STYLISTICS

N.A.ZAVYALOVA

STYLISTICS TRANSLATION CREATIVE WRITING (WORKBOOK)

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Министерство образования и науки Российской Федерации Государственное образовательное учреждение высшего профессионального образования «Уральский государственный педагогический университет» Институт иностранных языков

STYLISTICS. TRANSLATION. CREATIVE WRITING (WORKBOOK) Учебное пособие на английском языке для студентов высших учебных заведений

пояснительная записка, обработка, упражнения Н.А.Завьяловой

Екатеринбург, 2010

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УДК 811.111(075.8) ББЛ Ш 141.24 – 982.8 Б 89

Рецензент: кандидат филологических наук, доцент Н.Г.Шехтман.

Stylistics. Translation. Creative writing : учебное пособие /поясн.запис., обраб., упр-я Н.А. Завьяловой ; ГОУ ВПО «Урал. гос. пед. ун-т» ; Ин-т иностр. языков. – Екатеринбург, 2010. – 42 с.

Данное пособие предназначено для студентов институтов и факультетов иностранных языков. Выбор тематики пособия обусловлен актуальностью стилистических исследований в аспекте переводоведения. Пособие призвано стимулировать творческие потенции студентов, что должно найти свое выражение в создании прозаических и стихотворных произведений. УДК 811.111(075.8) ББЛ Ш 141.24 – 982.8 Б 89

© ГОУ ВПО «Уральский государственный педагогический университет», 2010 © Сост.: Н.А.Завьялова, 2010

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Предисловие Данное пособие (рабочая тетрадь) представляет собой компонент УМК «Stylistics. Translation. Creative writing» для студентов институтов и факультетов иностранных языков. Спецификой материалов, вошедших в данное пособие, является тот факт, что они ориентированы на закрепление теории стилистики и перевода с выходом на непосредственную творческую деятельность, выраженную в продуцировании студентами собственных прозаических и стихотворных текстов. Пособие является попыткой синтеза трех подходов: стилистики, переводоведения и творческого письма. Пособие предназначено для использования на занятиях как очного, так и заочного отделений. Основная цель пособия – внести элемент разнообразия на занятиях по «Стилистике» и «Практике письменного перевода», показать многогранность и неоднозначность изучаемых вопросов. Прохождение всего пособия рассчитано на 20 часов в восьмом семестре IV курса. План прохождения материалов пособия включает знакомство с текстами Textbook и Workbook, ответы на предтекстовые и послетекстовые вопросы. Особое внимание уделено проектной деятельности студентов, результатом которой должны стать прозаические и стихотворные тексты на английском языке. По желанию студентов и преподавателей рамки проектной деятельности могут быть расширены.

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CONTENTS UNIT 1. THE SUBJECT MATTER OF STYLISTICS ............7 UNIT 2. STYLISTIC DEVICES AND EXPRESSIVE MEANS ....................................................................................................8 UNIT 3. STYLISTICS AND TRANSLATION......................31 UNIT 4. CREATIVE WRITING.............................................38 BIBLIOGRAPHY....................................................................46

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UNIT 1. THE SUBJECT MATTER OF STYLISTICS Stylistics – a branch of linguistics dealing with variants, varieties of linguistic expression and with the sub-systems making up the general system of language (Roman Jacobson).

DISCUSSION 1. Provide definitions of style in various spheres of life: Fashion:______________________________________________________ _____________________________________________________________ ______ Art:__________________________________________________________ _____________________________________________________________ ______ Behaviour:____________________________________________________ ___ _____________________________________________________________ ___ Miscellaneous:_________________________________________________ ___ Give reasons for style study. Is style study relevant personally to you?

I think style study because________________________________

is

important

2. How many language styles can you name? Provide their definitions.

Don’t forget about such spheres of communication as e-mail and SMS.

