Учебно-методическое пособие по домашнему чтению для студентов I - II курсов английского отделения

ГОСУДАРСТВЕННЫЙ КОМИТЕТ РОССИЙСКОЙ ФЕДЕРАЦИИ ПО ВЫСШЕМУ ОБРАЗОВАНИЮ КАЛИНИНГРАДСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ

УЧЕБНО - МЕТОДИЧЕСКОЕ ПОСОБИЕ ПО ДОМАШНЕМУ ЧТЕНИЮ для студентов I - II курсов английского отделения

Калининград 1995

Учебно-методическое пособие по домашнему чтению для студентов I - II курсов английского отделения /Калинингр. ун-т; Сост. Л.Б. Бойко. - Калининград, 1995. - 17 с. Учебно-методическое пособие включает комплекс заданий по домашнему чтению для работы на младших курсах языковых вузов на материале сказок Р. Киплинга "Just so stories". Адресовано студентам и преподавателям.

Составитель кандидат филологических наук Л.Б. Бойко Печатается по решению редакционно-издательского Совета Калининградского государственного университета

© Калининградский государственный университет, 1995

Учебно-методическое пособие по домашнему чтению для студентов I - II курсов английского отделения Составитель Людмила Борисовна Бойко Лицензия № 020345 от 27.12.1991 г. Редактор А.М. Соколова. Технический редактор Н.Н. Мартынюк. Корректор Л.Г. Ванцева. Подписано в печать 20.04.1995. Формат 60×90 1/16. Бумага для множительных аппаратов. Уч.-изд. л. 1. Усл. печ. л. 1. Тираж 100. Заказ 149. Калининградский государственный университет, 236041, г. Калининград обл., ул. А. Невского, 14 Лаборатория оперативной полиграфии

Введение Предлагаемое пособие по домашнему чтению представляет один из многочисленных вариантов самостоятельной и аудиторной работы над языком. Система заданий носит комплексный характер, нарочито сочетая в себе классический лексико-грамматический и коммуникативный подходы к обучению иностранным языкам. Богатство лексики, образность и живость изобразительных средств, обилие самых насущных тем для дискуссий делают сказки незаменимым источником и средством изучения английского языка. Структура уроков не единообразна, что, на наш взгляд, позволяет избежать монотонности. Широкий выбор заданий предоставляет преподавателю возможность адаптировать каждый урок к конкретным условиям работы. Это значит, что с учетом уровня подготовки студентов и количества отведенных часов, преподаватель сам отбирает наиболее подходящие из предлагаемых заданий, одновременно определяя долю и вид работ для самостоятельной подготовки. Такой подход предусматривает и творческое развитие предложенных направлений работы над языком. Так, если группе требуется закрепление грамматических навыков, соответствующий блок можно дополнить а) более простыми структурами или б) комплексом упражнений на заполнение пропусков, парафраз и т. д. Акцент на расширение словаря можно также сделать за счет построенных на текстовом материале упражнений (парафраз, подбор синонимов / антонимов, поиск ошибок, заполнение пробелов и т.д.) Трудно переоценить возможности, которые получают студенты для глубокой филологической работы над словом при чтении сказок Р.Киплинга. Анализ морфологии и семантики поможет начинающим проникнуть в тайны чужого языка. Особенностью лексико-грамматических заданий в данном пособии является то, что все они получают развитие и закрепление в речевых формах и креативных видах работ. Введение элементов контрастивного анализа стало возможным прежде всего благодаря наличию прекрасных переводов-пересказов сказок, сделанных К.Чуковским. Сам процесс перевода и сравнительный анализ разных переводов очень увлекает студентов, однако отнестись к этому виду заданий следует в высшей степени серьезно: такая работа требует аналитического подхода с привлечением всего комплекса филологических знаний. Пособие не носит характера методических указаний или системы упражнений. Это, скорее, рекомендации, предлагающие направления в развитии языковой активности. Именно поэтому мы не ставили своей задачей охватить весь материал, заслуживающий внимания с учебно-методической точки зрения. Более того, данный подход оставляет место для дискуссий. Так, введение раздела с элементами стилистического анализа может вызвать возражения, если учесть, что сказки Киплинга рекомендуется читать на I - II курсах языковых

