometimes to confusion and misunderstanding. Yet it is this very characteristic which makes them one of the most important sources of popular humour. The pun is a joke based upon the play upon words of similar form but different meaning Sources of Homonyms:

Phonetic changes which words- undergo in the course of their historical development. Night and knight, Borrowing. A borrowed word may, in the final stage of its phonetic adaptation, duplicate in form either a native word or another borrowing. rite, n. - to write, v.- right, adj. the second and third words are of native origin whereas rite is a Latin borrowing (< Lat. ritus). Conversion - comb, n.- to comb, v., pale, adj.- to pale, v., to make, v,- make, n. Homonyms of this type, which are the same in sound and spelling but refer to different categories of parts of speech, are called lexico-grammatical homonyms. Shortening. E.g. fan, n. in the sense of an enthusiastic admirer of some kind of sport or of an actor, singer, etc. is a shortening produced from fanatic. Words made by sound-imitation) can also form pairs of homonyms with other words: e, g. bang, n. (a loud, sudden, explosive noise) - bang, n. (a fringe of hair combed over . the forehead). (Two or more homonyms can originate from different meanings of the same word when, for some reason, the semantic structure of the word breaks into several parts. This type of formation of homonyms is called split polysemy. Board - a long and thin piece of timber Board - daily meals especially provided for pay. Board - an official group of persons who direct or supervise some activity. A board of directors All the meanings developed from the meaning a table. Classification of Homonyms The subdivision of homonyms into: homonyms proper - words same in sound and in spelling. 1.fit - perfectly fitting clothes. 2. fit nervous spasm. homophones -the same in sound, different in spelling.1. been 2.bean homographs -the sane in spelling, different in sound 1.to lead - go before, show the way 2. lead a heavy rather soft metal.

3. a) Comment on the structure of the given sentence. She found herself saying half aloud what she had said then crazily over and over to the people who crowded round her on the pavement
(Iris Murdoch. The Nice and the Good. L.: World Books, 1969. p. 127.).

b) Suggested Topic for Discussion Do you see a future for conventional television? How likely is it, in your view, that it will be ultimately replaced by interactive television?
28 2009 .

. ..

22

1. Analyze text fragment 22. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Lexical and Syntactic Repetitions. Syntactic Parallelism
22. Lexical and syntactic repetitions. Syntactic parallelism. repetition-the recurrence of the same word, w.-comb-n, phrase for 2 or more times:1)anaphora(a..,a)-when the beginning of some successive sent-ce(clauses) is

repeated;styl. f-n:to create the bachground for the non repeated unit,which through its novelty becomes foregrounded;2)epiphora(a,a)-the last element is repeated,it adds stress to a final words in a sent-ce;3)framing(a,a)(ringing repet-n)-the 1st or the last element is repeat;it makes the whole ut-ce compact and complete,its most effective in singling out paragraphs & instances in a text; 4)catch rep-n(a,a)-rep-tionof the same word/phrase at the end of 1 clause& at the beginning of the following one;5)chain r-n(a,ab,bc)-represents a series of anidiplosice;the effect is smoothly developing logical reasoning(Living is the art of loving.Loving is the art of carrying.Carying is the art of sharing.).6)ordinary r-n-has no certain place in the sent-ce,it emphesisis log. & emot. mean-gs of the repeated word or phrase, 7)successive r-n(a,a,a)-1 & the same element is repeated one after another;a steam of closely fol-ing each other repeated units;show the peak of emotions.(e.g. On her fathers being groundlessly suspective she felt sure,sure,sure).Stylistic f-n of r-n is to emphasize the most imp part of the ut-ce rendering emotions of the speaker. Types of lexical repetitions. There are some devices based on r-n of some idea:synonymical r-n-the rep-on of the same idea by using synonymous words and phrases which by adding a slightly dif. shapes of m-g intensify the ut-ce;2 terms to show attitude to all kinds of synonymous r-n:1)pleonasm-the use of more words in the s-ce then necessary to express the m-g),2)tautology-the r-n of the same word/phrase or the same idea or statement in other words often in dif. gram.forms).