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Style official style

Sphere represented in all kinds of official documents and papers

Collect additional information about various representatives of stylistic schools, such as Demetrius, Charles Bally, Jules Marouzeau, Marcel Cressot, Leo Spitzer, Ernst Robert Curtius, Karl Vossler, Helmut Hatzfeld, Michael Riffaterre, Ferdinand de Sausurre, Roman Jacobson, Noam Chomsky, Donald Freeman, Pierre Guiraud, Guiraud and Pierre Kuentz, Seymour Chatman, Roger Fowler, Chatman, Samuel R. Levin. J. R. Firth, M. A. K. Halliday, Richard W. Bailey, Lubomir Dolezel, Stanley Fish, Barbara Herrnstein Smith, Mary Louise Pratt, Cheris Kramarae, Deborah Cameron, John Forrester, I.V.Arnold, LV.Scherba, V.V.Vinogradov, M.M.Bakhtin, B.A.Larin, I.R.Galperin, Y.M.Skrebnev.

Linguist

Areas of Interest Stylistics of paradigmatics syntagmatics

Y.M.Skrebnev

and

3. Write an essay (about 20-30 sentences) to the following topic: “The Past, Present and Future of Stylistic Study�.

UNIT 2. STYLISTIC DEVICES AND EXPRESSIVE MEANS 1. Provide definitions of stylistic devices and expressive means.

2. Describe various classifications of stylistic devices and expressive means.

3. Choose a correct variant Alliteration is: recurrence of an initial consonants in 2 or more words. recurrence of a vowel in 2 or more words. capitalization of all the letters in a word.

SD is:

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an emphatic construction used to increase intensity of the utterance. a generalized pattern, a model. dropping of the -h- sound.

Metaphor is: a lexical SD, based on the transference of names based on the associated likeness between two objects, as in the ‘pancake’ for the ‘sun’. a lexical SD in which a proper name is used instead of a common noun. a sound imitating SD. Hyperbole is: a deliberate exaggeration of some quantity, quality, size, etc. ‘I have told it to you a thousand times.’ a lexical SD in which a proper name is used instead of a common noun. a sound 9imitating SD. A SD based on the binary opposition of syntactical meanings regardless of their semantics is called: a phonetic SD. a morphological SD a syntactic SD Transference of names, which proceeds from the fact that two objects have common grounds of existence in reality, is: metonymy simile graphon Name the type of stylistic device in which the direct word order is changed either completely so that the predicate (predicative) precedes the subject, or partially so that the object precedes the subjectpredicate pair. metaphor inversion oxymoron

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4. Identify puns and describe the effect produced by them.

Soon after Sir Lancelot moved to Egypt he opened his very successful used Camel Lot. Two pencils decided to have a race. The outcome was a draw.

The scorpion said to the desert, 'You know, our conversations are always so dry.'

Rocky Road chocolate is best served stone cold.

I beat the eggs and I whip the cream, but the onion always makes me cry.

5. Find and describe stylistically relevant points. Explain their stylistic potential.

Having been myself at various times both poor and ill, I am aware that fine words butter no literary parsnips (U. Sinclair).

Charles: …Didn’t you see her giving me enormous glad eyes? Wanted me to come round and see her when it was quite (J.B.Priestley).

Grace’s face darkened and a harsh note came into her lowered voice… ‘Not on your bloody life’ (D. Cusack and F. James). … the Air Force and army boy’s couldn’t help talking a bit of shop (J.B.Priestley).

Freeman: If I came rather a cropper that’s no reason why you should come one too (W.S.Maugham).

‘My predecessor ’, said the parson, ‘played rather havoc with the house’ (J.Galsworthy).

I … was prepared to endure all manner of creature discomforts for the sake of rest and sun (N. Coward).

‘We all know you are a bit of a snob, Uncle Hector,’ his niece grinned.

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‘Really, my dear girl, you permit yourself…’

‘All right, all right. Keep your hair on. You cannot afford to lose any of what you have left’ (C.Mackenzie).

I’ve been watching you from all over the wall – sitting like I’m patience on the monument (Th. Hardy).

They were as honest as the day (W.S. Maugham).

‘I was fine and startled when I saw you at our door, Mr. Canon,’ she said (A.Bennet).

Well, I’m rare and glad to see you! (A.Bennet).

I will agree to this year’s dividend on condition that we drop this foreign business in future, lock, stock and barrel (J.Galsworthy).

One of these regular London chaps, he is, talks fourteen to the dozen (J.B.Priestley).

