- •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
III. Project Work
Prepare to give a presentation of the samples to your choice. Use one of the samples offered. Follow these instructions.
try to revise the recorded model talk;
observe the specifics of the tonal, temporal and dynamic (loudness) variability;
remember to try and focus on the hesitation phenomenon which is really unpredictable in spontaneous talks;
try not to forget that everyday talks are totally different from interviews. The rhetoric strategy of these kinds of discourse conditions prosodic as well as body language specificity (eye contact, miming, posture, movements and gestures);
observe the invariant phonostylistic patterns of pitch, rhythm, rate and volume of everyday talks;
use the assessment form to evaluate the presentation techniques. If possible record your performance and use the recording for feedback to observe the appropriate use of verbal and non-verbal means of communication.
-
excellent
good
fair
poor
articulation
pitch patterns
rhythm
rate
volume
Sample A
Finding Somewhere to Live
Elvira has had trouble finding lodgings in London and George is doing what he can to help her.
George: Well, let’s hope this address is right.
Elvira: And that the room won’t be taken, as happened last time.
George: Yes, that’s the trouble with getting the address off a newsagent’s board. Someone else may have seen it, and got there before you.
Elvira: Isn’t there any other way of getting a room in London?
George: You can go to an accommodation bureau. You have to pay a fee or a week’s rent. Or you can sometimes find addresses in the evening newspapers.
Elvira: Ah, this is the street! Now, number three. But where is it?
George: I think it’s the other side.
Elvira: The numbers this side seem to be in the seventies, and then, on the other side, they begin at number one.
George: I think the odd numbers are on one side and the even on the other.
Elvira: And then the even numbers begin at one end of the street and the odd the other end. It’s so confusing. And each street seems to have a different system!
George: Anyway, here we are. (Rings).
Elvira: (looking round) It seems a nice neighborhood. Neat little houses and the street is clean. Someone's coming to the door.
Lady: (opening the door) Good morning.
George: Oh, good morning. I believe you’ve got a room to let. This lady is interested—
Lady: Yes, that’s right. Come in. I’ve got two rooms, actually. One in the basement and one at the top of the house.
Elvira: Oh, I would prefer the one at the top. I don’t like basements. There isn’t enough light.
Lady: Well, as you like. Of course, my basement room is very pleasant. There’s no damp and there are windows. Anyway, let’s go up.
George: And what’s the rent? Is there any difference between the two rooms?
Lady: The basement one is ₤5 a week and the one at the top ₤6.
Elvira: Does that include breakfast?
Lady: No. That’s just for the room. But it’s reasonable, you know. This is a very pleasant area only two minutes away from the tube station and there are plenty of buses. Ah, here we are!
Elvira: Yes –
Lady: You have your own gas ring if you want to cook breakfast or make a cup of tea. Then there’s a gas meter. You put shillings in here.
Elvira: Is electricity included?
Lady: Yes, and hot water. The bathroom’s on the floor below, and you can have as many baths as you like. The room is nicely furnished as you can see, and there’s a lovely view over the garden.
Elvira: Yes, I like it. But you wouldn’t accept ₤5 a week?
Lady: I’m afraid not. I think it’s worth ₤6.
George (to Elvira): You realize it’s more expensive than if you stayed with an English family and had your meals with them.
Elvira: Yes. But I don’t want to be tied.
Lady: You don’t play the guitar or any musical instrument?
Elvira: The guitar? No.
Lady: Well, I know young people want to enjoy themselves but I’m afraid I can’t let you have any parties or have any friends after ten.
Elvira: No, no —that’s all right. I’ll take it. And don’t worry: I’m thoroughly respectable and orderly and a very good girl in every way.
George (emphatically): I can vouch for that.
Sample B