- •Delivering a lecture
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Signposts.
- •1.3. Style forming factors.
- •1.5. Delimitation of Discourse
- •1.6. Samples for Study and Analysis. Sample a
- •Good morning!
- •Notions of Style
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •Score Mark
- •2.8. Reading Technique
- •III. Project work
- •Sample a Forms of Address in Great Britain
- •Sample b Apologizing and Making Excuses
- •Score level criteria
- •Module 2 making a political speech
- •I. Input materials.
- •Rhetoric strategy.
- •Style forming factors:
- •Tunes (melody contours)
- •Combined tunes
- •1.5. Samples for study and analysis
- •Part of a Political Speech
- •Part of a Political Speech
- •The Common Market Negotiations
- •II. Skills development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Making business presentations
- •I. Input materials
- •1.1. Rhetoric strategy.
- •1.2. Style forming factors
- •1.4. Rhythm
- •1.5. Samples for Study and Analysis
- •The Director of the Milk Marketing Board giving a presentation about key trends
- •Public Ownership
- •II. Skills Development
- •2.7. Auditory Test
- •Analyse these combined tunes:
- •Score level criteria
- •2.8. Reading Technique
- •III. Project work
- •Score level criteria
- •Advertising
- •I. Input materials
- •1.1. Rhetoric strategy.
- •Ways of Advertising
- •1.2. Style forming factors
- •1.3. Questions for preliminary exercise
- •Informative? – persuasive? – amusing? – well-made? – artistic?
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Expressive means of English Intonation
- •Irregular pre-heads
- •Reading
- •1.6. Samples for Study and Analysis tv Commercials
- •Radio Commercials
- •Advertising Campaigns
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Hotel ‘Caliente’ Barcelona
- •Score level criteria
- •Peculiarities of the drama
- •I. Input materials.
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •Delivering a lecture Sample a s f s
- •Sample b s
- •Making a Political Speech Sample a
- •Sample b
- •Making Business Presentation Sample a
- •Sample b
- •Advertising Sample a
- •Sample b
- •1.5. Voice Volume
- •Delivering a Lecture
- •Making a Political Speech
- •Making Business Presentation
- •Advertising
- •Extract One
- •1.6. Samples for Study and Analysis
- •Dramatic Monologue One
- •Dramatic Monologue Two
- •The Metropolitan Playhouse Productions
- •II. Skills Development
- •2.8. Auditory Test
- •Score level criteria
- •2.9. Reading Technique
- •III. Project work
- •Score level criteria
- •Interviewing
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Using questions for control
- •1.3. Style forming factors
- •1.4. Invariant phonostylistic peculiarities
- •1.5. Specifics of the Pre-nuclear Pitch Change (the Head)
- •1.6. Samples for Study and Analysis
- •Linguistic Gaps
- •II. Skills development
- •2.5. Auditory Test
- •Score level criteria
- •2.6. Reading Technique
- •III. Project Work
- •Interview with Carl Sagan
- •Interview with Nigel Dempster
- •Score level criteria
- •Everyday talks
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Style forming factors
- •1.3. Invariant phonostylistic peculiarities
- •1.4. Weakform Words
- •II. Samples for Study and Analysis
- •Extract from a Spy Story
- •II. Skills Development
- •2.7. Auditory Test
- •Score level criteria
- •2.8. Reading Technique
- •III. Project Work
- •Finding Somewhere to Live
- •The Ladies’ Dress Department
- •Score level criteria
- •Fairy tale rhetoric and language teaching
- •I. Input materials
- •1.1. Rhetoric strategy
- •1.2. Invariant phonostylistic peculiarities
- •1.3. Pragmaphonetic modeling
- •1.4. Samples for study and analysis
- •Snow White and Rose Red
- •The Happy Prince
- •II. Skills Development
- •2.6. Auditory Test
- •Score level criteria
- •2.7. Reading Technique
- •III. Project work
- •3.1. Reading Technique
- •The Star-child
- •The Young King
- •3.2. Drama Technique
- •Goldilocks and the Three Bears
- •Little Red Riding Hood and the Wolf
- •Supplement Effective Presentation Technique
- •How we breathe
- •Types of Breathing
- •Diaphragmatic Breathing for Speech
- •Exercises for Diaphragmatic Breathing and Control
- •Exercises for Breath Control
- •Overcoming speech fright
- •Delivering the Speech
- •Using Your Body to Communicate
- •Dimensions of Nonverbal Communication
- •Adapting Nonverbal Behavior to Your Presentations
- •References
- •Contents
Reading
– There you are, then. I ''thought you ˙might be here earlier. 'Was your ˙train late?