A parallel construction is the stylistic device which represents identical or similar syntactical structures in two or more sentences or parts of a sentence. Pure parallelism depends on the repetition of syntactical arrangement of the sentence. He was not comfortable. He was not happy. These 2 sentences have identical structure. Parallel construction may be complete (maintains the principle of identical structures in the corresponding sentence) and partial (based on the repetition of some parts of successive sentences). I was growing up, he was growing old. Parallelism may carry the role of semantic equality of the parts, emotive, uniting functions

3. a) Comment on the structure of the given sentence. Now and then it happened that one of the faded, yellow dancing girls would get sold to an amateur, as though she had been alive and young (J. Conrad. The Secret Agent. L.: Penguin Books, 1996. p. 14). b) Suggested Topic for Discussion

How do you understand the following observation: Education is what survives when what has been learned has been forgotten (B.F.Skinner)?
28 2009 .

. ..

23

1. Analyze text fragment 23. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Middle English Period in the History of the English Language
Noun. The category of gender was lost; and the loss was total, with no remnants in any of the nominal parts of speech. The category of number was preserved; it had grounds.

Due to the reduction of the unstressed vowels all these came to -es -0 -e or -0 -en So finally we have -es ,-en, which becomes a competing ending, and a group of conservative nouns retain the vowel interchange. Ending -es was invariably added to form the plural The Verb. All types of verbs existing in Old English - strong, weak, preterite-present and irregular were preserved in Middle English. In each type we find changes due to phonetic developments of this period, but the proportional value of the weak ones is greater and continues to grow, and a tendency is already traced - that is, some of the former strong verbs are drifting in the direction of the weak ones. The drift was not a comprehensive one; there was even a reverse process, some of the former weak ones became strong.

3. a) Comment on the structure of the given sentence. The fact that your father loathed you, and that you loathed your father, was not a matter of any interest to the English public (Oscar
Wilde. De Profundis. M.: Progress Publishers, 1979. p. 286).

b) Suggested Topic for Discussion What is your interpretation of the following statement: Human history becomes more and more a race between education and catastrophe (H.G.Wells)?
28 2009 .

. ..

 24

1. Analyze text fragment 24. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: The Period of the formation of the national language (XV-XVI c.)
During formation a nation there was a formation of national English language developing on the basis of a London dialect, which combined in itself southern and western-central dialect features. The introduction in England book-printing (1476) promoted fastening to distribution of the London forms, to that popularity of product of a large writer D. Choler (1340-1400) writing on a London dialect has helped much. In the course of the 15th century the London literary language gradually spread all over the country, superseding local dialects. Spoken English in various parts of Britain gradually approaches the literary norm, and differences between the norm and popular speech tend to become obliterated. London documents of the former half of the 15th century are poems by Thomas Occleve (Hoccleve), official London papers, and also official documents from other towns. The literary language is also found in letters written by kings, queens, ministers, and other officials. The formation of a national language was greatly forsed by two events of the late 15th century. The most significant event of the period was the War of Roses (1455 - 1485), which marked the decay of feudalism and the birth of a new social order - an absolute monarchy. Another great event was the introduction of printing. Printing was invented in Mayence (Germany) by Johann Gutenberg in 1438. From Mayence printing spread to Strasburg, then to Italy and to the Netherlands. The englishman William Caxton (1422 - 1491) published the First English printed book, The Recuyeil of the Histories of Troy. Then he founded the first English printing office in London in 1476, and in 1477 appeared the first book to be printed in England, namely, The Dictes and Sayings of the Philosophers. The spread of printed books was bound to foster the normalization of spelling and also of grammatical forms. Printed books was a first- rate factor in fixing spellings and grammar. Social changes of the 16th century created the conditions for a great cultural progress and

the growth of a national literature. The 16th century was a time of great literary achievement. The early poetical works of Wyatt and Surrey were followed by the The Faerie Queene by Edmund Spenser (1552 - 1599), and the 80s and 90s witness the rise of a great number of dramatists. The greatest of these was William Shakespeare (1564 - 1616). His contemporaries were Christopher Marlowe (1564 - 1593), Benjamin (Ben) Jonson (1573 - 1637), Philip Massinger (1583 - 1640), Frances Beaumont (1584 - 1616), John Fletcher (1579 - 1625), and many others. This epoch, which historians usually call Elizabethan after queen Elizabeth I, who reigned 1558 - 1603, belongs to the period of Early Modern English.

