САНКТ-ПЕТЕРБУРГСКИЙ ИНСТИТУТ
ВНЕШНЕЭКОНОМИЧЕСКИХ СВЯЗЕЙ, ЭКОНОМИКИ И ПРАВА
СТИЛИСТИКА
УЧЕБНО-МЕТОДИЧЕСКИЙ КОМПЛЕКС
направление
подготовки специалиста: 031200 (620100) – Лингвистика и межкультурная
коммуникация
специальность: 031202.65 (022900) – Перевод и переводоведение
САНКТ-ПЕТЕРБУРГ
2010
ББК 81.2 Англ.
С 80
C 80 Стилистика: учебно-методический комплекс / авт.-сост. Э.В. Седых. –
СПб.: ИВЭСЭП, 2010. – 61 с.
Утверждeн на заседании кафедры лингвистики и перевода,
протокол № 5 от 17.02. 2010 г.
Утверждeн и рекомендован к печати Научно-методическим советом,
протокол № 6 от 18.05.2010 г.
Автор-составитель
кандидат филологических наук, доцент
Э. В. С е д ы х
Рецензенты
доктор филологических наук, профессор
И. В. А р н о л ь д;
кандидат филологических наук, доцент
Ю. П. В ы ш е н с к а я
Ответственная за выпуск
Н. А. Ф р о л о в а
Компьютерные работы
М. П. Ж у к о в о й
© Э.В. Седых, 2010
© СПбИВЭСЭП, 2010
2
ПОЯСНИТЕЛЬНАЯ ЗАПИСКА
Стилистика английского языка – одна из теоретических дисциплин, формирующих филологическое мышление и позволяющих воспринимать язык во всей
его полноте.
Как учебная дисциплина стилистика ставит своей целью дать общее представление обо всех стилях языка и речи, показать различные приёмы и способы наиболее
целесообразного использования стилистических ресурсов языка в соответствии с содержанием текста, его жанром и коммуникативным назначением. В курсе стилистики прослеживается тесная связь этой дисциплины с другими разделами общего языкознания (лексикологией, семасиологией, грамматикой, фонетикой, фонологией) и
со смежными науками (литературоведением, лингвистикой текста, герменевтикой,
эстетикой, поэтикой, семиотикой, культурологией).
Основной целью курса является системное изучение лингвистических
средств языка, реализующих его эстетическую функцию, анализ и интерпретацию
текста.
В задачи курса входит научить студентов:
- различать особенности речи и текстовых образований в различных сферах
функционирования языка (в художественном тексте, разговорной речи, официальной речи, языке науки, газетном стиле и др.);
- сознательно отбирать, накапливать, запоминать и употреблять различные
стилистические средства;
- выделять в языке (в текстах) эмоциональную нагрузку, стремиться к ясности и выразительности своей речи;
- применять теоретические положения курса на практике (в том числе и в
практике перевода);
- различать, понимать, объяснять тенденции в современном английском
языке;
- профессионально владеть всеми ресурсами языка.
Лекционный курс должен ознакомить студентов с современными исследованиями в области стилистики английского языка в нашей стране и за рубежом, с
различными методами стилистических исследований (метод компонентного анализа структуры словозначений, контекстологический анализ текста, метод классификации лексических единиц по тематическим группам, сопоставительный анализ
индивидуальных стилей, интерпретационный анализ текста, литературоведческий
анализ широкого контекста литературного произведения). Необходимо также показать закономерности функционирования нормы и стилистически значимых отклонений от нормы на всех уровнях текста.
Практические занятия должны укреплять преемственность теоретического
курса стилистики и практического курса, начиная с занятий по домашнему чтению и заканчивая занятиями по основам художественного перевода. Кроме того,
литературоведческой базой стилистических исследований должны служить фоновые знания, полученные на занятиях по истории англо-американской литературы.
На семинарских занятиях по стилистике следует закреплять и углублять эти зна3
ния, развивать у студентов умение распознавать и объяснять явления, характерные для стилистического уровня в их функциональной взаимосвязи, вырабатывать навыки стилистического анализа и интерпретации текста.
Текущий контроль знаний по стилистике английского языка осуществляется на семинарских занятиях: выступление с докладом, стилистический анализ
текста и его интерпретация, письменные тесты по тематике лекций.
УЧЕБНО-ТЕМАТИЧЕСКИЙ ПЛАН
Количество аудиторных
Самосточасов
ятельная
семиработа
всего лекции
нары
№
п/п
Название раздела,
темы
1.
Лингвистические основы курса стилистики
Основные понятия лингвостилистики
Лексическое значение слова с точки
зрения стилистики
Стилистическая классификация словарного состава английского языка
Лексико-фразеологические выразительные средства и стилистические
приёмы
Стилистика частей речи (морфологическая стилистика)
Синтаксические
выразительные
средства и стилистические приёмы
Фонетические выразительные средства и выразительные приёмы
Графическая и визуальная стилистика
Функциональные
стили
современного английского языка
Итого за 6 семестр
2.
3.
4.
5.
6.
7.
8.
9.
10.
Типы выдвижения значимой информации в художественном тексте
12.
Интертекстуальность в художественном тексте
13.
Основные понятия литературоведческой стилистики
Итого за 7 семестр
6
2
4
12
4
6
1
6
3
10
2
4
4
12
4
2
6
4
1
7
2
1
4
4,5
1
0,5
3
4,5
1
0,5
3
16
80
6
26
4
12
6
42
5
5
2
2
22
10
4
8
32
14
4
14
112
40
16
56
3
11.
Всего часов
4
3
3
СОДЕРЖАНИЕ КУРСА
6 семестр
Т е м а 1. Лингвистические основы курса стилистики
Предмет и задачи стилистики.
Терминологический аппарат стилистики.
Отношение стилистики к другим разделам общего языкознания.
Связь стилистики с другими областями человеческого знания.
Разделы и направления стилистики и их проблематика.
Лингвистическая и литературоведческая стилистика.
Т е м а 2. Основные понятия лингвостилистики
Текст как основная единица стилистики. Функции текста. Свойства текста.
Классификации текстов. Текст в культурологии и семиотике.
Виды информации в тексте. Категории текста.
Теория стиля. Стилистическая функция. Стилистический анализ текста.
Виды контекстов. Стилистический контекст.
Теория образов. Виды образности.
Выразительные средства языка и стилистические приёмы, их взаимоотношение и функции.
Текстовая импликация.
Т е м а 3. Лексическое значение слова с точки зрения стилистики
Слово и его значение. Денотативный и коннотативный компоненты значения.
Эмоциональная, оценочная, экспрессивная, социолингвистическая, идеологическая и стилистическая коннотации.
Лакуна как результат полной или частичной потери.
Совмещение коннотаций при актуализации семантики слова в тексте. Индивидуально-художественное значение слова.
Т е м а 4. Стилистическая классификация словарного состава английского
языка
Норма и отклонение от нормы.
Стилистическая дифференциация словаря: нейтральная лексика, книжная лексика, стилистически маркированная лексика.
Антонимы, конверсивы, синонимы, эквонимы, гипонимы, гиперонимы.
Взаимодействие устного и письменного вариантов языка.
Использование лексики для создания исторического, национального, территориального, социального и профессионального колорита.
Индивидуальная и окказиональная лексика.
Т е м а 5. Лексико-фразеологические выразительные средства и стилистические приёмы
Метафора, её виды. Олицетворение и средства персонификации. Антономазия.
Сравнение. Отличие сравнения от метафоры.
5
Эпитеты традиционные и оригинальные. Классификация эпитетов.
Метонимия, её разновидности. Синекдоха. Метонимический эпитет. Перифраз и эвфемизм.
Семантическая сущность иронии. Юмор, сарказм, гротеск.
Полуотмеченные структуры, оксюморон и его структурные модели.
Фигуры количества: гипербола и литота (мейозис).
Фигуры полисемии: каламбур, игра слов, зевгма.
Виды лексических повторов: синонимический, частичный, лексикосемантический. Тематическая сетка текста.
Фразеология нейтральная и экспрессивная. Стилистическая дифференциация фразеологизмов по стилистической окраске. Авторские фразеологизмы.
Т е м а 6. Стилистика частей речи (морфологическая стилистика)
Экспрессивность на уровне морфологии.
Стилистическая функция категориальных единиц имени существительного:
артикль, множественное число, генитив, имя собственное.
Субстантивация как фактор стиля.
Стилистическая функция местоимения.
Стилистические функции прилагательных.
Стилистические возможности глагольных категорий: время, залог, переходность. Грамматическое и художественное время.
Роль наречий и числительных в стилистике. Экспрессивность отрицания.
Т е м а 7. Синтаксические выразительные средства
и стилистические приёмы
Длина, структура и пунктуация предложения. Инверсия как фактор стиля.
Синтаксические повторы. Параллельные конструкции: частичный и полный
повтор. Хиазм, подхват, кольцевой повтор, анафора, эпифора.
Многосоюзие и бессоюзие как стилистически значимые особенности синтаксиса.
Транспозиция синтаксических структур. Повествовательные и вопросительные предложения в разговорной речи. Риторический вопрос.
Синтаксические способы компрессии. Эллипс, умолчание.
Синтаксическая избыточность. Перечисление и его типы.
Антитеза. Градация. Ретардация.
Приёмы ожидания и нарастания.
Т е м а 8. Фонетические выразительные средства
и стилистические приёмы
Исполнительские и авторские фонетические стилистические средства.
Аллитерация, её виды.
Звукоподражание.
Рифма. Ритм.
6
Т е м а 9. Графическая и визуальная стилистика
Взаимодействие звучания и графики.
Графический образ слова как фактор стиля.
Графон, удвоение графем, курсив, заглавная буква.
Отсутствие знаков препинания как фактор стиля.
Графическая образность. Визуальная поэзия.
Т е м а 10. Функциональные стили современного английского языка
Определение функционального стиля. Типология функциональных стилей.
Стиль официальных документов и его разновидности.
Разновидности стиля научной прозы. Особенности текста научной прозы.
Проблема научной терминологии. Формулы и их использование в научной статье.
Газетный стиль и его разновидности: краткие сообщения, заголовки, объявления, реклама. Особенности газетного стиля.
Публицистический стиль, его разновидности: публичная речь, эссе, статья.
Стиль языка художественной литературы. Проза, драма, поэзия.
Разговорный стиль и возможности интерференции разговорного стиля в пограничные стили.
Синтез функциональных стилей в речевом произведении.
7 семестр
Т е м а 11. Типы выдвижения значимой информации
в художественном тексте
Понятие выдвижения значимой информации в тексте. Типы выдвижения.
Конвергенция.
Сильная позиция. Заголовок, эпиграф, первые строки, заключение (эпилог).
Обманутое ожидание. Сцепление. Контраст.
Т е м а 1 2 . Интертекстуальность в художественном тексте
Понятие интертекстуальности.
Виды интертекстуальности: цитата, аллюзия, реминисценция.
Поэтика интертекстуальности. Интертекстуальность и герменевтика.
Т е м а 13. Основные понятия литературоведческой стилистики
Структура текста. Содержание и форма.
Тематика, проблематика и идейный мир произведения.
Сюжет и фабула. Сюжет и конфликт.
Изображённый мир и его компоненты.
Язык автора и язык персонажа. Понятие «образ автора». Речевая характеристика как явление индивидуализации персонажа.
Композиция произведения.
Художественная речь. Типы речи: описание, повествование, рассуждение.
Повествование от 1-го, 2-го и 3-го лица.
7
Виды речи: прямая, косвенная, несобственно-прямая речь. Монолог, диалог,
полилог. Перепорученная речь.
Литературные роды и жанры.
Литературные направления. Индивидуальный стиль.
Автор текста и читатель. Тезаурус. Понимание и интерпретация текста.
Герменевтика и рецептивная эстетика.
СЕМИНАРСКИЕ ЗАНЯТИЯ
6 семестр
Семинар 1
Стилистическая дифференциация слов в английском языке: литературный
английский язык.
Семинар 2
Стилистическая дифференциация слов в английском языке: разговорный
английский язык.
Семинар 3
Лексико-фразеологические выразительные средства и стилистические приёмы: метафора, олицетворение, антономазия, сравнение, метонимия, перифраз,
ирония, гипербола, литота, эпитет, оксюморон, зевгма, игра слов; употребление
фразеологизмов.
Семинар 4
Синтаксические и фонетические выразительные средства и стилистические
приёмы. Визуальная стилистика.
Семинар 5
Функциональные стили современного английского языка: стиль официальных документов, научный и научно-популярный стили, стиль технической литературы.
Семинар 6
Функциональные стили современного английского языка: газетный стиль,
публицистический стиль и его разновидности.
7 семестр
Семинар 7
Стиль языка художественной литературы: проза, драма, поэзия.
Семинар 8
Стилистический анализ текста.
Письменный тест по основам стилистики английского языка.
8
САМОСТОЯТЕЛЬНАЯ РАБОТА
ТЕМАТИКА ДОКЛАДОВ
1. Историко-культурный контекст художественного произведения и других
типов текстов.
2. Фоновые знания и их роль в формировании широких контекстуальных
связей.
3. Социоэтнический аспект дифференциации функциональных стилей современного английского языка.
4. Взаимодействие письменного и устного вариантов языка, их характерные
признаки.
5. Типы выдвижения как средство реализации функциональных связей языковых единиц и стилистических приёмов.
6. Поэтический мотив и тенденции в развёртывании образности поэтического
текста.
7. Индивидуально-авторские особенности стиля (по выбору студентов).
8. Компоненты текстовой структуры и их интеграция в текстах, принадлежащих к разным функциональным стилям английского языка.
9. Категории художественного текста и их взаимодействие.
10. Особенности членения художественного текста и единицы текстового
членения.
11. Графические стилистические средства и их взаимосвязь с лексическими,
синтаксическими и фонетическими выразительными средствами языка и стилистическими приёмами.
12. Стилистические возможности словообразования: конверсия, словосложение и акронимия на службе стилистики.
13. Стилистическая дифференциация фразеологизмов по принадлежности к
функциональным стилям и по стилистической окраске.
14. Грамматическое и художественное время.
15. Интертекстуальность в современном английском (американском) эпическом/ драматическом/лирическом жанре (по выбору студентов).
ВОПРОСЫ К ЭКЗАМЕНУ
1. Предмет и задачи стилистики. Отношение стилистики к другим разделам
общего языкознания.
2. Связь стилистики с другими областями человеческого знания.
3. Разделы и направления стилистики и их проблематика. Лингвистическая
и литературоведческая стилистика.
4. Текст как основная единица стилистики. Функции текста. Свойства текста.
Классификации текстов. Текст в культурологии и семиотике.
5. Виды информации в тексте. Категории текста.
6. Теория стиля. Стилевые доминанты и модели. Стилистическая функция.
Стилистический анализ текста.
7. Виды контекстов. Стилистический контекст.
9
8. Теория образов. Виды образности.
9. Выразительные средства языка и стилистические приёмы, их функции и
взаимоотношение. Текстовая импликация.
10. Структура текста: содержание и форма. Сюжет, фабула, конфликт.
11. Тематика, проблематика и идейный мир произведения.
12. Изображённый мир и его компоненты
13. Художественное пространство и время. Композиция произведения.
14. Художественная речь. Типы и виды речи.