No, I don’t think so;| just about on time. ''Which one did you think I was catching, then?
'Wasn’t it the ˙one that 'gets ˙in at 'five ten?
No, 'that’s ˙Saturday only. ''Didn’t you know?
Oh, of course;| how silly of me. Anyway, it 'doesn’t matter. What luck your managing to get away just now. 'How’s your mother?
Fairly well;| a 'bit overcome by the heart.
Yes, ''hasn’t it been awful? I hate storms,| but I was ''quite thankful to hear the thunder last night,| because there was a 'chance of its ˙clearing the air. It 'hasn’t been quite so bad today. I suppose it’s been ˙even worse with you.
Like an oven. I’ve been completely ˙flattened out.
– Hello, you 'look as ˙though you 'shouldn’t be here.
I had a 'rotten night. It was four before I ˙got to sleep,| and now I feel like a ˙wet rag, of course.
You shouldn’t have come in. Why didn’t you ˙ring up | and say you ˙weren’t coming?
Oh, I must give my eleven o’clock lecture.|| I shall manage.
No, seriously,| I think it’s ˙short sighted. You probably won’t do much good,| and you might just as well have tried to make sure of being 'all ˙right for tomorrow,| instead of getting 'still more tired.
Oh, it’s fatal to give way. It’s just as well to have something you must do. I shall 'just give my lecture and 'then go home.
Yes, for heaven’s sake, do.
– 'Here’s a telegram that was ad'dressed to you at ˙our house.
It’s very nice of you to have troubled to bring it over.
I took the ˙liberty of opening it,| and 'as it ˙seemed to be rather urgent.| I 'thought I’d better ˙bring it to you at once. I 'hope I did right.
Of course you did. But I’m sorry you’ve had all this bother on my account.
Not at all. I’ll run you ˙up to Town with me if you like. I’ve got to go up, anyway.
Will you? How sweet of you. But you’ll stay for tea now you’re here.
Oh, no. I wouldn’t dream of delaying you,| when John’s waiting for you in Town.
It isn’t so urgent as all that;| I do wish you’d stay for a cup.
'Some other time, perhaps. I should hate to be keeping you hanging about here, when I’m sure you’re dying to see him.
– Did you do 'Tuesday’s crosswords?
Tuesday’s. Yes. I think so. No, wait, I remember now. I got ˙stuck in the 'top ˙left-hand corner. Did you ˙finish it? I forgot to ˙look at the solution.
I got it in the end. 'What ˙was it 'you couldn’t get?
I 'can’t remember exactly. Something about “On parade” was one.
Oh, “esplanade”.
What a fool I am. Of course.
Smith was saying he 'thought it was an easy one. He got it in 'ten minutes or something – all except “icicle”, which I thought was ˙rather surprising.
I got it; but 'only when I’d got 'all the ˙letters I could get. 'Then I ˙saw it must be that – but I didn’t get it from its own clue.
They 'let ˙go of 'Alice’s hands,| and 'stood looking at her for a minute.|| There was a 'rather 'awkward pause,| as Alice didn’t know 'how to be'gin a 'conversation …|| This 'didn’t 'sound like a remark that needed any answer:|| so 'Alice ˙said nothing,| but 'pulled away.|| There was 'something queer about the water,| as 'every ˙now then the oars ˙got fast in it,| and would 'hardly come out again …|| By this time she had found her way into a 'nice ˙little room| with a table near the window,| and on it a fan | and 'two or ˙three pairs of 'white kid-gloves.|| So she 'took ˙up the 'fan and the gloves, and was 'just ˙going to 'leave the room | when her 'eye ˙fell upon a 'little bottle | that 'stood near the looking glass.|| There was 'no label ˙on it | but she decided to uncork it …|| “And how many hours a day ˙did you 'do lessons?” – said Alice in a hurry to change the subject. “'Ten ˙hours the first day”, said the Mock Turtle:| “nine the next, and so on”. “What a curious plan!” exclaimed Alice. “That’s the reason they are ˙called lessons”, the Gryphon remarked; “because they lessen from 'day to day”. “This was quite a new idea to Alice,| and she 'thought it over a little | before she made her next remark”. “Then the eleventh day must have been a holiday?” “Of course it was”, said the Mock Turtle. “And how did you ˙manage on the twelfth?” Alice went on eagerly. “'That’s enough about lessons”,| the Grypton interrupted | in a very decided tone:| “tell her something about games now”.|| She 'looked at the Queen,| who seemed to have suddenly wrapped her˙self up in wool. 'Alice 'rubbed her eyes,| and 'looked again. She 'couldn’t ˙make out | what had happened at all …||
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