3. The transformation of the explanatory statements due to the change semantic tasks.

Philosophers believe that there are only four basic types of human activity: constructive, cognitive, evaluating, and communicative. Most actual activities represent a certain interaction among all, or most, of these. Thus, the task of a technologist is mainly that of constructing things. Yet he is invariably involved in cognitive activity, since he has to reason out the way in which scientific knowledge can be made practical use of. He also evaluates the would-be product from the viewpoint of its utility, aesthetic value, etc. And he is bound to communicate, since nothing can be mass-produced by an individual. The same four types of activity are involved in the process of artistic creation, but their respective functions and interrelations are different

Explain the structure of research from the viewpoint of the activities involved.

4. The interpretation of a given postulate.

“Communication is not merely the desire and the responsibility of a scholar, it is his discipline.”

a) Explain why communication means all these to a scholar.

b) There are only two ways of communication for a scholar: reading and speaking. He publishes his discoveries and he teaches them in the classroom. Can a scholar be satisfied with only one of these methods (which one, then?) or does he need both? Explain.

5. Expanding the concept by listing essential characteristics on the basis of their selection of previous pieces of information and language independent formulation of missing information.

What are the qualities of a true scholar? Which of them are the main ones?

6. The formulation of an individual point of view on the problem and its justification through an objective comparison of arguments for and against.

The rapid growth of science has brought about the necessity of narrow specialization. Yet some people believe that narrow specialization may hinder sharing of ideas and may exercise a harmful effect on a scholarʼs personality.

Express your own opinion. See if some of the following statements reflect your point of view:

There is no alternative to narrow specialization; there canʼt be general knowledge nowadays; itʼs unrealistic to expect a scholar to be interested in other fields but his own; a true scientist is above all an expert in a narrow field; the languages of particular disciplines cannot be understood by non-experts. Narrow specialization should not exclude the possibility of a wider outlook; itʼs impossible to understand particular sciences in complete isolation; the growth of interdisciplinary subjects is a counter-balance to narrow specialization; itʼs necessary to look upon oneʼs subject from the outside.

7. Generalizing explanatory statement from the perspective of the ethical aspect of the discussed problems.

So, to sum it all up, a scientist is faced with certain responsibilities. He may be held responsible to society for the practical consequences of his discoveries....

Explain what other moral responsibilities a scholar has to face. How must ethical values determine his behavior?

Example exercises on the formation of skills of retrospectivvely evaluating the authorʼs idea within “home - reading”.

This type of practice is a retrospective summarizing of the analysis of the read art works of various lengths (stories, novels, interconnected series of short stories). As features of this types of lessons we can consider the fact that, although they are trained to identify the author, due to the large amount of work studied, reading art works in the class is almost eliminated. Students do not read the text as much, as they discuss the information read at home. The text can serve as merely to illustrate the fairness of certain postulates that requires searching skills and screening reading. The job sequence and the lexical models, offered in most of them, are designed, as with any other classes, to promote consistency statements, to prevent the appearance of errors to activate the RAM. And yet in the practice of this type we are not developing new skills of speaking. First of all, these classes provide a review works under a single perspective . Therefore it is sometimes advisable to carry out in succession two or three classes of the same type to provide a retrospective analysis of works from different points of view. Accordingly, we give examples of two classes of this type (classes are built on the material of art of Charles Dickens and is designed for two hours each at the upper-intermediate level of learning foreign languages).

The first lesson teaches to evaluate the role of building plot in revealed and intent of the author. The second lesson teaches evaluate the authorʼs perception of reality and its influence on the implementation plan. Such sessions can be conducted in groups, where students read different novels by the same author. For all such studies is the most characteristic intellectual operations the adoption of semantic solutions and generalizations.

The structure of the first lesson

The aim of the lesson is to teach you to treat the plot as part of the writerʼs intention. You are to explain its structure and to point out its merits and limitations in order to arrive at a conclusion concerning the importance of the plot for the authorʼs purpose.

1. The answers to the questions that precede analysis.

Is the plot made out of many incidents or few? Are the incidents arranged in a natural sequence or is the order inverted for dramatic effect? Are the incidents taken from real life? Are they invented but probable, barely possible, or impossible? Do the incidents involve physical action, or inner (moral) struggle? Are the incidents mainly comic or pathetic? Which of the following adjectives describe(s) the plot best: simple, commonplace, trivial, quiet, interesting, clever, dramatic, thrilling, melodramatic, romantic, highly imaginative?