3

вузов. Однако, исходя из положительного опыта работы и принимая внимание активную роль преподавателя на такого рода занятиях, мы считаем, что работа над стилем вполне посильна для начинающих, а главное - она помогает постичь истоки очарования поэтизированной прозы Р.Киплинга, кроме того, это серьезная заявка на филологическое прочтение художественного произведения. Две сказки намеренно оставлены для самостоятельной работы. Выбор сделан не по остаточному принципу, а по принципу контраста: сказка "The Cat that Walked by Himself" - одна из самых популярных среди русских читателей, тогда как "The Butterfly that Stamped" гораздо менее известна. Вот лишь несколько видов работы на последнем этапе: - беспереводное чтение (в помощь преподавателю и студентам рекомендуется пособие Н.Ф.Пелевиной "Смысловая структура текста и беспереводное чтение" - Калининград, 1985); - самостоятельное прочтение со словарем и разработка каждым студентом (или группами по два-три человека) на выбор: а) комплекса заданий; б) системы лексических / грамматических упражнений; в) упражнений с привлечением аудио-, видеотехники; г) игр и т.д. - инсценирование; - написание юмористического эссе, например, на тему "О том, как устоять перед искушением" или "О пользе животных (котов, мышей и т.д.) в домашнем хозяйстве". Возможности варьирования заданий безграничны. Важно учесть, что на завершающем этапе студентам необходимо предоставить максимум творческой свободы для реализации накопленного потенциала. Логическим завершением работы над книгой должно стать итоговое занятие по творчеству Киплингасказочника. Пособие составлено по изданию: Kipling, R. Just So Stories. - Progress Publishers, Moscow. - 1972.

4

HOW THE WHALE GOT HIS THROAT I.Pick out the names of the fish from the tale, then consult the dictionary for at least 10 more names to complete the list. II.Insert a drawing of a fish into the pattern below following the indications: dorsal fin scales tail gill

snout

anal fin pelvic fin III.Read the 1st paragraph observing the rhyme & rhythm of the narration. What complicates its translation? Try your hand at translation again doing the bottom paragraph on p.32 ("But..."). IV. Grammar focus Translate the sentences containing the following grammatical constructions: "... with nothing to wear but..." (p.32) "... he would never have done that ..."(p.32) "I ought to have warned you..." (p.33) Make up a few examples of your own after the patterns: with nothing to do but Modal verb + have done V. Reproduce the situations where the words & word combinations listed below are used: to be out of harm`s way once upon a time in a small voice

5

one at a time from that day on behave yourself latitude / longitude VI. Answer the following questions: Who is wisest in the tale? What are his ways? How does the tale teach children to be obedient? Why do you have to remember about the suspenders? What is Magic & why? How does the Mariner manage to outwit the Whale? VII. Write down a few questions a child is likely to ask when reading the tale. VIII. Introduction to elementary stylistic analysis. What makes the story sound so attractive to children? What specific intonation markers can you trace in the text? What makes the story akin to folk tales? What are the functions of the 1) children`s & 2) learned words in the text? How is incorrect children`s language reproduced in the story? Take some clues: inversion, graphic means, capital letters, emphatic repetition, rhyme, rythm. HOW THE CAMEL GOT HIS HUMP I. Practice reading the poem at the end of the text. II. Explain the meaning of the word "howl" & its derivatives on p.40. III. Suggest your version of translation for the following paragraphs: p.4O "In the beginning..." p.41 "At the end..." p.44 "I shouldn`t say..." 3 paragraphs on up to "Now you are going to work" IV. Account for the different ways of translating "with-phrases" on: p.4O "with a saddle on his back" p.41 "with the world so new-&-all" p.42 "with a long neck & long legs" p.42 "with his chin in his hand" p.44 "with this hump on my back"