15. Литературные роды и жанры. Литературные направления. Индивидуальный стиль.
16. Автор текста и читатель. Понимание и интерпретация текста.
17. Норма и отклонение от нормы. Стилистическая дифференциация словаря.
18. Индивидуальная и окказиональная лексика. Лексические системы языка.
19. Лексическое значение слова с точки зрения стилистики.
20. Лексико-фразеологические выразительные средства и стилистические
приёмы.
21. Виды лексических повторов. Тематическая сетка текста. Стилистическая
дифференциация фразеологизмов.
22. Стилистика частей речи. Экспрессивность на уровне морфологии.
23. Синтаксические выразительные средства и стилистические приёмы.
24. Фонетические выразительные средства и стилистические приёмы. Визуальная стилистика.
25. Типы выдвижения значимой информации в художественном тексте.
26. Интертекстуальность в художественном тексте.
27. Стиль официальных документов.
28. Разновидности стиля научной прозы.
29. Газетный стиль и его разновидности.
30. Публицистический стиль и его виды.
31. Стиль языка художественной литературы: проза, драма, поэзия.
32. Разговорный стиль и его взаимодействие с другими стилями речи. Синтез функциональных стилей в речевом произведении.
ПРИМЕРНЫЙ ЭКЗАМЕНАЦИОННЫЙ БИЛЕТ
1. Виды информации в тексте. Категории текста.
2. Стиль официальных документов.
3. Стилистический анализ текста (текст прилагается).
ПРИЛОЖЕНИЕ
The Monkeys and the Moon
In long-past times there lived a band of monkeys in a forest. As they rambled
about they saw the reflection of the moon in a well, and the leader of the band said, “O
10
friends, the moon has fallen into the well. The world is now without a moon. Ought not
we to draw it out?”
The monkeys said, “Good; we will draw it out.”
So they began to hold counsel as to how they were to draw it out. Some of them
said, “Do not you know? The monkeys must form a chain, and so draw the moon out.”
So they formed a chain, the first monkey hanging on to the branch of a tree, and
the second to the first monkey’s tail, and a third one in its turn to the tail of the second
one. When in this way they were all hanging on to one another, the branch began to
bend a good deal. The water became troubled, the reflection of the moon disappeared,
the branch broke, and all the monkeys fell into the well and were disagreeably damaged.
A deity uttered this verse, “When the foolish have a foolish leader, they all go to
ruin, like the monkeys which wanted to draw the moon up from the well.”
ЛИТЕРАТУРА
Основная
1. Арнольд И. В. Стилистика. Современный английский язык / И. В. Арнольд. – М., 2009.
Дополнительная
1. Седых Э. В. Английская поэзия первой половины XIX века: учеб. пособие по стилистике
английского языка. – СПб., 2003.
2. Скребнев Ю. М. Основы стилистики английского языка / Ю. М. Скребнев. – М., 2003.
3. Теория литературы: в 2 т. / под ред. Н. Д. Тамарченко. – М., 2004.
Вспомогательная
1. Азнаурова Э. С. Очерки по стилистике слова / Э. С. Азнаурова. – Ташкент, 1973.
2. Арнольд И. В. Семантика. Стилистика. Интертекстуальность / И. В. Арнольд. – СПб.,
1999.
3. Виноградов В. В. Стилистика. Теория поэтической речи. Поэтика / В. В. Виноградов. –
М., 1963.
4. Гальперин И. Р. Стилистика английского языка / И. Р. Гальперин. – М., 1981.
5. Гальперин И. Р. Текст как объект лингвистического исследования / И. Р. Гальперин. –
М., 1981.
6. Гуревич В. В. Стилистика английского языка / В. В. Гуревич. – М., 2008.
7. Дейк ван Т.А. Анализ новостей как дискурса / Т. А. ван Дейк / Язык. Познание. Коммуникация. – М., 1989.
8. Есин А. Б. Принципы и приёмы анализа литературного произведения / А. Б. Есин. – М.,
2000.
9. Жирмунский В. М. Теория литературы. Поэтика. Стилистика / В. М. Жирмунский. – Л.,
1971.
10. Задорнова В. Я. Стилистика английского языка / В. Я. Задорнова. – М., 1986.
11. Знаменская Т. А. Стилистика английского языка. Основы курса / Т. А. Знаменская. – М.,
2008.
12. Ивашкин М. П. Стилистика английского языка / М. П. Ивашкин. – М., 2000.
13. Интерпретация художественного текста в языковом вузе. – Л., 1983.
14. Киселёва Л. А. Вопросы теории речевого воздействия / Л. А. Киселёва. А. – Л., 1978.
15. Косоножкина Л. В. Практическая стилистика английского языка: Анализ художественного текста / Л. В. Косоножкина. – М., 2004.
16. Кузнец М. Д. Стилистика английского языка / М. Д. Кузнец, Ю. М. Скребнев. – Л., 1960.
17. Кухаренко В. А. Интерпретация текста / В. А. Кухаренко. – М., 1988.
11
18. Кухаренко В. А. Практикум по стилистике английского языка / В. А. Кухаренко. – М.,
2009.
19. Локетт Б. Почему так? Знакомые английские слова в необычных выражениях /
Б. Локетт. – М., 1998.
20. Лотман Ю. М. Структура художественного текста / Ю. М. Лотман. – М., 1970.
21. Лукин В. А. Художественный текст. Основы лингвистической теории и элементы анализа
/ В. А. Лукин. – М., 1999.
22. Мороховский А. Н. Стилистика английского языка / А. Н. Мороховский. – Киев, 1984.
23. Наер В. Л. Функциональные стили английского языка / В. Л. Наер. – М., 1981.
24. Одинцов В. В. Стилистика текста / В. В. Одинцов. – М., 1980.
25. Орлов Г. А. Современная английская речь / Г. А. Орлов. – М., 1991.
26. Пелевина Н. Ф. Стилистический анализ художественного текста / Н. Ф. Пелевина. – М.,
1980.
27. Прохорова В. И. Стилистический анализ / В. И. Прохорова, Е. Г. Сошальская. – М., 1976.
28. Разинкина Н. М. Функциональная стилистика / Н. М. Разинкина. – М., 1989.
29. Риффатер М. Критерии стилистического анализа / М. Риффатер // Новое в зарубежной
лингвистике. Вып. 9. – М., 1981.
30. Смелякова Л. П. Художественный текст в обучении иностранным языкам в языковом вузе / Л. П. Смелякова. – СПб., 1992.
31. Солганик Г. Я. Стилистика текста / Г. Я. Солганик. – М., 1997.
32. Текст и его компоненты как объект комплексного анализа. – Л., 1986.
33. Тураева З. Я. Категория времени. Время грамматическое и время художественное /
З. Я. Тураева. – М., 1979.
34. Фёдоров А. В. Очерки общей и сопоставительной стилистики / А. В. Фёдоров. – М., 1971.
35. Шаховский В. И. Стилистика английского языка / В. И. Шаховский. – М., 2008.
36. Short M. Exploring the Language of Poems, Plays and Prose / Short M.. – L., 1996.
12
ПРИЛОЖЕНИЯ
Приложение I
Вокабуляр к лекциям
Varieties of English
term
foreign word
poetism
professionalism
barbarism
archaism

neologism





written----------literary----------formal----------polite----------tactful
::
::
::
::
::
::
::
::
::
::
::
::
::
::
::
spoken---------colloquial--------informal-------familiar---------rude



dialectism


slang

jargonism
vulgarism
appropriate
geographical
literal
familiar
the Caribbean
AM.E.
vocabulary
multilingual
tend
hesitate
occur
listing, adding
participial
verbless
“weeds”
unlinked
colloquial
advertisement
troductory
abstract
name
slang
tactful
tentative
tive
request
commit
literary
ited
solemnity
stylized
emphatic
interpret
usage
archaism
recreation
communication
construction
BR.E.
WSE
“hesitation fillers”
explanations
clause
reduction
impersonal
senior
restricted
diplomacy
indication
elevated
Inaugural
emotive
neutral
barbarism
13
Common Core
native
pronunciation
regional dialect
“er”; “um”
e.g.; i.e.
punctuation
ellipsis
passives
invocative
nickintimacy
disguise imperareluctance
rhetorical
limrelated
signify
bookish
violation
derivation
inflection
convey
true-to-life effect
poetism
high-level word
nonce-word
occasional word
satire
offensive
professionalism
longing
humiliate
addressee
gonism
unintelligible
narrated
narration
expressive
laconism
rhyming slang
vulgarism
evaluation
dialectism
local colouring
parody
neologism
implication
argot
uncultivated
object in question
peculiar
jar-
Types of Meaning
image
denotative
isolated
loading
emotional
isolation
interjection
evaluative
imaginative
tion
interrelation
connotative
concept
notional
indicate
contextual
intonation
imply
association
publicistic
concrete
verbal
property
connotation
stylistic
correlation
reiteration
imagery
linguistic
similarity
notion(al)
extra-linguistic
objective
vary
component
frequent
function
intensifying
functional ficconcept
Stylistic Devices
phonetic
imitate
interaction
trite
synecdoche
implicit
discrepancy
derivative
simultaneous
oxymoron
attribute
phenomenon
hyperbole
exaggeration
idiom
reference
allegory
proper name
onomatopoeia
succession
primary
genuine
irony
comparison
sarcasm
pun
realization
adjective
contradiction
simile
connective
set-expressions
proverb (ial)
fictitious
understatement
continuous
alliteration
similar
imposed
personification
resemblance
substitute
opposite
zeugma
epithet
descriptive
define
periphrasis
explicit
phraseological unit
saying
nominal
litotes
equivalent
14
representation
lexical
metaphor
metonymy
indicate
vice versa
primary
humorous
transferred
emphasis
intensification
euphemism
overstatement
allusion
cliché
antonomasia
paradox
akin
symbolism
parable
double negation
contradictory
represented
syntactical
construction
repetition
climax
asyndeton
ellipsis
represented speech
S-Pr-O-D
alter
paragraph
extract
clause
apiphora
structure
successive
delay
loading
increasing
tension
secure
gradual increase
conjunction
enumeration
contrastive
omission
reflect
excitement
reveal
psychology
abound
exclamatory
stream-of-consciousness-technique
fable
self-evident
inversion
reiteration
polysyndeton
rhetorical question
pattern
anaphora
chiasmus
chain
utterance
conclusion
significance
preposition
imitate
render
temporary
elliptical
stenograph
presuppose
absurd
parallel(ism)
suspense
antithesis
violation
rhythmical
anadiplosis
reversal
synonymic
completion
arrangement
quantitative
antonym
predetermine
utter
mental state
break
boundary
Types of Foregrounding
emphasis
strong position
establish
involvement
intensive
prominent
closure
focus
observation
prologue
motto
key-symbol
termination
confirm
predictability
bitter irony
rhythm
morphological
punctuation
mechanics
foreground
defeated expectancy
hierarchy
protect message
coordination
title
provide a clue
complicated
previous
detached
generalize
structure
distinguish
experience
disturb
semantically
aphorism
integrated (integrity)
segmentation
self-conscious
prominence
coupling
composition
guess
single out
epigraph
borrowed
generalized
partial
introduction
comment
sequence
mear stopping
perception
disorientation
relevant
half-line
(non-) poetical
print/type
a work of art
15
convergence
contrast
aesthetic response
accumulation
artistic whole
first lines
self-explanatory
demand
depict
quotation
epigrammatic
high-degree
finality
extra(ir)regularity
delineated
equivalent (ce)
rhyming
graphical
plot
producer
Functional Styles
patterned variety
typification
media
calculate
secure
predetermine
evolve
distinguishable
belles-letters
verse
emotive prose
substyle
aesthetico-cognitive
interpretation
in essence
semantics
epigram-like
prosody
meter
iambic _ _/
trochaic _/_
dactylic _/_ _
amphibrachic _ _/_
anapestic _ _ _/
syllable
foot
stanza
heroic couplet
Spencerian
Octava rima
ballad
Shakespearean
sonnet
monologue
dialogue
conform
fragmentation
exclude
playwright’s remarks
two-way
gesture
mimicry
reverse connection
polysemantic
regional peculiarity
gender
coinage
nonce-word
notion
implication
explication
quantity
lingual means
indistinctness
articulation
contraction
“graphon”
“Ah-de-do”
“Wasser-matter” dropping morpheme
confusing
neutral
superfluous
amount
affective
rich stock
tempo
curt remark
multiple
direct doubling
diminutive suffix
hypothesis
de-terminization
ambiguity
postulatory
argumentative
formulative
investigation
quotation
reference
appendix
foot-note
exact sciences
humanities
announcement crossword puzzle
brief news item
matter-of-fact
abbreviation
syntactical complex attribute noun-group
(non-) classified
headline
catching
sensational
declarative
interrogative
Editorial
publicistic
oratorical
essay
journalistic
individuality
brevity
audience
debate
counsel
judge
ready-made
obligatory
Montaigne
surface
key-note
documantory
legal
diplomacy
military
bind
undertaking
enterprise
contracting
nomenclature
conventional
M.P.; $; Ltd.
atk; obj; A\T
compositional design memorandum(a)
subcode
conventionality
emotiveness
encoded
pronouncement
16
Приложение II
Упражнения к семинарам I-IV
Семинар I. Literary Stratum of Words
I. State the archaisms, characterize and translate them:
1. I was surprised to see Heathcliff there also. He stood by the fire, his back towards me,
just finishing a stormy scene to poor Zillah, who ever and anon interrupted her labour to
pluck up the corner of her apron, and heave an indignant groan... “Thou art the Man!”
cried Jabes, after a solemn pause, leaning over his cushion. “Seventy times seven times
didst thou gapingly contort thy visage – seventy times seven did I take council with my
soul – Lo! This is human weakness: this also may be absolved! The first of the seventyfirst is come. Brethren – execute upon him the judgement written. Such honour have all
His saints!”
2. He kept looking at the fantastic green of the jungle and then at the orange-brown
earth, febrile and pulsing as though the rain were cutting wounds into it. Ridges flinched
before the power of it. The Lord giveth and He taketh away, Ridges thought...
3. If manners maketh man, then manner and grooming maketh poodle.
II. Give the English equivalents, state the origin and stylistic purpose of barbarisms and
foreign words:
1. Yates remained serious. “We have time, Herr Zippmann, to try your schnapps. Are
there any German troops in Neustadt? “No, Herr Offizier, that’s just what I’ve to tell
you. This morning, four gentlemen in all, we went out of Neustadt to meet the Herren
Amerikaner.”
2. “I never sent any telegram. What did it say?” “I believe it is still on the table là-bas.”
Elise retired, pounced upon it, and brought it to her mistress in triumph. “Voilà, madame!”
3. Nevertheless, despite her experience, she hadn’t yet reached the stage of thinking all
men beastly; though she could readily sympathize with the state of mind of any woman
driven to utter that particular cri de coeur.
4. “Tyree, you got half of the profits!” Dr. Bruce shouted. “You’re my de facto partner.”
5. The first shock was over, the dust had settled and he could now see that his whole life
was kaput.
III. State the nature and role of the terms:
1. “... don’t you go to him for anything more serious than a pendectomy of the left ear
or a strabismus of the cardiograph.” No one save Kennicott knew exactly what this
meant, but they laughed.