2. Conformity assessment of the plot of the requirements and the argument point of view examples or comments.

A plot is a narrative of events arranged in time-sequence, each event being caused by some other. The element of surprise or mystery is of great importance. To appreciate a surprise or mystery, part of the readerʼs mind should be left behind, brooding, while the other part goes marching on. The plot-maker expects us to remember what has happened, and we expect him to leave no loose ends.

Does the novel satisfy these requirements? Provide laconic evidence.

3. Analysis of the plot by the proposed components.

Nearly every plot contains the following elements: the introduction, serving principally to acquaint us with the preliminaries of the main action, or the attending circumstances.

Somewhere near the beginning we discover the inciting force, which definitely begins the entanglement, i.e. the conflict between the opposing forces. The climax (the turning point) is the moment when the threads of the narrative have achieved a point of supreme tension (sometimes there can be one grand climax and several minor climaxes, i.e. a number of dramatic moments when the readerʼs interest is greatly quickened). Then comes the denouement (i.e. the falling action, the resolution of the conflict). A plot may consist of two or more parallel lines running alongside and occasionally crossing each other.

Explain how many lines are discoverable in the plot of the novel. Speak of the abovementioned elements of the plot. Show where these different lines (if you have found more than one) cross each other.

4. Commenting on some of the properties of this plot, the explanation justice his point of view with examples.

It has been said that Dickensʼ world is terribly lop-sided and incomplete. Even if we ignore what it leaves out, there is much to be said against the things that are included in it.

a) Does Dickens introduce any episodes that are not vital to the development of the plot? What do you think his reasons were for introducing them? Do they add to the merits of Dickensʼ novel or to its drawbacks? Explain.

b) “His deliberate pathos, when we can catch him bringing out a handkerchief in readiness for the flood of tears that will shortly follow, may be sickening.” (J.B.Priestley) Are there any passages that are revoltingly sentimental and melodramatic? Or are the sentiment and melodrama so strictly under control that they cease to become weaknesses? Explain.

c) Does Dickensʼ plotting let the characters develop without doing violence to their nature? ( Are the characters given a fair chance to behave within the frames of the plot in accordance with their nature?) Explain, prove it, provide examples.

In tasks of this type it is sometimes possible to offer any of the items on choice. However, in cases where for the next job care the results of all previous points-namely the so built this lesson, students should be ready to work with all three points, and ask for one at the discretion of the teacher, as they equal difficulties. In addition, the points of the task that have not been tested orally the lesson can be run after him in writing; then the students can to provide selection of one of the items to perform oral.

5. The formulation of the main goal of the author of the work and the choice of episodes, more exactly the purpose of illustrating.

Is the novel written chiefly for the storyʼs sake, or is it dominated by some other purpose (s)? (e.g., by the purpose of social criticism, of the psychological study of some aspect of human nature, of sharing oneʼs experience of life, etc.). Formulate the authorʼs purpose (s). Which episodes, in your opinion, can be treated as the key episodes illustrating the authorʼs intention? Explain.

6. Summative evaluation of the role of story in revealing the intent of the author. Can the success of Dickensʼ novel be attributed to his plotting?

In this case, the class includes only one training exercise (the first). It does not require independent language, and is based only on the adoption of semantic solutions. Its role is, on one hand, to anticipate the move analysis, on the other hand, to perform a diagnostic function, showing teacher how can the story from the point of view of its naturalness, composition, and other relatively objective characteristics, reflected in the questions cab be evaluated. Depending on the results of the first assignment the teacher can give more comments, to pay more attention to one or another subsequent assignments. In linguistic terms, the exercise 1 anticipates the others, meanwhile, reports that a certain terminology, which can be useful students in the further evaluation of the role of the plot. Task 4 requires an assessment not of the plot in whole, and certain scenes; but, on the other hand, the role of the episode can be determined only in the context of the whole work. (However, in our case, the consideration of an episode through the prism of a novel need only two points from three: 4 “a” and 4 “c”. But the second paragraph is also needed in the task 4 for further generalization of the role of the plot.)

The structure of the second example lesson.

1. The selection and playback of the part of the critical information, that from the point of view of the learner refers to the analyzed work.

“Any account of Dickens is inadequate. He is the greatest comic novelist in England, but he is also the most truly poetic novelist. So far as we can label him at all he was a fantasist, and he forces us to accept the world he creates by the sheer compelling power of his imagination. It was a hallucinatory imagination, and so long as he remains within the comic and satiric or the melodramatic, he forces us to share the hallucination. His defects are many and yet scarcely matter. He was a great original. He owed something, in his early books particularly, to the 18th century novelists - high spirits, the joy in the rough-and-tumble, the picaresque sequence of events. But he owed much more to himself. To find anything comparable in fiction, his sense of symbolism, the hallucinatory intensity of his imagination, the huge self-soliloquizing monsters he created, we have to go to Dostoevsky...” (W. Allen.)