6

V. Find the English counterparts for the following Russian words & expressions in the text: компенсировать, возмещать на вашем месте за чей-то счет нагнать, догнать жить чем-то, на что-то Reproduce the situations where the above expressions are used. VI. Paraphrasing the following expressions reproduce, the situations from the story. Your partner will be asked to reconstruct the original phrases. to be in charge of smth take one`s bearings to leave smb alone to work double time to hurt one`s feelings VII. Describe the animals & their duties. Consult a dictionary for greater detail. VIII. Render the tale using reported speech. IX. Introduction to elementary linguo-stylistic analysis Account for the relationship of the noun "hump" & the word "Humph" in its various morphological manifestations. What effect is produced by the recurrent repetition of the conjunction "and" (polysyndenton) throughout the 2nd paragraph? Do you think the poem is part & parcel of the tale? Why? What role does it play in the composition of the story? HOW THE RHINOCEROS GOT HIS SKIN I. Translate the 1st paragraph of the story paying special attention to "withphrases". II. Reproduce the situations containing the following words & phrases: необитаемый остров солнечные лучи быть (не)воспитанным расстроить / разрушить выдувать пузыри / бездельничать

7

потирать руки / cтирать что-л. с чего-л. испортить характер дурное настроение III. Give detailed descriptions of a)the Parsee`s & b)the Rhinoceros` looks & behaviour. IV. Pick out all the details to describe the climate of the desert. What role does it play in the story? V. Find the bits where the author reminds children of how to behave (p.50). VI. Make up a list of Do`s & Don`t`s for children. VII. Retell the story as if you were a) the revenging Parsee; b) the offended Rhinoceros. VIII. Introduction to elementary linguo-stylistic analysis What is the role of the italicised & capitalised words in the text? Comment on the Sloka on p.52 & the deliberate mistake in it. How does Kipling create mistery in his tales? HOW THE LEOPARD GOT HIS SPOTS I. Reproduce the situations in which the following words & expressions are used: обычно охотились вместе этому стоит поучиться избегать чего-л. мало-помалу последовать совету обзываться короче говоря стали жить-поживать и добра наживать с головы до ног II. Pick out the names of colours & shades from the tale. How do they help the reader visualize the scenary of the Veldt? Describe the "aboriginal fauna". III. Prepare to describe the animals in detail. Learn the words denoting their body parts, movements, characters, cries etc., so that you can describe an animal to your partner. He (she) will have to guess what beast you meant.

8

IV. Translate the first two paragraphs of the story.Compare your version with the translation by S.Marshak or other translators. V. How are children opposed to grown-ups in the tale? VI. Write down the questions Baviaan is most likely to ask when he sees the change in the Ethiopian & Leopard. VII. Retell the story as seen through the eyes of the animals who had undergone changes first. VIII.Introduction to elementary linguo-stylistic analysis What is the role of the Biblical allusions in the story? Comment on the narrator's remark on p.62 & analyse the phonetic & semantic nature of the lexical stock in the preceeding passage. Comment on the speech characteristics of the principal characters. What causes most of the translation problems in the story? How do professional translators overcome them? Comment on the nature of pun (play on words) considering the cases in the story ("to change"; "to go into (other) spots"). THE ELEPHANT`S CHILD I. Read the tale starting from the poem at the end of the story. Learn the poem by heart. II. Translate the following bits: pp.74-75 - the first paragraph, where you should pay special attention to the author`s occasionalisms; pp.80-81 - from "Then the Crocodile..." up to "You are hurtig be!" This passage should be read in roles before translation. III. Complete the list of the names of animals' & birds' parts of the body. Supply the Russian nouns with their English equivalents: задние \ передние ноги лапы когти копыта ............ ............