2. At noon the hooter and everything died. First, the pulley driving the punch and shears
and emery wheels stopped its lick and slap. Simultaneously the compressor providing
the blast for a dozen smith-fires went dead. Finally old Peter was left standing dead
struck – as if it had never happened to him before, as if he wasn’t an old miser for work
– specifically, piece-work, always trying to knock the extra piece before the power
went.
17
3. They met, and their hands instinctively clasped by an interadjustment of the bones
known only in mankind and the higher apes but not seen in the dog...
Philip drew the girl’s form towards him till he had it close to his own form, and parallel
to it, both remaining perpendicular, and then bending the upper verterbrae of his spinal
column forwards and sideways he introduced his face into a close proximity with hers.
In this attitude, difficult to sustain for a prolonged period, he brought his upper and lower lips together, protruded them forward, and placed them softly against hers in a
movement seen also in the orang-outang but never in the hippopotamus.
IV. Define the pattern of creation of the following neologisms:
1. She was a young and unbeautiful woman.
2. She was doing duty of her waitresshood.
3. Every man in his hours of success, tasted godhood.
4. His youngness and singlemindedness were obvious enough.
5. She was a fragile eyeful...
6. His father installed justly to make little boys feel littler and stupid boys aware of their
stupidity.
7. “I love you mucher.” – “Plenty mucher? Me tooer.”
8. It was the killingest thing you ever saw.
9. You’re goddamndest boy.
10. I’ve been asked to appear in Rostand’s wonderful fairy play. Wouldn’t it be nice if
you Englished it for us?
11. The country became his Stepfatherland.
12. A luxury hotel for dogs is to be opened at Lima, Peru, a city of 30,000 dogs. The
furry guests will have separate hygienic kennels, top medical care and high standard
cuisine, including the best bones. Also on hand at the dogotel – trees.
V. Compare the neutral and the literary modes of expression:
1. “My children, my defrauded, swindled infants!” cried Mrs. Renwigs.
2. “I am Alpha and Omega, – the first and the last,” the solemn voice would announce.
3. Twenty miles west of Tueson the “Sunset Express” stopped at a tank to take on water. Besides the aqueous addition the engine of that famous flyer acquired some other
things that were not good for it.
4. He is always in extremes; perpetually in the superlative degree.
5. The famous Alderman who objected to the phrase in Canning’s inscription for a Pitt
memorial “He died poor” and wished to substitute “He expired in indigent circumstances”.
Семинар II. Colloquial Stratum of Words
I. State the function of slang:
1. A cove couldn’t be too careful.
2. I’ve often thought you’d make a corking good actress.
3. I steered him into a side street where it was dark and propped him against a wall and
gave him a frisk.
18
4. Bejees, if you think you can play me for an easy mark, you’ve come to the wrong
house. No one ever played Harry Hope for a sucker!
5. This is a dump. This is unbelievable. But the kid don’t know how to live even when
she’s got the dough.
6. She came in one night, plastered, with a sun-burned man, also plastered...
7. “That guy just aint hep,” Mazzi said decisively. “He’s as unhep as a box, I can’t stand
people who aint hep.”
8. I’m the first one saw her. Out at Santa Anita she’s hanging around the track every
day. I’m interested: professionally. I find out she’s some jock’s regular, she’s living
with the shrimp, I get the jock told Drop it if he don’t want conversation with the vice
boys: see, the kid’s fifteen. But stylish: she’s okay, she comes across. Even when she’s
wearing glasses this thick; even when she opens her mouth and you don’t know if she’s
a hillbilly or an Okie or what, I still don’t. My guess, nobody’ll ever know where she
came from.
II. Specify hackneyed vulgarisms and vulgarisms proper; determine the kind of emotion
which had caused their usage:
1. A hyena crossed the open on his way around the hill. “That bastard crosses there every night,” the man said.
2. Suddenly Percy snatched the letter. “Give it back to me, you rotten devil,” Peter
shouted. “You know damn well it doesn’t say that. I’ll kick your big fat belly. I swear I
will.”
3. Look at the son of a bitch down there: pretending he’s one of the boys today.
4. “This is the very devil of a business. The very devil of a business.”
5. I’m no damned fool! I couldn’t go on believing forever that gang was going to
change the world by shooting off their loud traps on soapboxes and sneaking around
blowing up a lousy building or a bridge! I got wise, it was all a crazy pipe dream!
III. Differentiate the professional and social jargonisms; suggest a terminological equivalent where possible:
1. They have graduated from Ohio State together, himself with an engineering degree.
2. The arrangement was to keep in tough by runners and by walkie-talkie.
3. We did History Final at Coll a long time ago.
4. I’m here quite often – taking patients to hospitals for majors, and so on.
5. “Okay Top,” he said. “You know I never argue with the First Sergeant.”
6. “There’s a house-party,” said Dinny to the young man’s elevated eyebrows. “She
means tails and a white tie.” – “Oh, oh! Best bib and tucker!”
7. “How long did they cook you?” – “Since eight this morning. Over twelve hours...” –
“You didn’t unbutton then? After twelve hours of it?” – “Me? They got a lot of dancing
to do before they’ll get anything out of me.”
8. But, after all, he knows I’m preggers.
IV. Observe the dialectal peculiarities in the dialogues:
1. “By the way, Inspector, did you check up that story of Freguson’s?” “Ferguson?” said
the Inspector, in the resentful accents of a schoolboy burdened with too much home-
19
work. “Oo, ay, we havena forgot Ferguson. I went tae Sparkes of them remembered him
weel enough. The lad doonstairs in the show-room couldna speak with cairtainty tae the
time, but he recognized Ferguson from his photograph, as havin’ brocht in a magneto on
the Monday afternoon...”
2. “We’ll show Levenford what my clever lass can do. I’m looking ahead, and I cam see
it. When we’ve made ye the head scholar of Academy, then you’ll see what your father
means to do wi’ you. But ye must stick to your lessons, stick in hard.”
3. I wad na been surpris’d to spy
You on an auld wife’s flainen toy:
Or aiblins some bit duddie boy,
On’s wyliecoat.
V. Compare the neutral (or literary) and colloquial modes of expression:
1. Get on a little faster, put a little more steam on.
2. “Negroes and children: who cares?” – “I read that story twice: brats and niggers.”
3. He tried these engineers, but no soap. No answer.
4. “I do think the Scandinavian are the heartiest and best people.” – “Oh, do you think
so?” protested she. “My husband says the Svenskas that work in the planning-mill are
perfectly terrible.”
5. “Big-Hearted Harry. You want to know what I think? I think you’re nuts. Pure plain
crazy. Goofy as a loon. That’s what I think.”
6. “Here she is,” said Quilip... there is the women I ought to have married – there is the
beautiful Sarah – there is the female who has all the charms of her sex and none of their
weakness. Oh, Sally, Sally.”
7. I need the stimulation of good company. He terms this riff-raff. The plain fact is I am
misunderstood.
8. “Give me some ham, piping hot, fragrant with brown sugar and tasty sauce. Serve it
between fresh slices of buttered bread. And draw a cup of aromatic coffee with cream
that is rich and pure.” The girl gave him a frigid glance and cried to the kitchen. “Pig
on rye and java with.”
Семинар III. Stylistic Devices (I)
I. Translate the “speaking names”:
Mr. Logic, Miss Fancy, my dear Simplicity, Mr. Mumble, Mr. Average Man, Sir Something Somebody, Mrs. What’s-her-name; Dr. Rest, Dr. Diet and Dr. Fresh Air; Miss
Carefree, Holiday Golightly, Mr. Newrich, Mrs. Beanhead, Lady Sharp.
II. Define the lexical stylistic devices (antonomasia, metaphor, personification, hyperbole, understatement, metonymy, epithets):
1. She had no illusions about him. In her business Joes were necessary.
2. “Christ, it’s so funny I could cut my throat. Madame Bovary at Columbia Extension
School!”
3. Every Caeser has his Brutus.
20
4. Money burns a hole in my pocket.
5. The great kindly Sweden had taken him under his wing.
6. Battle found his way to the Blue morning-room without difficulty. He was already
familiar with the geography of the house.
7. England has two eyes, Oxford and Cambridge. They are the two eyes of England, and
two intellectual eyes.
8. I am the cat of her house.
9. Sunshine, the old clown, rims the door.
10. A dead leaf fell in his lap. That was Jack Frost’s card.
11. There would follow splendid years of great works carried out together, the old head
backing the young fire.
12. He has a Holbein, two Van Dycks, and, if I am not mistaken, a Velasquez.
I get my living by the sweat of my brow.
13. She was a sunny, happy sort of creature. Too fond of the bottle.
14. Umbrellas of various colours were flying along Broadway in the mixture of rain.
15. He took a taxi ... one of those un-American Yellows of that period.
16. Stoney smiled the sweet smile of an alligator.
17. She was a pale and fresh eighteen.
18. Her family is one aunt about a thousand years old.
19. There were about twenty people at the party. The girls were dressed to kill.
20. The train was moving at a snail pace.
21. The little woman was of pocket size.
22. The girl gave him a lipsticky smile.
23. At his full height he was only up to her shoulder, a little dried-up pippin of a man.
24. “You are dirty pig of an untrue friend!”
25. Dave does a there-I-told-you-so look.
26. The money she had accepted was too soft, green, handsome ten-dollars bills.
27. The iron hate in soul pushed him on again.
28. Liza Hamilton was a very different kettle of Irish. Her head was small and round
and it held small and round convictions.
29. All at once there is a goal, a path through the shapeless day.
III. Comment on the use of the devices of oxymoron, zeugma, pun and violation of
phraseological units:
1. Huck Finn and Holden Caulfield are Good Bad Boys of American literature.
2. The silence as the young men stared at on another was louder than thunder.
3. You have pleasantly ugly thoughts. And if you are wrong, you are wrong in the right
way.
4. For an eternity of seconds he was sweet as hell.
5. “Have you been seeing any spirits?” inquired the old gentleman. “Or taking any?”
6. “Sally,” said Mr. Bently in a voice as low as his intentions.
7. He took his hat and his leave simultaneously.
8. A young girl had a yellow dress and a cold in the head.
9. His disease consisted of spots, bed, honey in spoons, oranges and high temperature.
21
10. A Governess wanted. Must possess knowledge of Russian, Spanish, Music and Mining Engineering.
11. “I am going to give you some good advice.” – “ Pray don’t. One should never give a
woman anything that she can’t wear in the evening.”
12. In the Army bandages were rolled and reputations were unrolled.
13. You look as if your name was Earnest. You are the most earnest-looking person I
ever saw in my life.
14. The young lady who burst into tears has been put together again.
15. Another person who makes the ends meet is the infant who sucks his toes.
16. They got television, telephone, telegram, tell-a-woman and tell-a-friend.
17. She finds time to have a finger or a foot in most things that happen round here.
IV. Define the types of repetition:
1. “To think better of it,” returned the gallant Blandois, “would be to slight a lady, to
slight a lady would be to be deficient in chivalry towards the sex, and chivalry towards
the sex is a part of my character.”
2. Halfway along the righthand side of the dark brown hall was a dark brown door with
a dark brown settie beside it. After I had put my hat, my gloves, my muffler and my
coat on the settie we three went through the dark brown door into a darkness without
any brown in it.
3. I really don’t see anything romantic in proposing. It is very romantic to be in love.
But there is nothing romantic about a definite proposal.
4. Now he understood. He understood many things. One can be a person first. A man
first and then a black man or a white man.
5. And everywhere were people. People going into gates and coming out of gates. People staggering and falling. People fighting and cursing.
6. Failure meant poverty, poverty meant squalor, squalor led, in the final stages, to the
smells and stagnation of the Inn Alley.
7. If you know anything that is not known to others, if you have any suspicion, if you
have any clue at all, and any reason for keeping it in your own breast, … think of me,
and conquer that reason and let it be known!
8. Living is the art of loving.
Loving is the art of caring.
Caring is the art sharing.
Sharing is the art of living.
Семинар IV. Stylistic Devices (II)
I. Indicate the effects of the following phonetic expressive means:
1. “Adieu you, old man, grey. I pity you, and I despise you.”
2. Open your eyes for that laaaarge sun.
3. “Uh-uh. Definitely.” Eloise yawned. “I was almost in the room with her when she
dyed it.”
4. His wife was shrill, handsome and horrible.
22
5. You lean, long, lanky lath of a lousey bastard!
6. “Sh-sh.” – “But I am whispering.” This continual shushing annoyed him.
7. The Italian trio tut-tutted their tongues at me.
8. “My daddy’s coming tomorrow on a nairplane.”
9. After a hum a beautiful Negress sings “Without a song, the dahay would nehever
end...”
10. “Ev, reebody loves the, cha, cha, cha.” – “We lov ar ticher.”
11. “Whatch’yu want? This is Rome.”
12. The wicky, wacky, wocky bird,
13. He sings a song that can’t be heard...
II. State and analyze syntactical stylistic devices:
1. Such being at bottom the fact, I think it is well to leave it at that.
2. “I like people. Not just empty streets and dead buildings.” “People?” “People.”
3. What courage can withstand the ever-enduring and all-besetting terrors of a woman’s
tongue?
4. And what are wars but politics transformed from to acute and bloody?
5. A boy and a girl sat on stools drinking pop. An elderly man alone – someone John
knew vaguely by sight – the town clerk? – sat behind an empty Coca-Cola bottle.
6. The neon lights in the heart of the city flashed on and off. On and off. On. Off. On.
Off. Continuously.
7. People liked to be with her and she was crazy about you.
8. Of all my old association, of all my old pursuits and hopes, of all the living and the
dead world, this one poor soul alone comes natural to me.
9. She was crazy about you. In the beginning.
10. On, on he wandered, night and day, beneath the blazing sun, and the cold pale
moon; through the dry heat of noon, and the damp cold of night; in the grey light of
morn, and the red glare of eve.
11. The he said: “You think it’s so? She was mixed up in this lousy business?”
12. He, and the falling light and dying fire, the time-worn room, the solitude, the wasted
life, and gloom, were all in fellowship. Ashes, and dust, and ruin!
13. And we got down at the bridge. White cloudy sky, with mother-of pearl veins. Pearl
rays shooting through, green and blue-white. River roughed by a breeze. White as a new
file in the distance. Fish-white streak on the smooth pinsilver upstream. Shooting new
pins.
14. There was a whisper in my family that it was love drove him out and love of the
wife he married.
15. It was the best of times, it was the worst of times, it was the age of wisdom, it was
the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was
the season of Light, it was the season of Darkness, it was the spring of hope, it was the
winter of despair …
16. It is safer to be married to the man you can be happy with than to the man you cannot be happy without.
23
17. “Is it shark?” said Brody. The possibility that he at last was going confront the fish –
the beast, the monster, the nightmare – made Brody’s heart pound.
III. Consider stylistic devices paying attention to each SD contributing to the general
effect and specifying those which bear the main responsibility for the creation of additional information and the intensification of the basic one:
1. In Paris there must have been a lot of women not unlike her, beautiful women, clever
women, cultured women, exquisite, long-necked, sweet smelling, downy rats.
2. Think of the connotations of “murder”, that awful word: the loss of emotional control, the hate, the spite, the selfishness, the broken glass, the blood, the cry in the throat,
the trembling blindness that results in the irrevocable act, the helpless blow. Murder is
the most limited of gestures.
