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Intonational Peculiarities of Reading Fairy-Tales






Дополнительные материалы по курсу

«Практическая фонетика», 2 курс, IV семестр

I. Экзаменационные вопросы по теоретическому материалу:

Theoretical Examination Questions

1. Assimilation [1: 70-74 – Chapter VII].

2. Accommodation. Reduction. Elision [1: 74-75, 95-100 – Chapters VII, XI].

3. The juncture of speech sounds (three stages of articulation; merging of stages; interpenetration of stages) [1: 61-69 – Chapter VI].

4. Intonation. Its main functions [3: 8-10].

5. The components of intonation [3: 10-11].

6. The main English intonation contours [3: 20-32, 38].

7. English speech melody [3: 12-14, 32-35].

8. The structure of intonation pattern (the pre-head, the head, the nucleus, the tail) [3: 14- 19, 36-38].

9. The sense-group or the syntagm. The use of the tones in sentences containing more than one sense-group [3: 38-41, 59].

10. Sentence-stress in English [3: 60-62; 2: 212-216 – Part Five. Intonation. Chapter V].

11. English rhythm [3: 62-65; 2: 223-226 – Part Five. Intonation. Chapter VII].

12. The use of the main intonation contours in statements [3: 42-45].

13. The use of the main intonation contours in questions (general, special, alternative, disjunctive, short comments of the type “Is it? ”, “Isn’t it? ”) [3: 46-55].

14. The use of the main intonation contours in commands and requests, exclamations and interjections [3: 55-58].

15. Emphatic speech [3: 66-70].

 

Literature:

1. Фонетика английского языка. Нормативный курс: Учебник для ин-тов и фак. иностр. яз./Васильев В.А. и др. На англ. яз. – 2-е изд., перераб. – М.: Высш. школа, 1980. – 256 с.

2. Практическая фонетика английского языка: Учеб. для фак. англ. яз. пед. ин-тов / М.А. Соколова, К.П. Гинтовт, Л.А. Кантер и др. – М.: Гуманит. изд. центр ВЛАДОС, 1997. – 384 с.

3. Антипова Е.Я. и др. Пособие по английской интонации: Учеб. пособие для студентов пед. ин-тов и фак. иностр. яз./ Е.Я. Антипова, С.Л. Каневская, Г.А. Пигулевская. На англ. яз. – 2-е изд., дораб. – М.: Просвещение, 1985. – 224 с.

II. Теоретические вопросы для самостоятельного изучения

1. Intonational styles [2: 233-237 – Part Six. Phonostylistics. Chapter II].

2. Declamatory style. Reading aloud fiction [2: 245-247 – Part Six. Phonostylistics. Chapter III].

3. Reading fairy-tales *

4. Verse-reading/verse-speaking *

5. Reading drama *

6. Scientific (academic) style [2: 240-244 – Part Six. Phonostylistics. Chapter III].

7. Publicistic style [2: 248-250 – Part Six. Phonostylistics. Chapter III].

8. Familiar (conversational) style [2: 251-252, 274-278 – Part Six. Phonostylistics. Chapter III].*

9. Phonostylistic peculiarities of an interview *

10. Informational style [2: 239-240 – Part Six. Phonostylistics. Chapter III].

* – см. пункт III.

 

III. Дополнительный материал для изучения теоретических вопросов

Intonational Peculiarities of Reading Fairy-Tales

Tales occupy a somewhat intermediate position between the so-called oral and written types.

Tapes all round the world have certain similarities in their structure. They usually begin and end with a specific embellishment, the beginning of each presents a series of typical formulas. For instance, many English tales begin with the words: " once upon a time there..." The so-called " binary oppositions " are typical of all tales. Good is opposed to Bad, Genuine to False, etc. Alongside with this binary principle, the principle of thrice-repeated actions or phenomena exists in this structure of the plot of the tale. The classical example of this is the trembling of characters and actions: three brothers, three helpers, etc. Compositionally this trembling serves the aim of breaking the development of the plot.