3. a) Comment on the structure of the given sentence. When we came to the end of the driveway leading to the farmhouse, I cut out the headlights and drove quietly into the yard
(John Barth. The Fun of the Road. N.Y.: Bantam Books, 1969. p. 187).

b) Suggested Topic for Discussion What is your interpretation of the following observation by J.Buchan: To live for a time close to great minds is the best kind of education?
28 2009 .

. ..

25

1. Analyze text fragment 25. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: New English Period in the History of the English Language
25. . Modern English is often dated from the Great Vowel Shift, which took place mainly during the 15th century. English was further transformed by the spread of a standardised Londonbased dialect in government and administration and by the standardising effect of printing. By the time of William Shakespeare (mid-late 16th century), the language had become clearly recognizable as Modern English. In 1604 the first English dictionary was published. English has continuously adopted foreign words, especially from Latin and Greek, since the Renaissance. (In the 17th century, Latin words were often used with the original inflections, but these eventually disappeared). As there are many words from different languages and English spelling is variable, the risk of mispronunciation is high, but remnants of the older forms remain in a few regional dialects, most notably in the West Country.In 1755, Samuel Johnson published the first significant English dictionary, his Dictionary of the English Language. The main difference between Early Modern English and Late Modern English is vocabulary. Late Modern English has many more words, arising from two principal factors: firstly, the Industrial Revolution and technology created a need for new words; secondly, the British Empire at its height covered one quarter of the Earth's surface, and the English language adopted foreign words from many countries.

Vowel Shift was a major change in the pronunciation of Germanic languages, generally accomplished in the 15th century and early 16th century, both in Europe and England. It represented a change in the long vowels (i.e. a vowel shift). In English, the shift began toward the end of the 15th century and was mostly completed in the 16th century, although it continued for some time after that, spreading toward the non-metropolitan and non-port areas. The values of the long vowels form the main difference between the pronunciation of Middle English and Modern English, and the Great Vowel Shift is one of the historical events marking the separation of Middle and Modern English. Originally, these vowels had "continental" values much like those remaining in liturgical Latin. However, during the Great Vowel Shift, the two highest long vowels became diphthongs, and the other five underwent an increase in tongue height and one of them came to the front.

3. a) Comment on the structure of the given sentence. She slammed the door and walked around to his side of the van before he could drive away (John Irving. Cider House Rules. N.Y.: Bantam
Books, 1989. p. 376).

b) Suggested Topic for Discussion

How far do you agree with the following statement: Nobodys privacy is more important than the truth reaching the public?
28 2009 . .

. ..

26

1. Analyze text fragment 26. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Functional Styles of English

26. Functional styles in English Functional Style is a system of interrelated language means serving a definite aim in communication. It is the coordination of the language means and stylistic devices which shapes the distinctive features of each style and not the language means or stylistic devices themselves. Each style, however, can be recoquized by one or more leading features which are especially conspicuous. For instance the use of special terminology is a lexical characteristics of the style of scientific prose, and one by which it can easily be recognized. A style of language can be fined as a system of coordinated, interrelated and inter-coordinated language means intended to full-fill a specific function of communication and aiming at a defined effect. Style of language is a historical category. The English literary system has evolved a number of styles easily distinguishable one from another. They are not homogeneous and fall into several variants of having some central point of resemblance or better to say. All integrated by the invariant - i.e. the abstract ideal system. They are:

1) Official(documents and papers); 2) Scientific (brochures, articles, other scientific publications); 3) Publicistic (essay, public speech); 4) Newspaper style(mass media); 5) Belles-lettres style(genre of creative writing);

Each of mentioned here styles can be expressed in two forms: written and oral. Stylistics is a sides that examines the complex of stylistically marked elements of any language level.
1) scientific style is employed in professional communication to convey some information. Its most conspicuous feature is the abundance of terms denoting objects, phenomena and processes characteristics of some particular field of science and technique. Also precision clarity logical cohesion. 2) Official style is the most conservative one. It uses syntactical constructions and archaic words. Emotiveness is banned out of this style. 3) Publicistic style is famous for its explicit pragmatic function of persuasion directed at influencing the reader in accordance with the argumentation of the author. 4) Newspaper style - special graphical means are used to attract the readers attention.