3. We sat down at the table. The jaws got to work around the table.
4. He owns 148 newspapers in England and Canada. He is the most influential FleetStreet personality. His fortune amounts to 300 mln. He explains his new newspaper purchases so: “I buy newspapers to make money. I make money to buy more newspapers. I
buy ore newspapers to make more money, etc., etc. without end.”
5. What is this life if, full of care,
We have no time to stand and stare.
No time to stand beneath the boughs,
And stare as long as sheep and cows.
No time to see when woods we pass,
Where squirrels hide their nuts in grass.
No time to see in broad day light,
Streams full of stars like skies at night.
No time to turn at Beauty’s glance,
And watch her feet, how they can dance.
No time to wait till her mouth can
Enrich that smile her eyes began.
A poor life this if, full of care,
We have no time to stand and stare.
24
Приложение III
Тексты к семинарам V-VIII
ОФИЦИАЛЬНЫЙ СТИЛЬ
Текст 1
REGISTRATION FORM
Name____________________________________________________________
Address__________________________________________________________
Institution________________________________________________________
Telephone/Fax/E-mail_________________________________________________
Date of birth________________________________________________________
Passport No ________________________________________________________
For those who wish to give presentations:
Title of Presentation__________________________________________________
Type of presentation____ paper (30-45 min),__workshop (60 min), ___in progress
(15 min).
Equipment tape recorder ____overhead projector ____video ____computer.
Please attach a summary of presentation in 50 words or less plus biographical statement
of 25 words or less and a one-page abstract for publication.
Preferred accommodation:
( ) Hotel Oktyabrskaya
( ) University hotel
Participants and presenters should send all materials by December 31, 2002 to:
Svetlana K. Gural, Head of Foreign Languages Department, the SUT:
RUSSIA, 634050
TOMSK, Lenin St., 36
Tel. 7+ (3322)426095
E-mail:
Gural@fld.tsu.ru
Registration fee - $ 10 (payable on site)
NATE members -$2
Текст 2
As you are aware, we recently submitted air-freighted samples of the above tubes
for BSI (British Standards Institution) approval. I regret to advise you that once more
these tubes failed to meet the requirements of the BSI Test. A copy of the Test Report is
attached for information although I regret that the photographs are not as clear as we
would hope.
This particular tube looks to me to show the same breakage characteristics as
those which I saw in Moscow when we did a rough test, and I am suspicious that one of
the older type of Tubes got mixed tip in our samples. With this in mind, I have used a
great deal of personal pressure on our acquaintances at the British Standards Institution
25
to carry out this particular part of the test again and on this occasion, I shall myself be
watching the test being carried out. At the time of writing, the tubes are in the ageing
chamber and new tests will be carried out on Thursday.
If we are lucky and these tubes do not fault, we can persuade British Standards to
issue a certificate on the basis of this second test.
In the meantime, we hove managed to persuade some of our customers to accept
tubes without a certificate but unfortunately, for the time being, we have lost a number
of our bigger customers, who cannot or will not accept deliveries of tubes which have
no certificate.
We enclose for your information, copies of the Test Report and will advise you
further as soon as we are able.
Yours sincerely, (London)
Текст 3
Basic Operation
This section explains all the basic operations that you can carry out when the instrument
is in NORMAL mode. If you are uncertain how to return the instrument to NORMAL
mode, press the (MODE] button as many times as necessary until the left display arrowhead points to NORMAL.
Selecting & playing Voices
The GK31O has 132 PCM voices and 1 percussion kit that you can select and play on
the keyboard.
After turning on, the GK310 sets to NORMAL/VOICE mode with the display showing
a black arrow pointing to the NORMAL mode on the left and the VOICE mode on the
right.
In VOICE mode, you can select and play voices.
Play a single Voice
If you play on the keyboard after turning the instrument on, you will hear a piano sound
(in this example, Voice 01, “Piano 1”) play across the entire keyboard.
Select a Voice with the numeric keypad
Using the numeric keypad is the quickest way to go directly to the Voice you need, but
first, you must know the exact number of the voice. The name and corresponding number of all the Voices in memory are silk screened above the display on the right. You'll
see that they start from number O1 through to number 132.
Two-digit voice numbers are selected by entering the two digits in sequence. For example, to select Voice number 17 (Organ 1), press button 1 then button 7. Three digit voice
numbers are entered by first pressing the (+100) button, then pressing the remaining two
digits in sequence.
26
Текст 4
CONTRACT №_______
________________________________________________________________
hereinafter referred to as the Sellers, on the one part, and VOP, Moscow, hereinafter referred to as the Buyers, on the other part, have concluded the present Contract as follows:
1. SUBJECT OF THE CONTRACT
The Sellers have sold and the Buyers have bought on ___________________
terms the goods in accordance with the Specifications attached to the present Contract
and forming integral part thereof.
2. PRICE AND TOTAL AMOUNT OF THE CONTRACT
Prices for the goods are fixed in ___________________________ and to be
understood___________ including the cost of packing and marking.
The total amount of the present Contract comprises____________________
3. TIME AND DATE OF DELIVERY
The goods are to be delivered in the time stipulated in the Specifications attached to the
present Contract.
The date of __________________________is to be considered as the date of delivery.
Delivery before the time stipulated in the Contract as well as partial delivery of the
goods without accessories is not allowed without the Buyers' consent.
4. QUALITY
The quality of the goods is to be in conformity with the requirements given in the Specifications attached to the Contract.
The goods are to be of the latest design and manufactured of the first grade materials.
The Sellers on their own initiative but at the Buyers' consent or request are to make improvements of the design and the materials of which the goods are made taking into account the latest technical achievements in this field without any extra charges or postponement of the delivery time.
The quality of the goods is to be evidenced by a Certificate of Quality issued by the
manufacturing works, or by a Letter of Guarantee of the Sellers.
5. PACKING AND MARKING
Packing should protect the cargo from any damage, corrosion and shortage during
transportation by all kinds of transport involving several transhipments en route. A definite kind of packing may be indicated in the Specifications to the Contract.
Each case is to contain a Packing List indicating the denomination of the goods
and spare parts, Contract №, Trans №, Case №, Item № as per the Specification, Series
№ Net gross weight. Packing Lists are to be inserted in each case in a waterproof envelope.
27
The Sellers are to submit for the Buyers’ approval overall sketches of the equipment. The size, weight and the centre of gravity of the case are to be indicated on each
sketch.
The following marking is to be made in waterproof black paint on each case in
Russian and English:
Top
With Care
Do not turn over
V/O
Contract №
Trans №
Case №
Gross weight... kg
Net weight... kg
Size of case (length, width, height in cm).
When delivering complete equipment, the case № is to be given in fraction, in
which the numerator is the ordinal № of case and the denominator – the total number of
cases.
The Sellers are to bear responsibility for all eventual losses and/or damages
caused by inadequate or unsuitable packing and marking.
Текст 5
KANSALLIS BANK ADVISES STILL NO L/C NUMBER.
IT IS NOT ACCEPTABLE TO US TO WAIT YET ANOTHER WEEK.
HAVING ORDERED EQUIPMENT, WE CANNOT CANCEL OR POSTPONE
DELIVERY.
WE ALSO CANNOT LEAVE MANUFACTURERS WITHOUT RELIABLE
INFORMATION.
WE REPEAT OUR REQUEST FOR L/C NUMBER BY RETURN FAX.
PLEASE REPLY TO THIS URGENTLY.
SECOND L/C USD...
WE SENT YOU OUR INSTRUCTIONS BY FAX OF APRIL 1TH.
PLEASE CONFIRM YOU ARE PROCEEDING TO OPEN THIS CREDIT
PROMPTLY AS WELL.
SO WE WILL NOT FURTHER DISTURB OUR RELATIONS WITH
MANUFACTURERS.
PLEASE UNDERSTAND, THE MONEY SITUATION WAS DISCUSSED AT OUR
LAST MEETING AND WE HAVE FOR OUR PART PROCEEDED BASED ON
YOUR ASSURANCES THAT FUNDS ARE AVAILABLE AND L/C OPENINGS
WOULD PROCEED NORMALLY.
BEST REGARDS.
28
НАУЧНЫЙ СТИЛЬ
Текст 1
In the days when standards of sanitation and general cleanliness were not what
they are now, houses, churches and public buildings had sweet-smelling herbs, including Mints, Lavender, Hyssop, Tansy, Sweet flag, Balm and Sage, strewn about in their
floors to freshen the air. People carried pomanders and nosegays to combat everyday
evil smells and believed that they warded off infections and plague.
Nowadays sweet-smelling herbs are less necessary, but it is enjoyable to prepare
pot pourri and herb cushions to scent our linen and clothes and to deter moths. Every
garden must contain a few suitable plants, such as Roses, Sweet peas, Carnations, Lavender, Sage and many more can be easily obtained or gathered from the wild. Large
stores often have a counter selling dried lavender, rose petals and mixtures of herbs, but
it is more rewarding to grow your own.
Pot pourri and herb bags can be made from almost any sweet-smelling herbs and
it is interesting to experiment with your own mixtures. It is best to stick to the same
general recipe.
Flowers and herbs can be collected for pot pourri at any time of the year. Flowers
should be gathered in the morning when the dew has lifted and the flowers have just
opened, this ensures the maximum volatile oil content...
Текст 2
Rembrandt
Rembrandt, the outstanding genius of the Dutch school of painting in the 17th
century, was born at Leiden in 1606. His father was a miller, while his mother was the
daughter of a baker.
In 1620 Rembrandt entered the University of Leiden, but he did not stay there
long. So in 1624 he went to Amsterdam and became a pupil of the historical painter
Pieter Lastman. He had a strong desire to become a painter.
So far Rembrandt has been considered as a painter of classical and biblical
themes, but already in this early period a large proportion of his work consisted of portraits and studies of single figures and he was making his first experiments in etching, a
medium in which he was later to achieve great results. The sitters for the portrait studies
were members of his own family. These are not portraits in its fashionable sense, but
studies in character, expression and lighting that he used in his subject pictures.
The means by which he became a great painter as well as his early success was
due to his own industry.
In 1634 he married Saskia van Uylenburgh. In his art as well as in his life it was a
period of growth and expansion.
29
In the Self-Portrait with Saskia on His Knee Rembrandt is seated at a richly garnished table, one hand raising a drinking glass, while the other clasps the waist of
Saskia, who sits oh his knees.
During this period his colouring grew warmer, with brown and golden tones predominating. In giving expressions to figures and faces, and in the management of light
and shade, few painters have equalled him.
In 1632 he painted his first big portrait – Anatomy Lesson of Doctor Tulp. This
picture reveals the inherent drama of the moment, trying at the same time to convey the
humane and compassionate motives.
From 1636 Rembrandt produced a small number of landscapes, most of them on
panel and small in size.
The celebrated picture known as the Night Watch, which was completed in 1642,
may be regarded as a culminating masterpiece of this decade of successes.
Saskia died in 1642, and a series of misfortunes overtook Rembrandt.
In 1656 he was declared bankrupt and had moved into a humble lodging in a
poorer quarter of the city. He died in 1669.
Текст 3
Some scientists believe that the main cause for the warming is the greenhouse gas
carbon dioxide, whose concentration has been increasing primarily because of the burning of fossil fuels and deforestation. However, in recent years, increasing concentration
of other greenhouse gases, such as methane (CH4), nitrous oxide (N2O), and chlorofluorocarbons (CFC3), has collectively been shown to have an effect equal to CO 2.
Moreover, a particular CFC (CFC-12) absorbs in the region of the atmospheric window
between 8 and 11 m. Thus, in terms of its absorption impact on infrared radiation, the
addition of a single CFC-12 molecule to the atmosphere is equivalent to adding 10,000
molecules of CO2.
Presently, the concentration of carbon dioxide in a volume of air near the surface
is about 0.035 percent. Some computer models predict that doubling this amount will
cause the earth's average surface temperature to rise between about 2 0 and 50 C. How
can doubling such a small quantity of CO2 and adding miniscule amounts of other
greenhouse gases bring about such a large temperature increase?
Mathematical climate models predict that rising ocean temperatures will cause an
increase in evaporation rates. The added water vapor – the primary greenhouse gas –
will enhance the atmospheric greenhouse effect and double the temperature rise, in what
is known as a positive feedback. But there are other feedbacks to consider.
Текст 4
Synonyms
Does he wear a turban, a fez or a hat?
Does he sleep on a mattress, a bed or a mat, or a Cot,
The Akond of Swat?
30
Can he write a letter concisely clear,
Without a speck or a smudge or smear or Blot,
The Akond of Swat?
(Edward Lear, “The Akond of Swat”)
There are not only words that sound the same but have different meanings; there
are also words that sound different but have the same or nearly the same meaning. Such
words are called synonyms. There are dictionaries of synonyms that contain many hundreds of entries, such as:
apathetic/phlegmatic/passive/sluggish/indifferent
pedigree/ancestry/genealogy/descent/lineage
A sign in the San Diego Zoo Wild Animal Park states: “Please do not annoy,
torment, pester, plague, molest, worry, badger, harry, harass, heckle, persecute, irk,
bullyrag, vex, disquiet, grate, beset, bother, tease, nettle, tantalize, or ruffle the animals”.
It has been said that there are no perfect synonyms – that is, no two words ever
have exactly the same meaning. Still, the following pair of sentences have very similar
meanings.
He’s sitting on the sofa./ He’s sitting on the couch.
Some individuals may prefer to use sofa instead of couch, but if they know the
two words, they will understand both sentences and interpret them to mean essentially
the same thing. The degree of semantic similarity between words depends to a great extent on the number of semantic properties they share. Sofa and couch refer to the same
type of object and share most of their semantic properties.
There are words that are neither synonyms nor near synonyms yet have many semantic properties in common. Man and boy both refer to male humans; the meaning of
boy includes the additional semantic property of “youth,” whereby it differs from the
meaning of man.
A polysemous word may share one of its meanings with another word, a kind of
partial synonymy. For example mature and ripe are polysemous words that are synonyms when applied to fruit, but not when applied to (smelly) animals. Deep and profound mean the same when applied to thought, but only deep can modify water.
Sometimes words that are ordinarily opposites can mean the same thing in certain
contexts; thus a good scare is the same as a bad scare. Similarly, a word with a positive
meaning in one form, such as the adjective perfect, when used adverbially, undergoes a
“weakening” effect, so that “perfectly good bicycle” is neither perfect nor always good.
“Perfectly good” means something more like “adequate.”
Текст 5
Electricity into Heat
Electric bulb. Electric current is a flow of free electrons through a wire. Electric wire is
made of copper and electrons easily pass through it.
31
But if they come to a different metal whose conductivity is not so good as that of
copper, they bump against the atoms of the metal. The friction arising from the bumping
makes the metal very hot.
This happens in electric stoves and irons where the wire is made of nichrome.
The nichrome becomes very hot when electricity flows through it. The metal covering
protecting the nichrome from dirt becomes hot too and cooks the food or warms the
room.
In an electric bulb, a very fine filament of wire made of tungsten is used. As the
current flows, the electrons bump into the tungsten atoms, and become hot. The hotter
they become, the quicker they move and bump, and become hotter still, until the wire
begins to glow. The glow is the result of the electrons bumping about and causing little
sparks, which we see as light. The electrons do not burn up or melt the wire, although it
is very thin, because there is no oxygen in the bulb, so things cannot burn in it.