Originally tales existed in oral forms. Nowadays when many tales are published the forms of realization are various.

Tales can be read, told and even dramatized. The variety of realization and the variety of the plot determine the variety of intonational characteristics.

1. The division into sense-group depends on the type of the text. The narrative part reveals features common with the descriptive prose. The number of stressed words in most cases varies from two to four. In the dialogical parts the sense-groups are shorter (from one to three stressed words).

2. In the narrative part the tonic contour of a sense-group often consists of a Falling Tone and a Gradually Descending Scale. In non-final sense-groups the Rising Tone is more frequent than in the descriptive prose.

In the dialogical parts complex tones are often used. The tonic contour is characterized by more pitch fluctuations.

3. The Decentralized Stress is prevailing in the narrative part. The Centralized Stress is more frequent in the dialogical parts.

4. The rhythmic organization of tales depends greatly on the syntactical and compositional structure of it.

In the narrative part simple rhythm based on the isochronism of rhythmic groups is more common. Sense-groups characterized by a similar tonic structure constitute a periodicity which contributes to the rhythm organization.

Repetitions (lexical and syntactical) which are frequent in tales play an important role in rhythmization. In some tales a regular alternation of descriptive and dialogical parts produces a peculiar rhythm of units higher than a sentence.

Some tales are built on similar repetitions (syntactical, lexical and intonational).

Many tales contain poetic pieces. The combination of prose and verse rhythm produces the rhythmic structure which is in keeping with the plot.

5. The tempo in the narrative part is rather slow and often constant. The tempo of the dialogue is quicker and often changeable.

6. Logical pauses are prevailing in reading or telling tales as the narrator knows the plot well.

2. Intonation Peculiarities of Poetry (Verse-reading / Verse-speaking)

 

It is common knowledge that a poetic piece permits a great va­riety of interpretations. At least two types of interpretations can be distinguished: the so-called authorial (the interpretation of the poet himself) and non-authorial (belonging to anyone else).

The poet usually emphasizes the rhythmic organization of the poem, which is accompanied by a monotone. The author's reading usually strikes as a monotonous one. Strictly organized rhythm is the main means of emotional expression.

Non-authorial interpretation consists in conveying the idea of the poem not only through rhythm but other means too (melody, stress, tempo).

Learners of English often find the reading of English poems difficult. Highly emotional poems seem to have no particular intonational characteristics. One may think that the interpretation of a poem de­pends entirely on the reader. But the reader is expected to express not only his own thoughts and emotions but those which are offered by the author. Besides the form itself limits the number of inter­pretations.

The main peculiarities of poetry consist in the following: the poetic text is built on a regular repetition of similar and iso­chronous units – lines. The line is the main lexico-grammatical and intonational unit of poetry. The line that contains more than six syllables is usually divided into two or more sense-groups. Lines constitute a stanza, which is a higher unit of verse.

Some phonetic peculiarities of verse-reading:

1. Poetry is characterized by a wide use of simple tones: slow falling tones (which are usually smooth and don’t reach the lowest possible pitch level), rising tones and levels. The Level Tone is often combined with the High Level Scale. This pattern gives a somewhat sole character to the utterance.

2. Falling and Rising Tones are usually preceded by descending or ascending pitch movement.

3. The following compound tones are most typical: Fall+Fall, Fall+Level, Rise+Fall.

4. Rhyming words are usually pronounced with the same tone.

5. If the line is divided into two sense-groups, the second is often lower in pitch than the first.

6. The line usually ends in a pause (if there is no enjambment). In general pauses play a great role in verse-reading, they divide the poem into lines and stanzas, the lines into sense-groups. Pauses are syntactical and logical.

7. The pitch range is rather narrow (within an octave).

8. Stress, especially in lyrical poems, is mostly decentralized.

9. The tempo is slow and often constant.

10. The sounds are pronounced distinctly. Long vowels are prolonged.


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