5) Belles-lettres style - the richest register of communication besides its own language means, other styles can be used besides informative and persuasive functions, belles-lettres style has a unique task to impress the reader are aesthetically

3. a) Comment on the structure of the given sentence. He had two large town houses, but preferred to live in chambers, as it was less trouble, and took most of his meals at his club (Oscar Wilde.
The Picture of Dorian Gray. M.: Progress Publishers, 1979. p. 114).

b) Suggested Topic for Discussion

How far do you agree with the following statement: Journalists should tell the public the truth, no matter what the consequences?
28 2009 . .

. ..

27

1. Analyze text fragment 27. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Synonyms. Euphemisms. Antonyms

Synonyms - are two or more words belonging to the same part of speech and possessing one or more identical or nearly identical denotational meanings, interchangeable in some context. Look - to stare, to gaze, to glance, to peep. Pretty - good - looking, handsome, beautiful. Each group comprises a dominant element. Synonymic dominant - is the most general term of its kind potentially containing the specific features rendered by all the other members of the group. Types of synonyms: Ideographic - synonyms which differ in the denotational component of meaning i.e. between which a semantic difference is statable. Stylistic - which differ in the connotational component of meaning, i.e. all kinds of emotional, expressive and evaluative overtones. Absolute - which can each other in any given context, without the slightest alteration in denotative or emotional meaning and connotations. Contextual - are synonyms which are similar in meaning only under some specific distributional conditions. Dominant - the notion common to all synonyms of the group without contributing any additional information as to the manner, intensy, duration or any attending feature of the referent. The sources of synonyms: borrowings, shift of meaning, dialectical words, compounds, shortenings, conversion, euphemisms. Antonyms - words of the same category of parts of speech which have contrasting meanings such as hat - cold, light - dark, happiness - sorrow. Morphological classification:

? Root words form absolute antonyms.(write - wrong). ? The presence of negative affixes creates - derivational antonyms(happy - unhappy).

Semantical classification:

? Contradictory notions are mutually opposed and denying one another, i.e. alive means not dead and impatient means not patient. ? Contrary notions are also mutually opposed but they are gradable; e.g. old and young are the most distant elements of a series like: old - middle - aged - young. ? Incompatibles semantic relations of incompatibility exist among the antonyms with the common component of meaning and may be described as the relations of exclusion but not of contradiction: to say morning is to say not afternoon, not evening, not night.

3. a) Comment on the structure of the given sentence. He heard the door, behind him, sharply close again and the vehicle move off in another direction than his own (Henry James. The Wings of
the Dove. N.Y.: The New American Library, 1964. p. 466).

b) Suggested Topic for Discussion The best way to learn is to teach. Do you subscribe to this view?
28 2009 . .

. ..

28

1. Analyze text fragment 28. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?) 2. Speak on the following theoretical question: Phraseology. Principles of Classification
28. Phraseology. Principles of classification. Phraseology, classification of phraseological units. Vinogradovs classification of phraseological units: a) phraseological combinations (). b) unities (). c) fussions (). a) phraseological combinations - are word - groups with a partially changed meaning. They may be said to be clearly motivated, that is the meaning of the units can be easily deduced from the meanings of its constituents. Ex. to be good at smth., to have a bite. b) unities - are word - groups with a completely changed meaning, that is, the meaning of the unit doesnt correspond to the meanings of its constituent parts. Ex. to loose ones head (to be out of ones mind), to loose ones heart to smb.(to fall in love). c) fussions - are word - groups with a completely changed meaning but, in contrast to the units, they are demotivated, that is, their meaning cant be deduced from the meanings of its constituent parts. Ex. to come a cropper(to come to disaster). The Koonins classification is the latest outstanding achievement in the Russian theory of phraseology. The classification is based on the combined structural - semantic principle and it also considers the quotient of stability of phraseological units. I. Nominative phraseological units - are represented by word - groups, including the ones with one meaningful word, and coordinative phrases of the type wear and tear, well and good. II. Nominative - communicative phraseological units - include word - groups, of the type to break the ice - the ice is broken, that is, verbal word - groups which are transformed into a sentence when the verb is used in the Passive Voice. III. Phraseological units - which are neither nominative nor communicative include interjectional word - groups. IV. Communicative phraseological units - are represented by proverbs and sayings.