Fluorescent light. A fluorescent lamp gives a brighter light than an ordinary electric
lamp because it makes the electricity into light, without much wasteful heat.
The tubes of fluorescent light are filled with mercury gas. The gas gives off an
invisible radiation when electricity flows through it. The glass of the tube is painted inside with special chemical material (phosphors). They have the power to glow when the
invisible radiation reaches them and the light they give is very bright.
The tubes in a television set work in the same way as the fluorescent light tubes.
But the electricity coming to them is not steady, as it is in the light tubes. It flickers because it depends partly on the radio waves coming from the television station and also
on delicate, complicated parts of the tubes.
As the current moves about, it causes the phosphors to glow in different places of
the tube, so that you get the black and white of the picture.
ГАЗЕТНЫЙ СТИЛЬ
Текст 1
TOKYO. Yoshihiro Hattori, a 16-year-old Japanese exchange student from Nagoya, and
his friend Web Haymaker, also 16, were out to have a good time last week, little suspecting that their evening would end in tragedy. The two boys had been invited to a
Halloween party in Baton Rouge, Louisiana, and Yoshihiro had dressed up in a white
jacket, mimicking John Travolta in the old disco film, Saturday Night Fever. It was Saturday night.
Yoshihiro had not been in the US for long, and his command of English was not
very good, but he had become good friends with Web, with whose family he was staying. At about 7.30 p.m., the boys knocked on the front door of the house where they
thought the party was being held. There was no answer, so they went around to the garage door and knocked again. A woman appeared and looked startled. The boys stood
there. Then the woman’s husband, Rodney Peairs, came out with a 44 magnum revolver
32
and told the boys to “freeze”. Web did so, but Yoshihiro, not understanding and apparently thinking it was part of a joke, stepped forward and asked, “Where's the party?”
Mr. Peairs shot him in the chest, killing him almost instantly. The party was several
doors down the street.
The tragedy was cruelly ironic, as one of Yoshihiro's relatives said later: “Yoshihiro came to learn cultural differences, and it seems these cultural differences killed
him”.
The neighbourhood in Baton Rouge had been plagued with crime, and the Peairs
family kept a gun for self-defence. Private ownership of firearms in Japan is forbidden,
so Yoshihiro would not have realised the deadly seriousness of the man with the gun.
Nor did he understand “freeze” as a command not to move.
But after the initial shock of the boy’s death, the reaction in Japan was revealing.
The story was covered extensively by Japanese media, but the tone was of genuine concern for how such a tragedy could happen in the US. There was none of the racist animosity that has criss-crossed the Pacific recently, from American and Japanese political
figures seeking to chalk up points at home.
Текст 2
Starting point
Shop until you drop and then sit back and relax with a winter warmer in a restaurant or
cocktail bar and congratulate yourself on your purchases. Christmas is definitely one of
the most exciting times of the year in London, so make the most of the festive season
and have fun!
Christmas Shopping in London
Harrods, Selfridges, Hamleys, John Lewis, Lillywhites, Burberrys – the list is endless.
Whether you decide to haunt Oxford Street, Regent Street, Bond Street or Knightsbidge
or even do them all, we'll point you in the right direction for all your gift buying.
Pizza Pasta and All Things Italian
Italian restaurants gave London its first taste of Continental cuisine in the 1960s. The
world has never loved Italian food quite so much as now, and there have never been so
many different Italian restaurants in London in which to enjoy it.
Winter Warmers
Lots of places to keep warm this winter – shows and exhibitions, restaurants, high tech
attractions, cosy and welcoming pubs and wine bars.
London Entertains
Treat yourself to a show during the Christmas season – there’s just so much to choose
from – traditional pantomimes, musicals, ballet and dance, opera and the always popular
long running productions.
Dance – of course you can
Dance the night away in style with our guide to the best of the capital’s clubs – visit
London’s hottest night spots.
Royal Round Up
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Make sure you soak up a little of the pomp and of London’s royal past and present with
a visit to a palace or two – the major royal venues are listed here. See also the reopening of the magnificent Albert Memorial.
The Charms of Glasgow & Edinburgh
Surely no trip to the UK is complete without a trip to Scotland for Hogmanay (New
Year). Two of Scotland’s most vibrant cities offer spectacular scenery, exciting night
life and a rich cultural experience.
Essential London
Whatever’s happening in London during Christmas and New year, you’ll find it in the
Welcome to London guide to events – don’t miss the best museums and galleries, parks
and gardens, exciting attractions, tours of the city and the best places to eat and drink.
There is also a special section on Christmas shows. You’ll also find there travel information, tube map, embassy numbers, currency exchange information, emergency and
travel numbers and much more. Check out Ingrid Tarrant’s personal shopping guide
Текст 3
Psychiatrist reverses famous face to reveal artist’s secret
THE enigma of the Mona Lisa’s smile, a subject of dispute for centuries, may
have a simple explanation. The face of the unknown sitter, famous for its strangely sinister quality, may be mirror image of Leonardo himself, according to a psychiatrist in
London.
The sinister aspect to the smile, described by Sigmund Freud as expressing the
contrast between “the most devoted tenderness and a sensuality that is ruthlessly demanding” arises because of the way we “read” with the two halves of our brain, says Dr.
Digby Quested, a registrar at London’s Maudsley hospital.
The Mona Lisa smiles more with the left side of her face, which is normally true
of forced smiles and is more common in men. Reversing the portrait gives the face a
warmer, more appealing aspect.
“The face looks as though it is the wrong way round”, Dr. Quested said yesterday. “The key to its mystery is that it is a mirror image.”
Leonardo was known to be left handed and produced mirror writing, so could
have created the inversion unintentionally. But Dr. Quested suggests in the Bulletin of
the Royal College of Psychiatrists that the painting is more likely to be a self-portrait.
“There was evidence that he was homosexual and he may have felt trapped in his
sexuality,” he said. “It may be that people saw him as one thing but he felt he was another and didn't feel free to express it. Painting himself as a female would have helped
him.”
The theory that the Mona Lisa is a portrait of the artist enjoyed brief attention in
the mid-1980s, when a computer-aided juxtaposition of her face with an acknowledged
self-portrait of Da Vinci showed that the facial features aligned exactly. Dr. Quested
cites other evidence to support the theory, however. Mystery surrounds the identity of
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the sitter and the commissioner of her portrait. Leonardo was “almost certainly infatuated” with the picture, keeping it with him until his death in Paris. Leonardo's tutor, Andrea del Verrocchio, cast a statue of David for which the young Leonardo was thought
to be the model, whose half-smile bears a striking resemblance to Mona Lisa’s. X-rays
of the painting have revealed a bearded face.
“I believe Da Vinci worked it out,” Dr. Quested said. “He may have shown the
finished face to others who commented on the strangeness of the smile and he tried to
work out why this was so. Being left handed and producing mirror writing, he must
have been interested in the idea that the two halves of a face can convey different messages.”
“The painting is a self-portrait in inversion, both with regard to laterality and
gender.”
Текст 4
OUT OF BABEL
Will English dominate the EU only if Britain has left?
It is the language of war and peace, aviation and commerce, science and technology. English is the most widely used language in the world; although still eclipsed by Chinese in the number of native sneakers, it is, par excellence, the lingua franca — or, as
most people outside Britain would say, absolutely the common language.
But in one lower Babel still reigns. It is a tower growing higher by the month and
now threatening to topple into cacophonous confusion. There are already 11 official
languages of the EU. With the addition of Polish, Czech, Estonian, Hungarian and Slovene, the number of languages in which ministers have a right to conduct business would
keep an army of interpreters busy.
The problem has arisen because of the way in which the EU has grown. Britain
was not a founding member of the Common Market. Thus English was not among the
four first tongues used. As new members came in, it was impossible to downgrade
founding languages such as Dutch.
The answer, as every bureaucrat knows, is to adopt the same procedure as NATO
and the United Nations and reverse the magic of Pentecost. Instead of speaking in
tongues, the disciples of European unity will instead speak only in designated official
languages.
The assumption made in London and Paris is that these will be English and
French. Achtung! say the Germans: with Austria and a unified Germany, Deutsch is by
far the biggest native language in the EU. But a linguistic triumvirate would immediately arouse suspicions in Rome. And if Italian is added, who is to say “no” to the Spanish?
The pragmatic solution, already winning the day, is the sole use of English. But
that would mean there was only one course that would save France’s amour-propre: the
withdrawal of les Anglais themselves. This, after all, has been the key to the remarkable
success of English around the globe. For 150 years the British ruled Hong Kong with
barely a taxi driver able to understand a simple direction in English, let alone tell you that
he had that Mr. Patten in the back of the cab once. Now the Chinese-appointed leg35
islature has insisted on retaining English as an official language. Ditto Singapore, Malaysia, South Africa and India, where the clamour to learn the language of Peter Sellers
is deafening. English rules everywhere that the British do not. Perhaps the time will
come, in the interests of Shakespeare and Burke, to quit the Tower of Brussels and
leave behind only the fair tongue of our isles.
Текст 5
Mandela fury at shooting of a baby
Benoni, South Africa: President Mandela led a chorus of outrage yesterday over the
weekend killing of a black infant by a white farmer. The shooting of Angelina Zwane
sparked an unprecedented uproar from government officials and black leaders. Even the
mostly white, conservative South African Agricultural Union condemned the shooting.
Nicholas Steyn, 42, a farmer, was charged with murder and attempted murder for allegedly firing his handgun at 11-year-old Frandna Dlarnini as she carried the infant
Angelina, her cousin, on her back through one of his fields on Saturday. Francina was injured and Angelina died of a gunshot wound to the head.
Mr. Mandela, in a visit to the crime scene, called the death a disaster for the infant’s
parents and said racism still existed in South Africa. (AP)
Cardinal sent into exile
Vienna: Cardinal Hans Hermann Groer, 78, the disgraced former Archbishop of Vienna, is
being sent into monastic seclusion in Germany or Sweden, the Austrian Roman Catholic
Church’s news agency said. The move comes after allegations that the cardinal sexually
abused several monks, sometimes during confession. He was forced to resign as leader of
the Austrian Church in 1995 after charges that he molested a schoolboy about 20 years ago.
(Reuters)
Italian crime-fighter held
Rome: Italy's most decorated crime-fighter, General Francesco Delfino, right, was arrested on charges of extorting money from the family of a kidnapped businessman in the latest
of a series of scandals that have rocked the credibility of the powerful Carabinieri paramilitary police force (John Phillips writes). A search of his home uncovered banknotes used
in the kidnap ransom payment.
ПУБЛИЦИСТИЧЕСКИЙ СТИЛЬ
Текст 1
On a warm summer’s day, it is pleasant to take a punt or rowing boat, and steer a
course to a quiet backwater.
This is just the kind of place to find water-lilies growing in profusion. Among the
masses of floating plate-like leaves, flower buds are opening now. Young leaves too
will be coming up, tightly rolled, to avoid being torn by the current and floating objects
in the water.
36
The floating leaves gently sway with the current, anchored to the bottom by being
attached to stout creeping stems that are rooted in the mud.
The long, flexible leaf stalks lie at a larger angle to the surface when the water is
shallow, while if it rises they become vertical. They are even capable of growth if the
water becomes unusually deep in a wet season.
Like most water plants the growth is luxuriant, since the conditions are more favourable in many ways than the conditions on land. The plants do not have to contend
with such great changes of temperature, as water heats and cools more slowly than air,
and they do not have to protect themselves from lack of water.
In spite of their name, water-lilies are not related to true lilies, and this is clearly
shown by the flowers, which have numerous petals and stamens, and ovaries rather like
poppy heads.
Текст 2
“Mr. Chairman, Ladies and Gentlemen:
It is indeed a great and undeserved privilege to address such an audience as I see
before me. At no previous time in the history of human civilization have greater problems confronted and challenged the ingenuity of man’s intellect than now. Let us look
around us. What do we see on the horizon? What forces are at work? Whither are we
drifting? Under what mist of clouds does the future stand obscured?
My friends, casting aside the raiment of all human speech, the crucial test for the
solution of all these intricate problems to which I have just alluded is the sheer and
forceful application of those immutable laws which down the corridor of Time have always guided the hand of man, groping, as it were, for some faint beacon light for his
hopes and aspirations. Without these great vital principles we are but puppets responding to whim and fancy, failing entirely to grasp the hidden meaning of it all. We must
re-address ourselves to these questions which press for answer and solution. The issues
cannot be avoided. There they stand. It is upon you, and you, and yet even upon me,
that the yoke of responsibility falls.
What, then, is our duty? Shall we continue to drift? No! With all the emphasis of
my being I hurl back the message No! Drifting must stop. We must press onward and
upward toward the ultimate goal to which all must aspire.
But I cannot conclude my remarks, dear friends, without touching briefly upon a
subject which I know is steeped in your very consciousness. I refer to that spirit which
gleams from the eyes of a new-born babe that animates the toiling masses, that sways
all the hosts of humanity past and present. Without this energising principle all commerce, trade and industry are hushed and will perish from this earth as surely as the
crimson sunset follows the golden sunshine.
Mark you, I do not seek to unduly alarm or distress the mothers, fathers, sons and
daughters gathered before me in this vast assemblage, but I would indeed be recreant to
a high resolve which I made as a youth if I did not at this time and in this place, and
with the full realising sense of responsibility which I assume, publicly declare and af-
37
firm my dedication and my consecration to the eternal principles and receipts of simple,
ordinary, commonplace justice”.
Текст 3
On Growing Old
There is no denying that most of us need admiration as we need sunshine, and
that women depend upon beauty as a means of winning admiration to a greater event
than men do. But every year, more and more avenues to admiration are opened to women, and there are trains of worshippers to be won in athletics, in the professions, in the
arts and in public life. There is scarcely a way in which a man can feed his vanity that is
not nowadays open to women too. For them, I fancy it is getting a better and better
world to grow old in. [...]
All the same, I know little about the matter. I do not even know in what happiness
consists. I know only that it does not consist in being young, and that though disease
and the loss of faculties and the loss of friends bring misery, there is no absolute misery
in being old. I confess I am not perfectly happy at forty-eight, but neither was I perfectly happy at eighteen. I should be glad to be eighteen again, but that is not because it was
in itself a happier age but because I should now have thirty years longer to live.
The chief objection to growing old, I think, is not that one grows old oneself, but
that the world grows older; and it is not so much that the world grows older as that the
world we once knew is in ruins. [...] New inventions have wrecked the world in which
we had peace. Everywhere are noise and speed in place of the green quiet that we once
knew. I do not like to speak ill of inventors, but they have invented the horse almost out
of existence, and there are little seaside towns that once seemed a thousand miles away,
so remote they were, where the smell of the sea is now drowned by the smell of the
charabanc. Is it possible to name a single beautiful place that is more beautiful today
than it was thirty years ago? [...] But we are faithful to the world of thirty years ago only
in our imaginations, and there is scarcely a new invention – the motor-car, the gramophone, wireless – that we are loyal enough to abstain from using.