Which of the above-mentioned characteristics are applicable to the novel discussed?

2. The answers to a series of questions that comprise the overall preliminary assessment and the creativity of the author at a given angle of view.

Is the author emotional? Does he treat the situation and his characters objectively? Is there more feeling than thought in his book, or vice versa? Does he understand human nature? Does he regard his characters with affection? Are his ideals high? What aspects of his art do you admire: his artistry at plot construction, his ability to present unique characters, his vivid manner of description, his being sympathetic, his ability to put social evils to ridicule, his ability to amuse the readers?

3. Concise wording manners of the authorʼs letters and the authorʼs reflection in it based on the attitude of the proposed model.

Galsworthyʼs manner of writing has been characterized as removed, reticent, quiet, balanced. His style undoubtedly reflects his approach to the characters, and thus - to general problems of man in society. Galsworthy takes sides, yet shows mercy to both sets of sinners. He attacks a Forsyte as a social being, yet shows compassion and often a good deal of respect for the human being.

Compare Galsworthyʼs manner of writing to that of Dickens. How can Dickensʼ manner of writing be summed up in a few words? What are the sins he is apt to forgive and those he would never forgive?

4. Comparison of contrast critical comments about the writer in order to identify the peculiarity of his disposition.

Compare the following statements concerning Dickensʼ general attitude to the world:

“The dominant mood in which his world is created is not at all one of good-natured acceptance of things, but a mood of nightmare compounded of lurid melodrama and savage comedy...” (W. Allen).

“The great truth and passion behind the work of Dickens was his sense of joy in things...” (G. Chesterton).

“No novelist deals so largely with happiness itself...” (J. B. Priestley).

Does Alienʼs statement contradict those of Chesterton and Priestley, or do they have some common ground? (Can both the nightmare and the happiness be traced back to the authorʼs personal experience which shaped his outlook?) Are both moods balanced in the novel or does one of them prevail?

5. Self-selection and formulation of properties of skills of the author, providing him the interest of the modern reader.

“Не seems in so many ways to be very English, and indeed very Victorian; yet there is something universal in his appeal.” (J.B. Priestley)

Explain your point of view.

6. Summative evaluation of the skill of the author, suggesting an objective view of its strengths and weaknesses and the justification of the properties, that determine the authorʼs true talent.

Can Dickens be called a great writer? Explain, why.

Although this lesson is of the same type as the previous one, it is in fact completing a series of such lessons and includes the results of these lessons.

This is reflected in almost every exercise.

These were types of exercises to improve the studentsʼ speaking skill using lexical models and to intensify the process of training monologue speech at the upper-intermediate level of learning English. The latter type of exercises is of a inductive type of training monologue speech, for its being based upon the information read earlier, and which is being discussed only, during lessons that they are supposed to take place at.

2.2 The experimental work on the use of lexical models as a means of intensification of training monologue speech

In order to confirm the hypothesis presented in this diploma work, during our school practice we carried out experimental work on the use of various lexical models in training monologue speech on the 9^th grade of Petropavl Lyceum at the College named after M. Zhumabayev.

The purpose of our experimental work was the confirmation of the hypothesis that if lexical models are used in the process of teaching of a monologue speech, the studentsʼ skills in organizing and preparing a monologue will improve.

13 students of the 9^th grade took part in the experimental work.

In this module of the second part of my diploma work Iʼm going to give a detailed explanation of the implementation of the lexical models to intensify the training process of teaching monologue speech at the upper-intermediate level. Though, the class my practical work took place with was the 9^th grade and were supposed to be at the Intermediate level, I was lucky to have a group of high-skilled students who had no less than upper-intermediate level of English. There were twelve students in the group I taught, and the four of them were the participants of a “Regional Olympiad of the English language”, and two of whom took 2^nd and 3^rd places. Previously, I would like to inform you that I had my practice at the same school and with the same class, which were the 8“a” grade last year. I had a pretty good overview of the studentsʼ English level and was really glad that this year, I was teaching the first group only, who had a much higher level of English in comparison with their classmates in the other group. I would like to mention the fact that my students had the intermediate level of English in general. But there were a number of students who had the upper-intermediate level as well. So it was possible to carry out an experimental work of my findings about the monologue speech on them. The next pages of this work will contain the Lesson Plans and their application to the first group of the 9“a” grade at the “Lyceum at the College named after M. Zhumabayev” of the Petropavl town.