9

IV. Role play a conversation between the Elephant`s Child & one of his relations on the hero`s return. V. Answer the questions: What did the Elephant's Child look like before & after he'd satisfied his curiosity? Why was everybody astonished when the Elephant's Child spanked them? Whose example should children follow? Add a few questions of your own to the list. VI. Retell the story as if you were: the Elephant's Child the Python the Crocodile. Doing so, try to show each animal's attitude to the events & their participants. VII. Prepare the lecture "On the advantages of having a trunk"; deliver it on behalf of the Python. VIII.Introduction to elementary linguo-stylistic analysis In what way is the composition of the tale akin to that one of folk tales? What other elements of folk tales structure can you trace? What is the nature of some of the author's blends? Comment on other language tricks & their function in the story. THE SING-SONG OF OLD MAN KANGAROO I. While reading the tale pay special attention to the pronunciation of the invented words. Read the poem to practise your pronunciation skills. II. Give vocabulary or contextual synonyms for the following words & expressions: to change to chase to see to be popular to smile to jump to thank to look for in the world

10

thank goodness Discriminate between them. III. Translate the following passages: p.92 ("the very beginning...") p.93 ("Up jumped Dingo...") p.95 ("Still...") p.96 ("Still ran...") IV. Ask 10 quiestions about the Kangaroo. V. Retell the story. VI. Grammar focus Find the phrases in the text made up after the following patterns: N/PRN do/did Vinf

(hint: p.92)

N/PRN [wish] (that) N/PRN did/had done (hint: p.96) Compose two dialogues between: any two Gods /the Kangaroo/ the Yellow-Dog Dingo - using these patterns. What is the meaning of the verbs "to grow" & "to get" in the expressions "to get nearer", "to grow longer"? Speak about other personages of the tale acquiring a certain state or quality (growing or getting+Adj). VI. Compare the Kangaroo's three requests & try to find out why the third God agreed to help him. VII. You are a teacher, & the personages from the tale are your pupils (the God, the Kangaroo, the Dog). Write their characters, please. IX. What do all the characters have in common with children? What do all the characters have in common with grown-ups? X. Introduction to elementary stylistic analysis Pick out & comment on the cases of inversion & reiteration. What end do these stylistic devices serve in the tale? What are the constituents of the rhythmical structure of the text? What is the function of rhythm in the tale?

11

THE BEGINNING OF THE ARMADILLOES I. Find the equivalents for the following words & expressions in the text: быть озадаченным делать больно ничего не поделаешь спутать еле удрать барахтаться вести хозяйство задержать дыхание оставить в покое отличать Paraphrase them, if possible. Reproduce the situations in which they are used in the text. II. Try your hand at translating the following bits. Compare your translation with K.Chukovsky's version. p.102 ("This, O Best Beloved..") p.103 ("Now attend to me..." ) - 3 paragraphs p.108 ("Don't talk to me...") - 3 paragraphs III. What can one do in water? Pick out the verbs describing one's movements in water. Tell the story of Stickly- Prickly's lesson in swimming. IV. Describe Hedgehog's & Tortoise's appearences at the beginning & at the end of the tale. Comment on the functional role of the changes they underwent. What are their gains & losses? V. Dramatize one of the dialogues from the tale. VI. Characterize each of the four personages each time assuming a new attitude to them: sympathetic, convicting, that of admiration (the list can be extended). VII. Grammar focus Work out a list of recommendations as to what the animals should & shouldn't have done. VIII.What is the moral of the tale? Can you think of an appropriate proverb to illustrate it?

12

IX. Retell the whole story. X. Introduction to elementary stylistic analysis What language phenomenon is made use of in the passage where Hedgehog & Tortoise were trying to confuse Painted Jaguar? What makes the characters' speech so lively & expressive? HOW THE FIRST LETTER WAS WRITTEN I. Read the story in roles. II. Bits for translation: p.120 ("Once upon...") p.132 ("By this time...") III. Ask apropriate quiestions as if you were: a) the Mummy, b) the Strangerman. IV. Comment on the paragraph on pp.132-133 considering the conclusion: "Aren't those beautiful words"? V. Reproduce the situations in which the following words & expressions are used. Provide the latter with their Russian equivalents: for short to think hard to stamp one's foot to make faces to make notice of smb. to mean no harm to be armed to the teeth to make a fuss about smth. VI. Retell the story as if you were: a) Teshumai, 2) one of the ladies. VII. R.Kipling was a very observant person & a good psychologist - just reread the passage on pp.126-127 with Taffy's comments on her drawings to make sure. Now, let's play a game. One student occupies the teacher's table & starts drawing a picture, making detailed comments on what s/he is doing. The rest should closely follow him, so that they could depict the same without being able to see her/his drawing. When it is finished, the group is to discuss in twos the discrepancies between the "original" & their versions in order to finally nominate the best copy.