Текст 4
Smolny Institute, headquarters of the Tsay-ee-kah and of the Petrograd Soviet, lay
miles out on the edge of the city, beside the wide Neva. I went there on a street-car,
moving snail-like with a groaning noise through the cobbled, muddy streets, and
jammed with people. At the end of the line rose the graceful smoke-blue cupolas of
Smolny Convent, outlined in dull gold, beautiful; and beside it the great barracks-like
facade of Smolny Institute, two hundred yards long and three lofty stories high, the Imperial arms carved hugely in stone still insolent over the entrance...
The long, vaulted corridors, lit by rare electric lights, were thronged with hurrying shapes of soldiers and workmen, some bent under the weight of huge bundles of
newspapers, proclamations, printed propaganda of all sorts. The sound of their heavy
38
boots made a deep and incessant thunder on the wooden floor... Signs were posted up
everywhere: “Comrades! For the sake of your health, preserve cleanliness!” Long tables
stood at the head of the stairs on every floor, and on the landings, heaped with pamphlets and the literature of the different political parties, for sale...
The spacious, low-ceiling refectory downstairs was still a dining-room. For two
roubles I bought a ticket entitling me to dinner, and stood in line with a thousand others,
waiting to get to the long serving-tables, where twenty men and women were ladling
from immense cauldrons cabbage soup, hunks of meat and piles of kasha, slabs of black
bread. Five kopeks paid for tea in a tin cup. From a basket one grabbed a greasy wooden
spoon... The benches along the wooden tables were packed with hungry proletarians,
wolfing their food, plotting, shouting rough jokes across the room...
Upstairs was another eating-place, reserved for the Tsay-ee-kah though every one
went there. Here could be had bread thickly buttered and endless glasses of tea...
Текст 5
DEAR CHILD, Please to fancy, if you can, that you are reading a real letter, from
a real friend whom you have seen, and whose voice you can seem to yourself to hear
wishing you, as I do now with all my heart, a happy Easter.
Do you know that delicious dreamy feeling when one first wakes on a summer
morning, with the twitter of birds in the air, and the fresh breeze coming in at the open
window – when, lying lazily with eyes half-shut, one sees as in a dream green boughs
waving, or waters rippling in a golden light? It is a pleasure very near to sadness, bringing tears to one's eyes like a beautiful picture or poem. And is not that a Mother's gentle
hand that undraws your curtains, and a Mother’s sweet voice that summons you to rise?
To rise and forget, in the bright sunlight, the ugly dreams that frightened you so when
all was dark – to rise and enjoy another happy day, first kneeling to thank that unseen
Friend, who sends you the beautiful sun?
Are these strange words from a writer of such tales as ‘Alice’? And is this a
strange letter to find in a book of nonsense? It may be so. Some perhaps may blame me
for thus mixing together things grave and gay; others may smile and think it odd that
any one should speak of solemn things at all, except in church and on a Sunday: but I
think – nay, I am sure – that some children will read this gently and lovingly, and in the
spirit in which I have written it.
For I do not believe God means us thus to divide life into two halves – to wear a
grave face on Sunday, and to think it out-of-place to even so much as mention Him on a
week-day. Do you think He cares to see only kneeling figures, and to hear only tones of
prayer – and that He does not also love to see the lambs leaping in the sunlight, and to
hear the merry voices of the children, as they roll among the hay? Surely their innocent
laughter is as sweet in His ears as the grandest anthem that ever rolled up from the ‘dim
religious light’ of some solemn cathedral?
And if I have written anything to add to those stories of innocent and healthy
amusement that are laid up in books for the children I love so well, it is surely some-
39
thing I may hope to look back upon without shame and sorrow (as how much of life
must then be recalled!) when my turn comes to walk through the valley of shadows.
Easter sun will rise on you, dear child, feeling your ‘life in every limb’, and eager
to rush out into the fresh morning air – and many an Easter-day will come and go, before it finds you feeble and gray-headed, creeping wearily out to bask once more in the
sunlight – but it is good, even now, to think sometimes of that great morning when the
‘Sun of Righteousness shall arise with healing in his wings’.
Surely your gladness need not be the less for the thought that you will one day
see a brighter dawn than this – when lovelier sights will meet your eyes than any waving trees or rippling waters – when angel-hands shall undraw your curtains, and sweeter
tones than ever loving Mother breathed shall wake you to a new and glorious day – and
when all the sadness, and the sin, that darkened life on this hale earth, shall be forgotten
like the dreams of a night that is past!
Your affectionate friend,
LEWIS CARROLL
Easter, 1876
СТИЛЬ ЯЗЫКА ХУДОЖЕСТВЕННОЙ ЛИТЕРАТУРЫ
Текст 1
There is a legend that long ago the Picts knew the secret of brewing heather-ale; a
secret so precious that it was known to only one family, and passed down from father to
eldest son. It was jealousy guarded during the bitter warfares, but during the strife between the Picts and the Scots in the ninth century, it was finally lost for ever.
At that time Scotland was divided into two Kingdoms: the Kingdom of the Picts,
who were the original inhabitants of the land and the Kingdom of the Scots, who came
from Ireland and invaded Alba in the sixth century.
Now the Scots knew well the taste of the legendary ale, and they were determined
to learn the secret of its brewing for themselves. The family that guarded the secret lived
in the far western point of Scotland, and great was the Scots’ rejoicing when the old father and his eldest son were captured by a band of their warriors. The Scots’ leader had
the old man and his son brought before him so that he might take their secret from them.
All around them grew the heather from which the nectar was distilled, far below
the cliff-top the sea broke distantly against the shore, and sea-birds flew overhead. The
warriors threatened the old man and his son until darkness covered the heather, but not a
word of the secret would either of them impart. Then at last the Scots fell to tormenting
their captives to death; and in his anguish the young man cried out, so that his father
knew him to be near the end of his endurance. Wearily the old man turned his white
head to the enemy leader and said: “I shall tell you the thing you want to know. But first
put my son to death that he may not witness the shame I bring upon myself and my
people in parting with the secret.”
With a joyful shout the Scots’ leader released the captives from their torment and
then ran his sword through the young man’s body.
40
“It is done, old man! Now tell us the secret of the heather-ale.”
But while he and all his band waited in eager expectation, the old man stood still
by the body of his son and mocked them with these words:
“Fools! Do you think that either your threats and promises or all the torments devised by men can ever wrest from me the secret of heather-ale? I heard my son cry out
in his distress, and I knew that he could not withstand your torture much longer. For he
was young, and to him the thought that he must renounce green grass, the foam-flecked
sea, and the race of birds’ wings across the sky was unendurable. And so I bade you kill
him before he gave away the secret. It has died safely with him. I shall never tell you
how to brew heather-ale, do with me what you will!”
When he heard the old man's word the Scots’ leader tore his beard with rage, and
the veins of his forehead bulged with fury.
“Take him!” he commanded his men. “Take him and hurl him from the cliff-top.
Let him be dashed to pieces on the rocks, and may the sea mourn over him with its salt
tears for ever!”
So the old man met his death; he fell from that great height, and the secret of
heather-ale was lost.
Текст 2
Jack: You really love me, Gwendolen?
Gwendolen: Passionately!
Jack: Darling! You don’t know how happy you’ve made me.
Gwendolen: My own Ernest!
Jack: But you don’t really mean to say that you couldn’t love me if my name wasn’t
Ernest?
Gwendolen: But your name is Ernest.
Jack: Yes, I know it is. But supposing it was something else? Do you mean to say you
couldn't love me then?
Gwendolen: (glibly): Ah! That is clearly a metaphysical speculation, and like most metaphysical speculations has very little reference at all to the actual facts of real life, as we
know them.
Jack: Personally, darling, to speak quite candidly, I don’t much care about the name of
Ernest ... I don't think the name suits me at all.
Gwendo1en: It suits you perfectly. It is a divine name. It has a music of its own. It produces vibrations.
Jack: Well, really, Gwendolen, I must say that I think there are lots of other much nicer
names. I think Jack, for instance, a charming name.
Gwendolen: Jack? ... No, there is very little music in the name Jack, if any at all, indeed.
If does not thrill. It produces absolutely no vibrations ... I have known several Jacks,
and they all, without exception, were more than usually plain. Besides, Jack is a notorious domesticity for John! And I pity any woman who is married to a man called John.
She would probably never be allowed to know the entrancing pleasure of a single moment’s solitude. The only really safe name is Ernest.
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Jack: Gwendolen, I must get christened at once – I mean we must get married at once.
There is no time to be lost.
Gwendolen: Married, Mr. Worthing?
Lack (astounded): Well ... surely. You know that I love you, and you led me to believe,
Miss Fairfax, that you were not absolutely indifferent to me.
Gwendolen: I adore you. But you haven’t proposed to me yet. Nothing has been said at
all about marriage. The subject has not even been touched on.
Jack: Well ... may I propose to you now?
Gwendo1en: I think it would be an admirable opportunity. And to spare you any possible disappointment, Mr. Worthing, I think it only fair to tell you quite frankly beforehand that I am fully determined to accept you.
Jack: Gwendolen!
Gwendolen: Yes, Mr. Worthing, what have you got to say to me?
Jack: You know what I have got to say to you.
Gwendolen: Yes, but you don't say it. __
Jack: Gwendolen, will you marry me? (Goes on his knees.)
Gwendolen: Of course I will, darling. How long you have been about it! I am afraid you
have had little experience in how to propose.
Jack: My own one, I have never loved any one in the world but you.
Gwendolen: Yes, but men often propose for practice. I know my brother Gerald does.
All my girl-friends tell me so. What wonderfully blue eyes you have, Ernest! They are
quite, quite blue. I hope you will always look at me just like that, especially when there
are other people present.
(Enter Lady Bracknell.)
Lady Bracknell: Mr. Worthing! Rise, sir, from this semi-recumbent posture. It is most
indecorous.
Gwendolen: Mamma! (He tries to rise; she restrains him.) I must beg you to retire. This
is no place for you. Besides, Mr. Worthing has not quite finished yet.
Lady Bracknell: Finished what, may I ask?
Gwendolen: I am engaged to Mr. Worthing, mamma. (They rise together.)
Lady Bracknell: Pardon me, you are not engaged to any one. When you do become engaged to some one, I, or your father, should his health permit him, will inform you of
the fact. An engagement should come on a young girl as a surprise, pleasant or unpleasant, as the case may be. It is hardly a matter that she could be allowed to arrange for
herself ... And now I have a few questions to put to you, Mr. Worthing.
While I am making these inquiries, you, Gwendolen, will wait for me in the carriage.
Gwendolen: Yes, mamma. (Goes out, looking back at Jack.)
Lady Bracknell: (sitting down): You can take a seat, Mr. Worthing.
(Looks in her pocket for note-book and pencil.)
Jack: Thank you, Lady Bracknell; I prefer standing.
Lady Bracknell (pencil and note-book in hand): I feel bound to tell you that you are not
down on my list of eligible young men, although I have the same list as the dear Duchess of Bolton has. We work together in fact. However, I am quite ready to enter your
42
name, should your answers be what a really affectionate mother requires. Do you
smoke?
Jack: Well, yes, I must admit I smoke.
Lady Bracknell: I am glad to hear it. A man should always have an occupation of some
kind. There are far too many idle men in London as it is. How old are you?
Jack: Twenty-nine.
Lady Bracknell: A very good age to be married at. I have always been of opinion that a
man who desires to get married should know either everything or nothing. Which do
you know?
Jack (after some hesitation): I know nothing, Lady Bracknell.
Текст 3
SONNET
Lift not the painted veil which those who live
Call Life: though unreal shapes be pictured there,
And it but mimic all we would believe
With colours idly spread, – behind, lurk Fear
And Hope, twin Destinies; who ever weave
Their shadows, o'er the chasm, sightless and drear.
I knew one who had lifted it – he sought,
For his lost heart was tender, things to love,
But found them not, alas! nor was there aught
The world contains, the which he could approve.
Through the unheeding many he did move,
A splendour among shadows, a bright blot
Upon this gloomy scene, a Spirit that strove
For truth, and like the Preacher found it not.
Текст 4
I suppose every family has a black sheep. Tom had been a sore trial to his for
twenty years. He had begun life decently enough: he went into business, married and
had two children. The Ramsays were perfectly respectable people and there was every
reason to suppose that Tom Ramsay would have a useful and honourable career. But
one day, without warning, he announced that he didn't like work and that he wasn’t suited for marriage. He wanted to enjoy himself. He would listen to no expostulations. He
left his wife and his office. He had a little money and he spent two happy years in the
various capitals of Europe. Rumours or his doings reached his relations from time to
time and they were profoundly shocked. He certainly had a very good time. They shook
their heads and asked what would happen when his money was spent. They soon found
out: he borrowed. He was charming and unscrupulous. I have never met anyone to
whom it was more difficult to refuse a loan. He made a steady income from his friends
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and he made friends easily. But he always said that the money you spent on necessities
was boring: the money that was amusing to spend was the money you spent on luxuries.
For this he depended on his brother George. He did not waste his charm on him, George
was a serious man and insensible to such enticements. George was respectable. Once or
twice he fell to Tom’s promises of amendment and gave him considerable sums in order
that he might make a fresh start. On these Tom bought a motorcar and some very nice
jewellery. But when circumstances forced George to realise that his brother would never
settle down and he washed his hands on him, Tom, without a qualm, began to blackmail
him. It was not very nice for a respectable lawyer to find his brother shaking cocktails
behind the bar of his favourite restaurant or to see him waiting on the box-seat of a taxi
outside his club. Tom said that to serve in a bar or to drive a taxi was a perfectly decent
occupation, but if George could oblige him with a couple of hundred pounds he didn’t
mind for the honour of the family giving it up. George paid.
Once Tom nearly went to prison. George was terribly upset. He went into the
whole discreditable affair. Really Tom had gone too far. He had been wild, thoughtless
and selfish, but he had never before done anything dishonest, by which George meant
illegal; and if he were prosecuted he would assuredly be convicted. But you I cannot allow your only brother to go to gaol. The man Torn had cheated, a man called Cronshaw,
was vindictive. He was determined to take the matter into court; he said Tom was a
scoundrel and should be punished. It cost George an infinite deal of trouble and five
hundred pounds to settle the affair. I have never seen him in such a rage as when he
heard that Tom and Cronshaw had gone off together to Monte Carlo the moment they
cashed the cheque. They spent a happy month there.
Текст 5
***
The daffodils were in bloom, stirring in the evening breeze, golden heads cupped
upon lean stalks, and however many you might pick there would be no thinning of
ranks, they were massed like an army, shoulder to shoulder. On a bank below the lawns,
the crocuses were planted, golden, pink, and mouve, but by this time they would be past
their best, dropping and fading, like the pollid snowdrops. The primrose was more vulgar, a homely pleasant creature who appeared in every cranny like a weed. Too early yet
for bluebells, their heads were still hidden beneath last year’s leaves, but when they
came, dwarfing the more humble violet, they choked the very bracken in the woods, and
with their colour made a challenge to the sky.
***
As I knelt by the window 1ooking down on the rose-garden where the flowers
themselves drooped upon their stalks, the petals brown and dragging after last night
rain, the happenings of the day before seemed remote and unreal. ... a new day was
starting. A blackbird ran across the rose-garden to the lawns in swift, short rushes, stopping now and again to stab at the earth with his yellow beak. A thrush, too, went about
44
his business, and two stout little waytails, following one another, and a little cluster of
twittering sparrows. A gull poised himself high in the air, silent and alone, and then
spread his wings wide and swooped beyond the lawns to the woods and the Happy Valley.