6. Specify the type of transfer of meaning used to create the following stylistic devices. State the type of each device: It being his habit not to jump or leap, or make an upward spring, at anything in life, but to crawl at every thing (Ch.Dickens).

The Face of London was now strangely altered… the voice of Mourning was heard in every street (D.Defoe).

Then would come six or seven good years when there might be 20 to 25 inches of rain, and the land would shout with grass (J.Steinbeck).

Stoney smiled the sweet smile of an alligator (J.Steinbeck).

I have only one good quality – overwhelming belief in the brains and hearts of our nation, our state, our town (K.Lewis).

At the great doors of the church, through the shady paths of the Plaza, visible and vanishing again at the mouths of dark streets, the silent, sinister figures of black-robed women gathered to wash away their sins (J.Reed).

He made his way through the perfume and conversation (I.Shaw).

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England has two eyes, Oxford and Cambridge. They are the two eyes of England, and two intellectual eyes (R.Taylor).

Mother Nature always blushes before disrobing (T.Esar).

The pennies were saved by bulldozing the grocer (O. Henry).

Forty years he had wielded the brush without getting near enough to touch the hem of his Mistress’s robe (O’Henry).

The cold breath of autumn had stricken its leaves from the vine until its skeleton branches clung, almost bare, to the crumbling bricks (O’Henry).

Mr.Dombey’s cup of satisfaction was so full at this moment, however, that he felt he could afford a drop or two of oats contents, even to sprinkle on the dust in the by-path of his little daughter (Ch.Dickens).

And the first cab having been fetched from the public house, where he had been smoking his pipe, Mr. Pickwick and his portmanteau were thrown into the vehicle (Ch.Dickens).

Once upon a midnight dreary, While I pondered weak and weary Over many a quaint and curious volume of forgotten lore …

(E.A. Poe) Oh, East is East and West is West, and never the twain shall meet, Till Earth and Sky stand presently at God's great Judgment Seat; But there is neither East nor West, Border, nor Breed, nor Birth, When two strong men stand face to face, though they come from the ends of the earth! (R.Kipling) Common abbreviations took new meanings in his eyes, and had sole reference to them. A.D. had no concern with Anno Domini, but stood for Anno Dombey – and Son (Ch.Dickens).

UNIT 3. FUNCTIONAL STYLES

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I. Read the poem by W. Wordsworth and answer the questions below it.

THE SOLITARY REAPER Behold her, single in the field, Yon solitary Highland lass!

Reaping and singing by herself; Stop here, or gently pass!

Alone she cuts and binds the grain, And sings a melancholy strain; O listen! For the vale profound Is overflowing with the sound.

No nightingale did ever chaunt More welcome notes to weary bands Of travelers in some shady haunt, Among Arabian sands; A voice so thrilling ne’er was heard In springtime from the cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides.

Will no one tell me what she sings? – Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago; Or is some more humble lay, Familiar matter of today?

Some natural sorrow, loss, or pain, That has been, and may be again?

Whate’er the theme, the maiden sang As if her song could have no ending; I saw her singing at her work, And o’er the sickle bending; I listened, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.

Questions

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1.

2.

3.

4.

5.

What is the ‘solitary Highland lass’ doing when the speaker sees her? To what does he compare this singing woman?

What possible subjects of the woman’s songs does the speaker imagine? What does the final stanza reveal about the impact of the experience on the speaker?

Identify the rhyme scheme of the poem.

Give example of the sound devices that give the poem a musical quality – alliterations and assonances.

Why would the poem be less effective if it were written using elegant, ornate language?

II. Read the poem by an Australian poet, Michael Hyde. The poem is Khwab, a Hindi word meaning `dream'. Consult vocabulary section below to clarify unfamiliar words.

Khwab In a dream I flew across the blue ink heavens, Through the air Passing Broome red underneath as Garuda crossing the Indian Ocean To India.

As the sun rose And unsettled the grey mist on the Ganges I sat in a boat With rhythmic creaking oars To the slap thud of washing clothes On stony steps, To the ringing bell of funeral pyres Vultures flapping, rose petals following In the wake of burning dead And on into the fumed traffic Crimson-saried women flying in the air Scooter taxis with alto horns Rushing through crowds and sacred cows.