And moving further, I would like to inform you that I had my state practice at the “Lyceum at the College named after M. Zhumabayev” with the 9“a” grade and the explanation of the effects the lexical models used at the lessons had on the studentsʼ ability to present a speech. And as I have mentioned before, as I had my last yearʼs practical work with the same students, I was acquainted with their level of English language pretty well.

The aim of our experimental work during the practice was to identify the most effective lexical models to intensify the training of a monologue speech. As we investigate and study the training of monologue speech, as the main component of speech activity. At the beginning of our experiment, we carried out a survey if the students liked or disliked speaking English with their peers and classmates. And as a result, there were 6 students who liked it and the other part, which consists of 7 students that did not like it very much. Thus, we had to teach them so that they would like it.

The experimental work consisted of three stages:

1. Ascertaining stage

2. Formative stage

3. Control stage

The ascertaining stage:

The aim of the first stage was to identify the proficiency of studentsʼ speaking skills. First, each student was made to speak a text in order to identify their ability and knowledge of a speaking task in total. So out of the 13 students tested, there were 5 students who started their speech with the Introduction Part and tried to develop their ideas further in the text. And the other 8 students made different variants of their speeches, plainly naming the topic of their speech and moving to the body part immediately or just telling what they think about it and give justifications for their thoughts which is also considered to be a body part of the monologue speech. So here we have such a pie chart where we can see the students who handled and couldnʼt handle the introduction part of the speech:

Figure 1 – The analysis of the students having or not having basic knowledge about the monologue speech

As you can see from the pie chart, a lot of students have no knowledge of the fact that any speech should be introduced first. So, as a result, we got such poor results on whether their having or not the introduction part in their monologue speech.

Figure 2 – A chart which shows the amount of students who backed their opinions up while speaking

Formative stage:

During the research at the lessons there was an attempt to try a variety of methods and ways of working with speaking material in order to identify the most effective.

During the experimental work we have worked out our lessons to work with speaking material, using communicative teaching methods and different ways of working with speaking.

As I carried out an experimental work with my class, the other student taught the other class.

Next, the two classes were taught by two different methods: one with a communicative approach (the experimental class) and the other with the traditional grammar-translation method (the control class). During the research period, six lessons were observed in both classes.

We give examples of methods that we used at lessons during the formative stages. They relate to the formation, development and improvement of grammar and language skills: brainstorm, cluster, and work in small groups - in three, games, including role-playing, visualization.

English poems and songs.

During the formative stage of the experiment, we began to study the material for two new themes: “Food and drinks”, “Traveling”. All lessons are presented in the appendices (Appendices A-F).

Fragment number 1. When passing lesson on the topic “Food and Drinks”, there was worked out and conducted a lesson that aimed to familiarize students with the new vocabulary relating to grammar and to conduct an initial consolidation of learned words and fixing grammar (Appendix A). At the first lesson of the formative stage we used an interactive method (“work in pairs.”). Semantization of new words was held with visual-aids (slides) and listening (using multimedia complex).

At the beginning of the lesson the children were familiar with the grammar on the topic ʼCountable and uncountable nounsʼ. On the slides were displayed the grammar rules. Nouns can be countable and uncountable. Countable nouns have singular and plural form, and uncountable have only singular form. We can use numbers with countable nouns but cannot use them with uncountable nouns. For example we may say “One banana”, “two bananas”, but “one rice”. We can use indefinite articles with countable nouns in singular form, but in plural form we use them without indefinite articles. We use some any both with countable (in plural form) and uncountable nouns. “I have got some questions”, “Do you have any questions?”.

Students watched and listened. They were asked to tell their own examples.

So you can tell your own examples. Good, well done! Pupils write the grammar down into the exercise books. They wrote it down in their notebooks.

Then they listened to the words looking at the pictures of drinks on the slides:

Water, cocoa, coffee, tea, milk, juice. Teacher: Listen to the words attentively and then repeat after the Speaker. Then they repeated the words several times after the speaker.

The next task was for performing in pairs: Answer and question “I have got…” The cards of food and drinks are given out to children. P1 should tell about what he has got and then to ask P2 using some, any and a/an articles. “I have got an apple/ some apples. Have you got any apple?” and vice versa.

The pupilsʼ task is to understand the difference of using some/any, a/an in affirmative, negative and interrogative sentences. There were produced speech skill and ability to ask questions via some/any, a/an in pupils.