13

VIII. How does the author mock the modern family & their relations? What is the author's idea of a model family? Present your own ironical sketch of the modern family. IX. Introduction to elementary stylistic analysis What are the two different functions of the numerous grammatical imperfections in the text? What principle underlies coining of exotic names? What makes the title of the tale sound ambiguous?

HOW THE ALPHABET WAS MADE I. Read the story & pick out one or two bits for dramatizaion. II. Find the equivalents for the following expressions in the text: внезапно обнаружить что-л. осенить как-будто понарошку смеяться над кем-л. хорошо получается, отлично выходит придираться к кому-л. Reproduce the situations with the above expressions. III. Select a few bits for literary translation. Do your translation in writing so that you could then compare it with authorized versions. IV. Grammar focus Pick out at least 10 irregularities of Taffy's speech. Comment on them. V. Describe, please, how one (choose any) of the letters was invented. VI. Here are a few content-based questions for you: What is Kipling's "theory" of invention of the ABC? What was the main principle of letter-writing for Taffy & her father? Why? Do you happen to know any scientific theory of this greatest of inventions? Have you got a theory of your own? What about writing another story on the same subject? VII. Introduction to elementary stylistic analysis

14

Which of the linguistic & paralinguistic means employed in the text complicate its translation so much? Why? What is the function of the poems at the end of each tale? In what way is the poem concluding this tale special? Comment on the function of alliteration on p.148. THE CRAB THAT PLAYED WITH THE SEA I. Translate the following passages: p.163 ("But towards...") p.174 ("You are lazy...") - 2 paragraphs. How did you cope with the pun in the word Malazy? What ways out do professional translators suggest? II. Which of the animals did the following: scuttled off sideways chewed the cud was making a beaver-dam was scratching with flippers stepped into the sea licked the tongue round the whole forest stamped his feet whirled sand through the air was feeding in the field was digging with his tusks threw up lumps of earth felled trees (mind the difference between the words to fell & to fall)? III. Pick out at least a dozen phrasal verbs (stir up, pour down & the like). Suggest a task for your mates to reinforce their usage. IV. Pick out half a dozen useful expressions for your groupmates to paraphrase &/or translate them. V. Describe the crab at the beginning & at the end of the tale. Account for the changes in his looks & character. What gifts was the crab given? What did they enable him to do? What was he deprived of & why? VI. In what way is the tale educational?

15

What should children do to be wise? VII. Grammar focus Reproduce the situations where all types of Conditional Mood are used. Give the jist of the story in form of a dialogue built according to the pattern of the following example: - What would have happened if the Eldest Magician hadn't told all the ani-mals to come out & play?

-Then the animals wouldn't have known what to do - so, there would have been no animals on earth.

VIII. Now that you can describe animals & know more about functional usefulness of their parts of the body, dramatize a dialogue between any two creatures for example, characters from Russian folk tales - bargaining for some body parts (i.e. a tail, a nose, ears etc.). Let them motivate their choice. Make full use of conversational phrases you've learned from the tale by R.Kipling. IX. Introduction to elementary stylistic analysis What allusions underlie the tale? Which one is so emphatically brought forward in the 1st paragraph? What everyday situation is simulated in the 1st paragraph? What is the function the persistent repetition of parallel constructions in the 1st paragraph? Comment on the instances of hyperbole & simile in the text.

16