СПЕЦИАЛЬНЫЕ ТЕКСТЫ
Текст 1
One of the early associates of The Firm, as Morris’ decorating company became
known, was Walter Crane. He went to the Great Exhibition in 1851, at the time vaunted
as the acme of artistry, and came away with same impression of English taste as Morris:
“The last stages of decomposition had been reached, and a period perhaps, unexampled hideousness in furniture, dress and decoration set in which lasted the life of the
second empire, and fitly perished with it. Relics of the period I believe are still to be
discovered in the cold shade of remote drawing-rooms, and ‘apartments to let’, which
take the form of big looking-glasses, and machine-lace curtains, and where the furniture
is afflicted with curvature of the spine, and dreary lumps of bronze and ormolu repose
on marble slabs at every opportunity, where monstrosities of every kind are encouraged
under glass shades, while every species of design-debauchery is indulged in upon carpets, curtains, chintzes and wallpapers, and where the antimacassar is made to cover a
multitude of sins. When such ideas of decoration prevailed, having their origin or prototypes in the vapid splendours of imperial saloons, and had to be reduced to the scale of
the ordinary citizen’s home and pocket, the thing became absurd as well as hideous. Besides, the cheap curly legs of the uneasy chairs couches came off, and the stuffed seats,
with a specious show of padded comfort, were delusions or snares.”
Morris’ desire to sweep clean the parlours of their machine-stitched antimacassars,
their pictures of parrots done in Berlin wool-work and their bead mats, became axiomatic. The Morris’ chair (designed, in fact by Philip Webb) is still in production. Its ebonized beech wood frame, with rush seating, turned legs and straight back, was based on a
traditional Sussex chair and today its clean looks have become something of a basic
commodity in Habitat-orientated homes. This is the problem with Morris. His designs,
while they cleared away much of the confusion regarding the proper use of materials
and the functional purpose of objects, led to a somewhat uniform concern with pure
taste.
Текст 2
“Poetry is more philosophical and of higher value than history.”
(Aristotle, 384-322 B.C.)
“A man that studieth revenge keeps his own wounds green.”
(Francis Bacon, 1561-1626)
“Variety is the soul of pleasure.”
(Aphra Behn, 1640-1689)
45
“Education makes people easy to lead, but difficult to drive; easy to govern but impossible to enslave.”
(Lord Brougham, 1778-1868)
“I would rather be right than be President!”
(Henry Clay, 1777-1852)
“Tact consists in knowing how far we may go too far.”
(Jean Cocteau, 1891-1963)
“A man’s house is his castle.”
(Sir Edward Coke, 1552-1634)
“A man is as old as he’s feeling. A woman as old as she looks.”
(Mortimer Collins, 1827-1876)
“Mad dogs and Englishmen go out in the midday sun.”
(Noel Coward, 1899-?)
“Travelling is almost like talking with men of other centuries.”
(Rene Descartes, 1596-1650)
“Imagination is more important than knowledge.”
(Albert Einstein, 1870-1955)
“I will make you shorter by a head.”
(Queen Elizabeth, I, 1533-1603)
“A friend is a person with whom I may be sincere. Before him I may think aloud.”
(Ralph Waldo Emerson, 1803-1882)
“I slept and dreamed that life was Beauty, I woke, and found that life was Duty.”
(Ellen Hooper, 1816-1841)
“This will never be a civilized country until we expend more money for books than we
do for chewing-gum.”
(Elbert Hubbard, 1859-1915)
“There is always room at the top.”
(Daniel Webster, 1782-1852)
Текст 3
DAVID CADDICK (Musical Supervision and Direction) was music director for
the Royal Shakespeare Company and the London productions of Jesus Christ Superstar
and Evita. As executive music director for the Really Useful Group, he supervised all
productions of Cats, Starlight Express and The Phantom of the Opera. He now lives in
America and supervises all productions of Cats, The Phantom of the Opera and Miss
Saigon. He was the musical supervisor of all productions of Sunset Boulevard. He coproduced the Canadian cast album of The Phantom of the Opera, produced the Complete Symphonic Recording of Les Miserables (for which he won a Grammy award),
and produced the London cast albums of Oliver!, Martin Guerre and a new Complete
Symphonic Recording of Miss Saigon. He was music director for the film Evita starring
Madonna.
DAVID CULLEN (Co-Orchestrator) has worked for Andrew Lloyd Webber on
the orchestrations of Cats, Song & Dance, Starlight Express, The Phantom of the
46
Opera, Aspects of Love and Sunset Boulevard. Other shows which he has orchestrated
include the London revivals of Can-Can, Carmen Jones and The Baker's Wife. On record he has arranged music for Sheena Easton, Tina Turner Barbara Streisand, Kin Te
Kanawa (Christmas Songs), Shirley Bassey, The King’s Singers, Cantabile and Julian
Lloyd Webber.
DENNY BERRY (Production Dance Supervisor), a graduate of the University of
Texas Department of Theatre and Dance, is currently at work on the fantasy adventure
musical Lord of the Rings, which will have its world premiere in Berlin in the fall. Most
recently, in Austin, she has directed and choreographed A Soul Waiting in Darkness for
the Austin Contemporary Ballet. Her other credits include Street Scene for the Houston
Grand Opera and Theatre des Westens in Berlin, where she was also choreographic assistant to Juerg Burth, responsible for Jesus Christ Superstar, Guys and Dolls and the
European premiere of La Cage aux Folles. At home in opera, operetta, musicals and
ballet, she has created work in all three mediums from Vienna to Zurich to London.
Текст 4
MHC (immunology) major histocompatibility complex
MHCIMA Member of the Hotel Catering and Institutional Management Association
MHD (physics) magnetohydrodynamics
MHE Master of Home Economics
Mheb Middle Hebrew I
MHG Middle High German
MHK Member of the House of Keys (In Isle of Man)
MHLG Ministry of Housing and Local Government
M Hon. Most Honourable
MHR (USA, Australia) Member of the House of Representatives
MNRA Modern Humanities Research Association
MHRF Mental Health Research Fund
MHS medical history sheet, Member of the Historical Society; (computing) messagehandling service (or system)
MHum Master of Humanities
MHW mean high water (1evel of tide)
MHy Master of Hygiene
MHz megahertz
Mi Minor; Mississippi
mi mile; (currency) mill (thousandth of dollar); minute
Текст 5
Ivan the Terrible
This emperor uses great familiarity, as well unto all his nobles and subjects, as also unto strangers who serve him either in his wars or in occupations: for his pleasure is
that they shall dine oftentimes in the year in his presence, and besides that he is often47
times abroad, either at one church or another, and walking with his noble men abroad.
And by this means he is not only beloved by his nobles and commons, but also had in
great dread and fear through all his dominions, so that I think no prince in Christendom
is more feared by his own [people] than he is, nor yet better beloved. For if he bids any
of his dukes go, they will run; if he gives any evil or angry word to any of them, the party will not come into his majesty’s presence again for a long time if he be not sent for,
but will fain ... to be very sick, will let the hair of his head grow very long, without either cutting or shaving, which is an evident token that he is in the emperor’s displeasure: for when they be in their prosperity, they account it a shame to wear long hair, in
consideration whereof they used to have their heads shaven. ...
He delights not greatly in hawking, hunting, or any other pastime, nor in hearing
instruments or music, but sets ... his whole delight upon two things: first, to serve God,
as undoubtedly he is very devout in his religion, and the second, how to subdue and
conquer his enemies.
Текст 6
Saturn
in Roman mythology, an ancient god (possibly the god of agriculture, also identified
with the Greek god Kronos). He was dethroned by his sons Jupiter, Neptune and Pluto.
At his festival in Dec. gifts were exchanged, and slaves were briefly treated as their
masters’ equals.
satyr
in Greek mythology, a cross between a man and a goat.
Selene
in Greek mythology, the goddess of the moon; in later times identified with Artemis.
Sibyl
in Roman mythology, a priestess of Apollo, especially the Cumaean Sibyl living in a
cave near Naples, Italy. She offered to sell Tarquinius nine collections of prophecies,
the Sibylline Books, but the price was too high. When she had destroyed all but three,
he bought those for the identical price, and these were kept for consultation in emergency at Rome.
Siren
in Greek mythology, a sea nymph who lured sailors on to rocks by her singing. Odysseus, in order to hear the Sirens safely, tied himself to the mast and stuffed his crews'
ears with wax; the Argonauts escaped them because the singing of Orpheus surpassed
that of the sirens.
Styx
in Greek mythology, the river surrounding the underworld.
Surya
In Hindu mythology, the personification of the Sun.
48
Текст 7
Plato’s doubts about men who act on the basis of right opinion alone (instinctively, we might say) are shared by Kant for reasons quite similar to Plato’s. The naive man,
since he has no love for knowledge, cannot anchor his actions or his beliefs in anything
permanent. What this means for Plato is clear. The naive man can be talked out of his
beliefs by sophists. He is therefore at the mercy of the tides of public opinion, ultimately
does damage to his own soul, and can look forward (according to the myth of Er) to a
future life of tyranny.
Similarly, Kant believes that the man of good nature acting instinctively (or because of external coercion) is condemned to a life oscillating feverishly between two
amoral extremes. He is both fascinated and repelled by each of the two powers competing for his attention. Since he has not “taken the step into philosophy” he never manages to purify the springs of his own conscience, and he can either be talked out of what
he knows dimly to be right, or he can too easily represent to himself the callings of the
inclinations in the guise of morality The natural man is always, therefore, in the position
of being able to pervert his own good will by lying to himself. His life, like that of Plato’s man of correct opinion, is, if good, the result of good fortune rather than of good
will. The luxury of fortunate circumstances is to be credited with what goodness there is
in his life, while he is to be blamed himself for the failure to free himself from the
chains of natural habit, chains which may (and often do) lead him from the path of
goodness.
It can be said that men of good nature, according to Kant, live quite similar to
those of the prisoners inhabiting Plato’s cave. And it can be said as well that the problem confronting each of them – the problem of how to free themselves – is addressed by
Kant in a way quite similar to that of Plato.
Текст 8
MIKE IN TROUBLE
Mike: Excuse me, Dad, could you spare a few minutes?
Mr. Innes: Of course. Well, now what can I do for you?
Mike: I'm afraid I’m in trouble.
Mr. Innes: Sorry to hear that, what’ve you been up to?
Mike: I’ve failed in maths.
Mr. Innes: Too bad! What happened? So far as I know you’re rather good at maths.
Mike: That’s just it. You see, I was so sure of myself I didn’t bother to review anything.
Mr. Innes: What a shame! No wonder you failed and now you must face the music.
Mike: But you see. I’m scared stiff of Mr. Williams, he must be mad at me.
Mr. Innes: Now, Mike, pull yourself together. No use getting cold feet. Go see Mr Williams, as soon as possible, apologize and promise you’ll do better next term.
Mike: Right you are, Dad, I'll do it tomorrow and thanks a lot.
49
Mr. Innes: Better luck next time.
***
Philip: I say, I haven’t been to the pictures for a long time and I feel like seeing anything put out for our entertainment. How about seeing a new film?
Paul: I’m afraid, I can’t keep you company. I don’t go to the pictures much, but when I
do, I like to see something decent.
Philip: But what do you mean by a decent film? And how do you know whether it is decent or rotten?
Paul: Well, you read about it in the adverts or posters first, and then you know from
your own experience that if so-and-so is in it, it’s likely to be good.
Philip: You know that many fans like to give their impressions straight from the shoulder, especially those full of biting criticism.
Paul: But a decent film appeals to different people in different ways. It makes you think
and in addition to this, a decent film by all-round consent, is one you can believe in,
whether it’s funny, tragic or tense. When there is a decent film showing, everybody
praises it.
***
Mr. Brown: Which did you like the better?
David: It’s hard to say. They’d spent a lot of money on the film and it was very well
done. There must have been hundreds of people in it – crowds of people and soldiers
and servants. The film moved fast with plenty of things happening all the time. I enjoyed the music and the colour – these were splendid and the photography was very
good indeed, but ...
Mr. Brown: But what?
David: Well, something had gone. You didn't notice Shakespeare’s words, which are so
important in the theatre. And the main characters and what they did and thought didn’t
seem so clear or stand out as they do in the theatre.
Текст 9
Types of Legal Professions
SOLICITORS. There are about 50,000 solicitors, a number which is rapidly increasing, and they make up by far the largest branch of the legal profession in England
and Wales. They are found in every town, where they deal with all the day-today work
of preparing legal documents for buying and selling houses, making wills, etc. Solicitors
also work on court cases for their clients, prepare cases for barristers to present in the
higher courts, and may represent their client in a Magistrates’ court.
50
BARRISTERS. There are about 5,000 barristers who defend or prosecute in the
higher courts. Although solicitors and barristers work together on cases, barristers specialize in representing clients in court and training and career structures for the two
types of lawyer and quite separate. In court, barristers wear wigs and gowns in keeping
with the extreme formality of the proceedings. The highest level of barristers has the title QC [Queen’s Counsel].
JUDGES. There are a few hundred judges, trained as barristers, who preside in
more serious cases. There is no separate training for judges.
JURY. A jury consists of twelve people (“jurors”), who are ordinary people chosen at random from the Electoral Register [the list of people who can vote in elections].
The jury listens to the evidence given in court in certain criminal cases and decide
whether the defendant is guilty or innocent. If the person is found guilty, the punishment is passed by the presiding judge. Juries are rarely used in civil cases.
MAGISTRATES. There are about 30,000 magistrates (Justices of the Peace or
JPs), who judge cases in the lower courts. They are usually unpaid and have no formal
legal qualifications, but they are respectable people who are given some training.
CORONERS. Coroners have medical or legal training (or both), and inquire into
violent or unnatural deaths.
Текст 10
p. 1
The Swords of Temporal Justice, Spiritual Justice and Mercy (the Curtana) early 17th
century. These three swords represent types that have been used in the coronation ceremony since the Middle Ages.
p. 2
St. Edward’s Staff, 1661. Made of gold with a steel spike at its end, it is 56” (142 cm) in
length and weighs 55 oz 19 dwt (1.74 kg).
p. 3
State Trumpets, 1780-1848. The trumpet banners are embroidered with gold, silver and
silk threads and silk and metal cords. The national emblems of England, Scotland and
Ireland (roses, thistles and shamrocks) are embroidered in each corner.
p. 4
The Coronation Spoon, 12th century. George IV much admired the Coronation Spoon
and had two copies made of it set with precious stones.
p. 5
The Sovereign’s Sceptre with Cross, 1661, is set with 393 gemstones including the First
Star of Africa (Cullinan I), the world’s largest cut diamond.
p. 6
The Imperial State Crown, 1937. Made for the coronation of George IV, the Imperial
State Crown is almost a replica of Queen Victoria’s State Crown of 1838. It is set with
2,868 diamonds, 17 sapphires, 11 emeralds, 5 rubies and 273 pearls. The crown is 12.4”
(31.5 cm) in height and, excluding the wire frame, cap of estate and ermine band,
weighs 32 oz 7 dwt (1.06 kg).