Computers flashing In canyons of glass and stone White smoke curling, incense

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Floating like the women bathing, Combing jet black hair While the Ganges ran down their shoulders And in the dark of the fiery furnace Men and women slept where they worked Making black iron for bread.

Sweet smells of Madras The rushing Calcutta streets Moon shadows on flute tunes In the temple The four-clap beat and the hum of the drum Dusty men sleeping on stone And balancing women with baskets of rubble.

Rolling camels in Rajasthan Two-humped shadows in the slipping sand A thousand mirrored fragments Held in the palm of my hand, Like infinity `And eternity in an hour' 2. Vocabulary. See the list of Indian realias. o the Ganges is a major river of India, sacred to Hindus o Garuda is the name of a mythical bird; o Madras and Calcutta are cities in India o Rajasthan is a state 3. Use your first impressions to begin a discussion of the poem. Possible areas of discussion should include: o the overall mood of the poem o the point of view of the poet o the contrast between `old' and `new' images of India o the use of colour imagery

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o the meaning of the final lines of the poem 4. Writing task. The poet has drawn on all five senses. Discuss particular parts of the poem that refer to each of the senses. Write (in poetry or prose) your own impressions of a place, drawing on all the senses. Share work in the class.

5. Extension activities. Imagine flying above a familiar city and write a poem in the style of Khwab that captures the `mirrored fragments' of the city. Write a prose account of their impressions of India after reading the poem.

III. Read the text, fulfil characterization tasks below.

THE LANDLADY

by ROALD DAHL Billy Weaver had traveled down from London on the slow afternoon train, with a change at Swindon on the way, and by the time he got to Bath it was about nine o’clock in the evening and the moon was coming up out of a clear starry sky over the houses opposite the station entrance. But the air was deadly cold and the wind was like a flat blade of ice on his cheeks. “ Excuse me,” he said, “but is there a fairly cheap hotel not too far away from here?”

“Try The Bell and Dragon,” the porter answered, pointing down the road. “They might take you in. It’s about a quarter of a mile along on the other side.”

Billy thanked him and picked up his suitcase and set out to walk the quarter-mile to The Bell and Dragon. He had never been to Bath before.

He didn’t know anyone who lived there. But Mr. Greenslade at the Head Office in London had told him it was a splendid city. “Find your own lodgings,” he had said, “and then go along and report to the Branch Manager as soon as you’ve got yourself settled.”

Billy was seventeen years old. He was wearing a new navy-blue overcoat, a new brown trilby hat, and a new brown suit, and he was feeling fine. He walked briskly down the street. He was trying to do everything briskly these days. Briskness, he had decided, was the one common characteristic of all successful businessmen. The big shots up at Head Office were absolutely fantastically brisk all the time. They were amazing.

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There were no shops on this wide street that he was walking along, only a line of tall houses on each side, all them identical. They had porches and pillars and four or five steps going up to their front doors, and it was obvious that once upon a time they had been very swanky residences.

But now, even in the darkness, he could see that the paint was peeling from the woodwork on their doors and windows, and that the handsome white facades were cracked and blotchy from neglect. Suddenly, in a downstairs window that was brilliantly illuminated by a street-lamp not six yards away, Billy caught sight of a printed notice propped up against the glass in one of the upper panes. It said BED AND BREAKFAST. There was a vase of yellow chrysanthemums, tall and beautiful, standing just underneath the notice. He stopped walking. He moved a bit closer. Green curtains (some sort of velvety material) were hanging down on either side of the window. The chrysanthemums looked wonderful beside them. He went right up and peered through the glass into the room, and the first thing he saw was a bright fire burning in the hearth. On the carpet in front of the fire, a pretty little dachshund was curled up asleep with its nose tucked into its belly. The room itself, so far as he could see in the half-darkness, was filled with pleasant furniture. There was a baby-grand piano and a big sofa and several plump armchairs; and in one corner he spotted a large parrot in a cage. Animals were usually a good sign in a place like this, Billy told himself; and all in all, it looked to him as though it would be a pretty decent house to stay in. Certainly it would be more comfortable than The Bell and Dragon. On the other hand, a pub would be more congenial than a boardinghouse.