3. a) Comment on the structure of the given sentence. I took it from her hand and saw that it bore the name of an uptown hotel and then I knew it was the piece of hotel stationary that the derelict playwright began to write on last night when I left him alone
(Tennessee Williams. Moise and the World of Reason. N.Y.: Bantam Books, 1976. p. 198).

b) Suggested Topic for Discussion What do you think school of the future will look like?
28 2009 . .

. ..

29

1. Analyze text fragment 29. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: The Verb and Its Categories
29 Paradigmatic and syntigmatic relations in English. Syntagmatic relations are immediate linear relations between units in a segmental sequence. The combination of two words or word-groups one of which is modified by the other forms a unit which is reffered to as a syntactic syntagma. There are four main types of notional syntagmas: predicative (the combination of a subject and a predicate), objective (-/- a verb and its object), attributive (a noun and attribute), adverbial (a modified notional word, such as a verb, adjective, or adverb, with its adverbial modifier). The other type of relations, opposed to syntagmatic and called paradigmatic, are such as exist between elements of the system outside the strings where they co-occur. Unlike syntagmatic relations, paradigmatic relations cannot be directly observed in utterances, that is why they are reffered to as relations in absentia. Paradigmatic relations coexist with syntagmatic relations in such a way that some sort of syntagmatic connection is necessery for the realization of any paradigmatic series. This is especially evident in a classical grammatical paradigm which presents a productive series of forms each consisting of a syntagmatic connection of two elements: one common for the whole of the series, the other specific for every individual form in the series. A linguistic unit can enter into relations of two different kinds. It enters into paradigmatic relations with all the units that can also occur in the same environment. PR are relations based on the principles of similarity. They exist between the units that can substitute one another. For instance, in the word-group A PINT OF MILK the word PINT is in paradigmatic relations with the words bottle, cup, etc. The article A can enter into PR with the units the, this, one, same, etc. According to different principles of similarity PR can be of three types: semantic, formal and functional. Semantic PR are based on the similarity of meaning: a book to read = a book for reading. He used to practice English every day - He would practice English every day. Formal PR are based on the similarity of forms. Such relations exist between the members of a paradigm: man - men; play - played - will play - is playing. Functional PR are based on the similarity of function. They are established between the elements that can occur in the same position. For instance, noun determiners: a, the, this, his, Anns, some, each, etc. PR are associated with the sphere of language. A linguistic unit enters into syntagmatic relations with other units of the same level it occurs with. SR exist at every language level. E.g. in the word-group A PINT OF MILK the word PINT contrasts SR with A, OF, MILK; within the word PINT - P, I, N and T are in syntagmatic relations. SR are linear relations, that is why they are manifested in speech. They can be of three different types: coordinate, subordinate and predicative.

Coordinate SR exist between the homogeneous linguistic units that are equal in rank, that is, they are the relations of independence: you and me; They were tired but happy. Subordinate SR are the relations of dependence when one linguistic unit depends on the other: teach + er - morphological level; a smart student - word-group level; predicative and subordinate clauses - sentence level. Predicative SR are the relations of interdependence: primary and secondary predication. As mentioned above, SR may be observed in utterances, which is impossible when we deal with PR. Therefore, PR are identified with language while SR are identified with speech.

3. a) Comment on the structure of the given sentence. Outside, the rain had stopped, there was only a mist of it in the air, so I turned to corner and walked along the street where the brownstone stands (Truman Capote. Breakfast at Tiffanys. L.: Penguin Books,
1958. p.15).

b) Suggested Topic for Discussion How far do you agree with the following statement: Education is a matter between the person and the world of knowledge; school or college has little to do with it.
28 2009 . .

. ..