51
p. 7
Pair of Altar Candlesticks, c.1661. These large silver-gilt candlesticks measure some
37” in height and together weigh 408 oz 7 dwt (12.79 kg).
Текст 11
The Gospel According to Matthew
1.18. Now the birth of Jesus Christ was as follows:
After His mother Mary was betrothed to Joseph, before they came together, she was
found with child of the Holy Spirit.
l9. Then Joseph her husband, being a just man, and not wanting to make her a public
example, was minded to put her away secretly.
20. But while he thought about these things, behold, an angel of the Lord appeared to
him in a dream, saying, “Joseph, son of David, do not be afraid to take to you Mary
your wife, for that which is conceived in her is of the Holy Spirit.
21. And she will bring forth a Son and you shall call His name Jesus, for He will save
His people from their sins”.
22. So all this was done that it might be fulfilled which was spoken by the Lord through
the prophet, saying:
23. “Behold, the virgin shall be with child, and bear a Son, and they shall call His name
Immanuel”, which is translated “God with us”.
24. Then Joseph, being aroused from sleep, did as the angel of the Lord commanded
him and took to him his wife, and did not know her till she brought forth her first-born
Son. And he called His name Jesus.
2.1. Now after Jesus was born in Bethlehem of Judea in the days of Herod the king, behold, wise men from the East came to Jerusalem,
2. saying, “Where is He who has been born King of the Jews? For we have seen His star
in the East and have come to worship Him”.
3. When Herod the king heard this, he was troubled, and all Jerusalem with him.
4. And when he had gathered all the chief priests and scribes of the people together, he
inquired of them where the Christ was to be born.
5. So they said to him, “In Bethlehem of Judea, for thus it is written by the prophet:
6. But you, Bethlehem, in the land of Judah,
Are not the least among the rulers of Judah;
For out of you shall come a Ruler
Who will shepherd My people Israel”.
7. Then Herod, when he had secretly called the wise men, determined from them what
time the star appeared.
8. And he sent them to Bethlehem and said, “Go and search carefully for the young
Child, and when you have found Him, bring back word to me, that I may come and
worship Him also”.
9. When they heard the king, they departed; and behold, the star which they had seen in
the East went before them, till it came and stood over where the young Child was.
52
10. When they saw the star, they rejoiced with exceedingly great joy.
11. And when they had come into the house, they saw the young Child with Mary His
mother, and fell down and worshiped Him. And when they had opened their treasures,
they presented gifts to Him: gold, frankincense and myrrh.
12. Then, being divinely warned in a dream that they should not return to Herod, they
departed for their own country another way.
Текст 12
E
ear-training. The training of students of linguistics to identify by ear the full range of
sounds that the human vocal tract can produce.
ease of articulation. See principle of least effort: cf. euphony.
East Germanic = Gothic.
‘echolalia’. Mechanical repetition of the words just uttered by another speaker, when
symptomatic of a speech or other mental disorder.
echo question. A form such as ‘You've bought ‘WHAT?’’, partly echoing a statement
such as ‘I’ve bought a concrete mixer’.
echo-word. A compound whose second member repeats the first with an initial consonant or syllable altered. Widespread in languages of the Indian subcontinent, with the
general meaning ‘... and the like’: e.g. ‘water and such like’, by a systematic process in
which an initial consonant is changed to V.
ECM = exceptional case marking.
ECP. See empty category.
effected object. The *object of a verb which denotes an action, etc. that brings things
or individuals into existence: e.g. a book in I wrote a book, where the book would exist
as the effect of the speaker writing it. Opp. affected object.
Efik. Native to the area of Calabar but used more widely as a literary language in southeast Nigeria. The Cross River languages, of which Efik and Ibibio are the most important, are grouped with many others under *Benue-Congo.
EFL. Abbreviation for ‘English as a foreign language’.
egocentrism. Property of language in being centred on the ‘here’ and ‘now’ of the individual 'I' (Latin ‘ego’) who is speaking. Fundamental, in particular, to *deixis.
egressive. (Air stream, *airstream mechanism) in which the direction of flow is outwards. Opp. ingressive.
Текст 13
Laws of Babylon
One of the most detailed ancient legal codes was drawn up in about 1758 B.C. by
Hammurabi, a king of Babylonia. The entire code, consisting of 282 paragraphs, was
carved into a great stone pillar, which was set up in a temple to the Babylonian god
Marduk so that it could be read by every citizen.
53
The pillar, lost for centuries after the fall of Babylon in the 16th century B.C.,
was rediscovered by a French archaeologist in 1901 amid the ruins of the Persian city of
Susa. Hammurabi’s words were still legible. The pillar is now in the Louvre museum in
Paris.
The laws laid down by Hammurabi were more extensive than any that had gone
before. They covered crime, divorce and marriage, the rights of slave owners and
slaves, the settlement of debts, inheritance and property contracts; there were even regulations about taxes and the prices of goods.
Punishments under the code were often harsh. Not only murderers but also
thieves and false accusers faced the death penalty. And a child who hit his father could
expect to lose the hand that struck the blow.
Nevertheless, Hammurabi’s laws represented an advance on earlier tribal customs, because the penalty could not be forfeit for an eye.
The code outlawed private blood feuds and banned the tradition by which a man
could kidnap and keep the woman he wanted for his bride. In addition, the new laws
took account of the circumstances of the offender as well as of the offence. So a lowerranking citizen who lost a civil case would be fined less than an aristocrat in the same
position – though he would also be awarded less if he won.
Текст 14
I)
Dear Edward,
I am delighted to tell you that I have just become engaged.
My bride is Mary Stephens, whom I do not think you have yet met, but I am sure you
will think I am very lucky when you do meet her.
We are only having a short engagement, and an invitation to the wedding will reach you
very soon. I do hope you will be able to come.
Yours sincerely, Tom
2) Dear Tom,
Hearty congratulations on your marriage. I wish I could have been at your wedding, but
I have just arrived back in England. I am sure that you are very lucky, and I look forward to meeting your wife soon.
I am very pleased to know that you have decided to get married, and I do wish you and
your wife the very best of good luck in the many years together which I hope will be
yours.
With every good wish,
Yours,
Edward
3)
Dear Allan,
I should be very pleased if you would come to tea with me next Thursday at 4
o’clock.
Yours sincerely, Cecily
54
4)
Dear Mrs. Smith,
Thank you ever so much for your kind invitation to dinner on Saturday 5th
November. I shall be delighted to come.
Yours sincerely,
William Thompson
5)
Dear Mrs. Fisher,
This is to thank you once again for the memorable evening we had the pleasure of
spending at your house. We thoroughly enjoyed it.
Yours sincerely,
Jessie and Robert Troy
6)
Dear Thomas,
I was shocked at the news of your father’s death. Please accept my very
sincere condolences in your bereavement. You are constantly in our thoughts.
Yours sincerely,
James
Текст 15
A Whiter Shade of Pale
(Keith Reid)
We skipped the light fandango
turned cartwheels ’cross the floor
I was feeling kinda seasick
but the crowd called out for more
The room was humming harder
as the ceiling flew away
When we called out for another drink
the waiter brought a tray
And so it was that later
as the miller told his tale
that her face, at first just ghostly,
turned a whiter shade of pale
She said, “There is no reason
and the truth is plain to see.”
But I wandered through my playing cards
and would not let her be
one of sixteen vestal virgins
who were leaving for the coast
55
and although my eyes were open
they might have just as well’ve been closed
She said, “I’m home on shore leave,”
though in truth we were at sea
so I took her by the looking glass
and forced her to agree
saying, “You must be the mermaid
who took Neptune for a ride.”
But she smiled at me so sadly
that my anger straightway died
If music be the food of love
then laughter is its queen
and likewise if behind is in front
then dirt in truth is clean
My mouth by then like cardboard
seemed to slip straight through my head
So we crash-dived straightway quickly
and attacked the ocean bed
Приложение IV.
Итоговый тест по стилистике английского языка
1. Give the term: “It is an indirect reference to another work of literature or art.”
2. What types of foregrounding do you know?
3. Define the functional style: “In a very few minutes an ambulance came, the team
was told all the nothing that was known about the child and he was driven away, the
ambulance bell ringing, unnecessary…”
4. What feature is in common between the language of military documents and scientific prose?
5. Define the stylistic device: “I sprang to the stirrup, and Joris, and he; I galloped, Dirk
galloped, we galloped all three.”
6. Give the term: “It is a substitution of the name by a descriptive phrase.”
7. What is the difference between oxymoron and antithesis?
8. Explain the term “pun”.
9. Define the metre: “When world is mine forever in a flash…”
10. Define the stylistic device: “It was not only writers, you know, it was a thoroughly
represented gathering – science, politics, business, art, the world.”
11. Give stylistic synonym to the word “understatement”.
12. What types of reiteration do you know?
13. Define the functional style: “Afterwards, whisky in the Smoke Room: Clough, Margetts, the Captain, Dr. Watterson: Who makes ends meet, who’s taking the knock,
Government tariffs, wages, price of stock…”
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14. What kind of language is “the poetry of the common man”?
15. Define the stylistic device:
“No warmth – no cheerfulness, no healful ease,
No comfortable feel in any member!
No shade, no shine, no butterflies, no bees,
No fruits, no flowers, no leaves, no birds,
November!”
16. What functional styles do you know?
17. Define the type of foregrounding: “She has a large house and a small husband. She
likes big parties, – they are so intimate. At small parties there is not any privacy.”
18. What kind of language is used when an orator wants to move listeners by the solemnity or seriousness of his speech?
19. What types of connotations do you know?
20. Define the stylistic device: “Mother Earth looks at us with such dull soulless eyes,
when the sunlight has died away from out of her… She is a widow who has lost the
husband she loved, and her children touch her hand, and look into her eyes, but gain
no smile from her.”
21. Give the term: “It is a semantically relevant appearance of equivalent elements in
equivalent positions.”
22. Give synonym to the expression “Standard English”.
23. Define the functional style: “There is no month in the whole year, in which nature
wears a more beautiful appearance than in the month of August; Spring has many
beauties, and May is a fresh and blooming month: but the charms of this time of year
are enhanced by their contrast with the winter season…”
24. Explain the term “convergence”.
25. Define the stylistic device: “I don’t want to be at the mercy of my emotions. I want
to use them, to enjoy them, to dominate them.”
26. In this functional sub-style special obligatory forms are used.
27. Define the stratum of words: “Say! You cut out o’this now before I do something to
you, do you ’ear, I says?”
28. Give the term: “This style is used when the speaker does not refer directly to himself or his readers.”
29. How do we call such words as “well”, “you see”, “as far as I know” when they are
used in spoken language?
30. Define the stylistic device: “She possessed two false teeth, a cheap hall room and a
sympathetic heart.”
31. Explain the term “antonomasia”.
32. What countries belong to the “Outer Circle” of the world English?
33. Define the type of meaning: “He is the real peacock. Can’t you see his intentions?”
34. What is the aesthetico-cognitive function of the style of speech?
35. Define the stylistic device: “In a summer season, when soft was the sun, I wrapped
myself up in smooth solemnity…”
36. Where may a word realise two meanings at the same time?
37. Translate into American English: “У меня нет намерения путешествовать этой
осенью. А сейчас мне некогда, - я спешу в Университет. Увидимся в пятницу!”
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38. Define the type of reiteration: “The spring came, the joy came, the hope came into
our rooms of souls.”
39. Give the term: “It is a mistake in the form of a word which results from the violation
of an accepted rule of derivation or inflection.”
40. Define the stylistic device: “Speaking silence, dumb confession, Passion’s birth, and
infant’s play.”
41. What types of colloquial style do you know?
42. What is the stylistic equivalent to interjections when a speaker uses them while
thinking of what next to say?
43. Define the stratum of words: “He of the iron garment is bounden unto you, and this
noble lord shall be bounden also.”
44. Give the types of polite language.
45. Define the stylistic device: “Men’s talk was better than women’s. Never food, never
babies, or boots needing mending, but people, what happened, the reason. Not the
state of the house, but the state of the Army. Not the children next door, but the rebels in France. Never what broke the china, but who broke the treaty. Not what spoilt
the washing, but who spilled the beans…”
46. How do we call the use of a smaller quantity of lingual means than is required by
common sense?
47. Define the functional style: “I have been lately informed, by the proprietor of “The
World”, that two papers, in which my book is recommended to the public, were written by your Lordship. To be so distinguished is an honour, which, being very little
accustomed to favours from the great, I know not well how to receive or in what
terms to acknowledge…”
48. Give the term: “It is the omission of one of the main members of a sentence.”
49. What types of texts are included into newspaper style?
50. Define the stylistic device: “She had bright, bulging eyes and a lot of yellow hair,
and when she spoke she showed about fifty-seven front teeth.”
Приложение V
Инновационные методы обучения
в курсе «Стилистика»
Большую роль в процессе обучения стилистике имеет эвристическая беседалекция, в ходе которой преподаватель, опираясь на имеющиеся у студентов знания и практический опыт, подводит их к пониманию и усвоению новых знаний,
формулированию правил и выводов. Применение беседы-лекции как метода обучения позволяет значительно активизировать познавательную деятельность студентов, вовлечь их в самостоятельные поиски дополнительной научной информации для решения проблемных учебно-познавательных задач, выполнения тематических заданий, проведения самостоятельных научных исследований.
Ещё одним эффективным методом обучения стилистике является метод
«лекции с путеводителем». Каждый студент, пришедший на лекцию, получает
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«путеводитель» по лекции – вокабулярные листы, на которых отображена структура изложения содержания лекции. Чтобы избежать бесполезного ввиду спада
внимания присутствия на лекции, студентам также предлагается метод «лекции с
паузами». Суть его заключается в том, чтобы в течение трёх минут обсудить прослушанный материал, обменяться мнениями, прояснить недопонятые моменты.
Другим эффективным методом обучения стилистике является семинардискуссия, который основан не на заучивании имеющейся информации, а на обмене взглядами по определённой теме или проблеме, причём эти взгляды отражают собственное мнение участников дискуссии или опираются на мнения других лиц. Этот метод целесообразно использовать в том случае, когда студенты
обладают значительной степенью зрелости и самостоятельности мышления, умеют аргументировать, доказывать и обосновывать свою точку зрения. Хорошо проведённый семинар-дискуссия имеет большую обучающую и воспитательную ценность: он учит более глубокому пониманию темы или проблемы, умению защищать свою позицию, считаться с мнениями других.
СОДЕРЖАНИЕ
Пояснительная записка .............................................................................................. 3
Учебно-тематический план ....................................................................................... 4
Содержание курса ....................................................................................................... 5
Семинарские занятия .................................................................................................. 8
Самостоятельная работа ............................................................................................ 9
Вопросы к экзамену ................................................................................................... 9
Литература................................................................... 11
Приложение I. Вокабуляр к лекциям ...................................................................... 13
Приложение II. Упражнения к семинарам 1–4 ...................................................... 17
Приложение III. Тексты к семинарам 5–7 .............................................................. 25
Приложение IV. Итоговый тест по стилистике английского языка .................... 56
Приложение V. Инновационные методы обучения в курсе «Стилистика» ........ 58
СПбИВЭСЭП
Санкт-Петербург, Литейный пр., 42
Подписано к печати 02.11.2010 г. Тираж 50 экз.
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