There would be beer and darts in the evenings, and lots of people to talk to, and it would probably be a good bit cheaper, too. He had stayed a couple of nights in a pub once before and he had liked it. He had never stayed in any boarding-houses, and, to be perfectly honest, he was a tiny bit frightened of them.

The name itself conjured up images of watery cabbage, rapacious landladies, and a powerful smell of kippers in the living-room. After dithering about like this in the cold for two or three minutes, Billy decided that he would walk on and take a look at The Bell and Dragon before making up his mind. He turned to go. And now a queer thing happened to him. He was in the act of stepping back and turning away from the window when all at once his eye was caught and held in the most peculiar manner by the small notice that was there. BED AND BREAKFAST, it said. BED AND BREAKFAST, BED AND BREAKFAST, BED AND BREAKFAST. Each word was like a large black eye staring at him through the glass, holding him, compelling him, forcing him to stay where he was and not to

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walk away from that house, and the next thing he knew, he was actually moving across from the window to the front door of the house, climbing the steps that led up to it, and reaching for the bell. He pressed the bell. Far away in a back room he heard it ringing, and then at once – it must have been at once because he hadn’t even had time to take his finger from the bell-button – the door swung open and a woman was standing there.

Normally you ring the bell and you have at least a half-minute’s wait before the door opens. But this dame was a like a jack-in-the-box. He pressed the bell – and out she popped! It made him jump.

She was about forty-five or fifty years old, and the moment she saw him, she gave him a warm welcoming smile.

“Please come in,” she said pleasantly. She stepped aside, holding the door wide open, and Billy found himself automatically starting forward into the house. The compulsion or, more accurately, the desire to follow after her into that house was extraordinarily strong. “I saw the notice in the window,” he said, holding himself back. “Yes, I know.” “I was wondering about a room.” “It's all ready for you, my dear,” she said. She had a round pink face and very gentle blue eyes. “I was on my way to The Bell and Dragon,” Billy told her. “But the notice in your window just happened to catch my eye.” “My dear boy,” she said, “why don't you come in out of the cold?” “How much do you charge?” “Five and sixpence a night, including breakfast.” It was fantastically cheap. It was less than half of what he had been willing to pay. “If that is too much,” she added, “then perhaps I can reduce it just a tiny bit. Do you desire an egg for breakfast? Eggs are expensive at the moment. It would be sixpence less without the egg.” “Five and sixpence is fine,” he answered. “I should like very much to stay here.”

“I knew you would. Do come in.”

She seemed terribly nice. She looked exactly like the mother of one’s best school-friend welcoming one into the house to stay for the Christmas holidays. Billy took off his hat, and stepped over the threshold.

“Just hang it there,” she said, “and let me help you with your coat.” There were no other hats or coats in the hall. There were no umbrellas, no walking-sticks – nothing. “We have it all to ourselves,” she said, smiling at him over her shoulder as she led the way upstairs. “You see, it isn’t very often I have the pleasure of taking a visitor into my little nest.” The old girl is slightly dotty, Billy told himself.

But at five and sixpence a night, who gives a damn about that? – “I should've thought you’d be simply swamped with applicants,” he said politely. “Oh, I am, my dear, I am, of course I am. But the trouble is that I'm inclined to be just a teeny weeny bit choosy and particular – if you see what I mean.” “Ah, yes.” “But I’m always ready. Everything is always ready day

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and night in this house just on the off-chance that an acceptable young gentleman will come along. And it is such a pleasure, my dear, such a very great pleasure when now and again I open the door and I see someone standing there who is just exactly right.” She was half-way up the stairs, and she paused with one hand on the stair-rail, turning her head and smiling down at him with pale lips. “Like you,” she added, and her blue eyes traveled slowly all the way down the length of Billy's body, to his feet, and then up again. On the first-floor landing she said to him, “This floor is mine.” They climbed up a second flight. “And this one is all yours,” she said. “Here’s your room. I do hope you’ll like it.” She took him into a small but charming front bedroom, switching on the light as she went in. “The morning sun comes right in the window, Mr. Perkins. It is Mr. Perkins, isn’t it?” “No,” he said. “It’s Weaver.”