 30

1. Analyze text fragment 30. from the viewpoint of its linguo-stylistic characteristics (What linguo-stylistic means of presentation are employed to create the unique textual fabric of the fragment?)

2. Speak on the following theoretical question: Methods and Procedures of the Lexicological Analysis
30. Methods and procedures of lexicological analysis. Due to these processes the certain classification of the methods of lexicological analysis has appeared. Nowadays scientists distinguish: Contrastive analysis( ontrastive analysis also brings to light what can be labelled problem pairs, the words that denote two entities in one language and correspond to two different words in another language. Compare, for example in Ukrainian and clock, watch in English, in Ukrainian and artist, painter in English. Contrastive analysis on the level of the grammatical meaning reveals that correlated words in different languages may differ in the grammatical component of their meaning For instance when we answer a telephone call and hear somebody asking for a person whose name we have never heard the usual answer for the Ukrainian speaker would be (). The Englishman in identical situation is likely to say Wrong number ..) Statistical methods of analysis (Statistical approach proved essential in the selection of vocabulary items of a foreign language for teaching purposes. Statistical analysis of meaning frequencies resulted in the compilation of A General Service List of English Words with Semantic Frequencies. The semantic count is a count of the frequency of the occurrence of the various senses of 2,000 most frequent words as found in a study of five million running words. Immediate Constituents analysis (Thus the fundamental aim of IC analysis is to segment a set of lexical units into two maximally independent sequences or ICs thus revealing the hierarchical structure of this set. Successive segmentation results in Ultimate Constituents (UC), two-facet units that cannot be segmented into smaller units having both sound-form and meaning. The Ultimate Constituents of the word-group analysed above are: a | black | dress | in | severe | style.) Distributional analysis and co-occurrence (By the term distribution we understand the occurrence of a lexical unit relative to other lexical units of the same level (words relative to

words / morphemes relative to morphemes). In other words by this term we understand the position which lexical units occupy or may occupy in the text or in the flow of speech. It is readily observed that a certain component of the word-meaning is described when the word is identified distributionally. For example, in the sentence The boy home the missing word is easily identified as a verb The boy went, came, ran, home A phrase, all elements of which, including the head-word, are coded, is called a distributional pattern, for instance to make somebody laugh to V1 Np V2 Another example: Get + N (receive) get letter Get + Adj (become) get angry). Transformational analysis (Transformational analysis in lexicological investigations may be defined as re-patterning of various distributional structures in order to discover difference or sameness of meaning of practically identical distributional patterns, For example, in the wordgroups consisting of a possessive pronoun followed by a noun, his car, his failure, his arrest, his goodness, his car (pen, table) may be re-patterned into he has a car (a pen, a table) or in a more generalised form may be represented as A possesses B. his failure (mistake, attempt) may be represented as he failed (was mistaken, attempted) or A performs which is impossible in the case of his car (pen, table). his arrest (imprisonment, embarrassment) may be re-patterned into he was arrested (imprisoned and embarrassed) or A is the goal of the action B.) Componential analysis (Componential analysis is thus an attempt to describe the meaning of words in terms of a universal inventory of semantic components and their possible combinations. L. Hjelmslev's commutation deals with similar relationships and may be illustrated by proportions from which the distinctive features d1, d2, d3 are obtained by means of the following procedure: d1 = 'boy' = 'man' = 'bull' 'girl' 'woman' 'cow'

- ( ') () () () () (, ) Method of semantic differential (All the methods of semantic analysis discussed above are aimed mainly or exclusively at the investigation of the denotational component of the lexical meaning.) Contextual analysis concentrates its attention on determining the minimal stretch of speech and the conditions necessary to reveal in which of its individual meanings the word in question is used. In studying this interaction of the polysemantic word with the syntactic configuration and lexical environment contextual analysis is more concerned with specific features of every particular language than with language universals.

3. a) Comment on the structure of the given sentence. Not for the first time I reflected that daughters would have been nice (Catherine Alliott. A Crowded Marriage. L.: Headline Review, 2007. p. 23). b) Suggested Topic for Discussion Some people believe that getting a well-paid job is essential, while finishing school or university is not. Do you agree with this view? Why/Why not?
28 2009 . .

. ..