Учебно-методический комплекс направление подготовки специалиста: 031200 (620100) Лингвистика и межкультурная коммуникация специальность: 031202. 65 ( 022900) Перевод и переводоведение санкт-петербург




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НазваниеУчебно-методический комплекс направление подготовки специалиста: 031200 (620100) Лингвистика и межкультурная коммуникация специальность: 031202. 65 ( 022900) Перевод и переводоведение санкт-петербург
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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.

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.

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.

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.

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 Fleet-Street 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.


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 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.


Текст 4

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