“Mr. Weaver. How nice. I’ve put a water-bottle between the sheets to air them out, Mr. Weaver. It’s such a comfort to have a hot water-bottle in a strange bed with clean sheets, don’t you agree? And you may light the gas fire at any time if you feel chilly.” “Thank you,” Billy said. “Thank you ever so much.” He noticed that the bedspread had been taken off the bed, and that the bedclothes had been neatly turned back on one side, all ready for someone to get in. “I’m so glad you appeared,” she said, looking earnestly into his face.

“I was beginning to get worried.” “That’s all right,” Billy answered brightly. “You mustn’t worry about me.” He put his suitcase on the chair and started to open it. “And what about supper, my dear? Did you manage to get anything to eat before you came here?” “I’m not a bit hungry, thank you,” he said. “I think I’ll just go to bed as soon as possible because tomorrow I’ve got to get up rather early and report to the office.” “Very well, then. I’ll leave you now so that you can unpack. But before you go to bed, would you be kind enough to pop into the sitting-room on the ground floor and sign the book? Everyone has to do that because it’s the law of the land, and we don’t want to go breaking any laws at this stage in the proceedings, do we?” She gave him a little wave of the hand and went quickly out of the room and closed the door. Now, the fact that his landlady appeared to be slightly off her rocker didn’t worry Billy in the least. After all, she was not only harmless – there was no question about that – but she was also quite obviously a kind and generous soul. He guessed that she had probably lost a son in the war, or something like that, and had never got over it.

So a few minutes later, after unpacking his suitcase and washing his hands, he trotted downstairs to the ground floor and entered the livingroom. His landlady wasn’t there, but the fire was glowing in the hearth, and

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the little dachshund was still sleeping in front of it. The room was wonderfully warm and cosy. I’m a lucky fellow, he thought, rubbing his hands. This is a bit of all right. He found the guest-book lying open on the piano, so he took out his pen and wrote down his name and address. There were only two other entries above his on the page, and, as one always does with guest-books, he started to read them. One was a Christopher Mulholland from Cardiff.

The other was Gregory W. Temple from Bristol. That’s funny, he thought suddenly. Christopher Mulholland. It rings a bell. Now where on earth had he heard that rather unusual name before? Was he a boy at school? No. Was it one of his sister’s numerous young men, perhaps, or a friend of his father’s? No, no, it wasn’t any of those. He glanced down again at the book.

Christopher Mulholland, 231 Cathedral Road, Cardiff Gregory W. Temple, 27 Sycamore Drive, Bristol As a matter of fact, now he came to think of it, he wasn’t at all sure that the second name didn’t have almost as much of a familiar ring about it as the first.» Gregory Temple?” he said aloud, searching his memory. “Christopher Mulholland? …” “Such charming boys,” a voice behind him answered, and he turned and saw his landlady sailing into the room with a large silver tea-tray in her hands. She was holding it well out in front of her, and rather high up, as though the tray were a pair of reins on a frisky horse. “They sound somehow familiar,” he said. “They do? How interesting.” “I’m almost positive I’ve heard those names before somewhere. Isn’t that queer? Maybe it was in the newspapers.

They weren’t famous in any way, were they? I mean famous cricketers or footballers or something like that?” “Famous,” she said, setting the tea-tray down on the low table in front of the sofa. “Oh no, I don’t think they were famous. But they were extraordinarily handsome, both of them, I can promise you that. They were tall and young and handsome, my dear, just exactly like you.” Once more, Billy glanced down at the book. “Look here,” he said, noticing the dates. “This last entry is over two years old.” “It is?”

“Yes, indeed. And Christopher Mulholland’s is nearly a year before that – more than three years ago.”

“Dear me,” she said, shaking her head and heaving a dainty little sigh. “I would never have thought it. How time does fly away from us all, doesn’t it, Mr. Wilkins?” “It’s Weaver,” Billy said. “W-e-a-v-e-r.” “Oh, of course it is!” she cried, sitting down on the sofa. “How silly of me. I do apologise. In one ear and out the other, that’s me, Mr. Weaver.” “You know something?” Billy said. “Something that’s really quite extraordinary about all this?” “No, dear, I don’t.” “Well, you see – both of these names, Mulholland and Temple, I not only seem to remember each one of them

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separately, so to speak, but somehow or other, in some peculiar way, they both appear to be sort of connected together a s well. As though they were both famous for the same sort of thing, if you see what I mean – like … like Dempsey and Tunney, for example, or Churchill and Roosevelt.” “How amusing,” she said. “But come over here now, dear, and sit down beside me on the sofa and I’ll give you a nice cup of tea and a ginger biscuit before you go to bed.”

