Logical-syntactical scheme

Although the example above describes a sequence of actions, such a description occurs to happen rather seldom, let alone its artificially peculiar character.

In reality, what governs speaking is a phrase production basis. It is understood as a model combination scheme kept in a speaker’s memory in the form of a stereotype. This stereotype is implemented in our memory in a generalized form as a logical-syntactic graph. E.g.: 1) I wanted to go to the theatre yesterday. But, to my regret, I could not get the seats. The thing is it was the first night. 2) The thing is we arrived late yesterday. And I wanted to see Bob. But, to my regret, he had already left.

If we try to analyse a sufficient number of utterances we can easily notice that phrases, or rather their sequence, composing these utterances is not chaotic. What’s more important, this sequence is neither arbitrary nor unique. Moreover, it’s repeated rather frequently in real life situations. In other words, their number is finite.

Another important aspect is that the sequence of phrases reflects logical elaboration of a thought. This logical development is manifested through the repetition of syntactical cohesion between phrases. Thus, using the allotted parts of phrases, revealing syntactical cohesion (I wanted to, the thing is… etc.) one can compose an infinite number of utterances. Hence, if it is possible to display main logical-syntactic schemes, then, these schemes can be successfully used in teaching monologue. This idea has been proved experimentally by A.V. Kunin. It is considered that such schemes help develop the characteristics possessed by monologic utterances:

- to express a complete, communicatively addressed idea;

- to make consistent the evolvement of the idea;

- to speak fluently, without groundless pauses.

Thus, the stages for achieving the required characteristics should be the following: 1) students should acquire the habit of expressing one complete idea. For this purpose, students are required to produce an utterance on the subject on the level of a single phrase. There is only one restriction: all phrases should deal with the subject suggested by the teacher;

2) students are required to pay attention to the consistency of phrases, i.e. to logical connections between phrases. E.g.: Our classroom is large. There’re 4 windows in it…

3) the volume of an utterance is increased, new logical tasks are set, elements of discussion and argumentation are included. E.g.: Prove the correctness of the statement: ‘Our town is attractive for tourists’.

It is necessary to point out that a phrase can be an element of both monologue and dialogue. Mastering a phrase takes place at the stage of forming speech habits. However, it is not mastering monologic speech yet. Teaching monologic speech starts only with the task of producing not less than two coherent phrases, i.e. mastering monologic speech starts at the stage of developing habits. That is why any utterance for developing monologic speech habits should be at the super-phrasal level. It has to possess all speech characteristics from the very beginning. It is the volume and complexity of an utterance that is growing with the course of mastering monologic speech. Thus, at the stage of habit development (the text level) students should produce utterances with all distinctive features of these speech habits at the level of 2 or 3 phrases. Such an utterance can be called a micro monologue. The stage of skill perfection (the after-text level) presupposes producing utterances of greater volume and higher complexity. The means of achieving this final goal can be:

1. Producing utterances with the help of logical-syntactic schemes. E.g.:

I like… (this game).

And I can… (play football well).

…quite often (we go to the stadium).

But… (we don’t have a coach).

2. Extending utterances. E.g.: - I like football very much. And you?

– I like football too. I enjoy watching football matches on TV. But I have no time to go to the stadium.

3. Reducing utterances (passages). E.g.: - leaving out unnecessary words; - conveying the content in 2 or 3 phrases.

4. Speaking on the suggested situation. E.g.: - a talk on the picture; - a talk on the plan; - a free talk on a given subject.