“You really shouldn’t bother,” Billy said. “I didn’t mean you to do anything like that.” He stood by the piano, watching her as she fussed about with the cups and saucers. He noticed that she had small, white, quickly moving hands, and red finger-nails. “I’m almost positive it was in the newspapers I saw them,” Billy said. “I’ll think of it in a second. I’m sure I will.” There is nothing more tantalizing than a thing like this which lingers just outside the borders of one’s memory. He hated to give up. “Now wait a minute,” he said. “Wait just a minute. Mulholland ... Christopher Mulholland ... wasn’t that the name of the Eton schoolboy who was on a walking-tour through the West Country, and then all of a sudden ...”

“Milk?” she said. “And sugar?”

“Yes, please. And then all of a sudden ...” “Eton schoolboy?” she said. “Oh no, my dear, that can’t possibly be right because my Mr. Mulholland was certainly not an Eton schoolboy when he came to me. He was a Cambridge undergraduate. Come over here now and sit next to me and warm yourself in front of this lovely fire. Come on. Your tea’s all ready for you.” She patted the empty place beside her on the sofa, and she sat there smiling at Billy and waiting for him to come over. He crossed the room slowly, and sat down on the edge of the sofa. She placed his teacup on the table in front of him.» There we are,” she said. “How nice and cozy this is, isn’t it?” Billy started sipping his tea. She did the same. For half a minute or so, neither of them spoke. But Billy knew that she was looking at him.

Her body was half-turned towards him, and he could feel her eyes resting on his face, watching him over the rim of her teacup. Now and again, he caught a whiff of a peculiar smell that seemed to emanate directly from her person.

It was not in the least unpleasant, and it reminded him – well, he wasn’t quite sure what it reminded him of. Pickled walnuts? New leather? Or was it the corridors of a hospital? “Mr. Mulholland was a great one for his tea,” she said at length. “Never in my life have I seen anyone drink as much tea as dear, sweet Mr. Mulholland.”

“I suppose he left fairly recently,” Billy said. He was still puzzling his head about the two names. He was positive now that he had seen them in the newspapers – in the headlines. “Left?” she said, arching her brows. “But my dear boy, he never left. He’s still here. Mr. Temple is also here. They’re

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on the third floor, both of them together.” Billy set down his cup slowly on the table, and stared at his landlady. She smiled back at him, and then she put out one of her white hands and patted him comfortingly on the knee.

“How old are you, my dear?” she asked. “Seventeen.”

Seventeen!” she cried. “Oh, it’s the perfect age! Mr. Mulholland was also seventeen. But I think he was a trifle shorter than you are, in fact I’m sure he was, and his teeth weren’t quite so white. You have the most beautiful teeth, Mr. Weaver, did you know that?” “They’re not as good as they look,” Billy said. “They’ve got simply masses of fillings in them at the back.” “Mr. Temple, of course, was a little older,” she said, ignoring his remark. “He was actually twenty-eight. And yet I never would have guessed it if he hadn’t told me, never in my whole life. There wasn’t a blemish on his body.”

“A what?” Billy said. “His skin was just like a baby’s.” There was a pause. Billy picked up his teacup and took another sip of his tea, then he set it down again gently in its saucer. He waited for her to say something else, but she seemed to have lapsed into another of her silences. He sat there staring straight ahead of him into the far corner of the room, biting his lower lip. “That parrot,” he said at last. “You know something? It had me completely fooled when I first saw it through the window from the street. I could have sworn it was alive.” “Alas, no longer.” “It’s most terribly clever the way it’s been done,” he said. “It doesn’t look in the least bit dead. Who did it?” “I did.” “You did?” “Of course,” she said. “And have you met my little Basil as well?” She nodded towards the dachshund curled up so comfortably in front of the fire.

Billy looked at it. And suddenly, he realized that this animal had all the time been just as silent and motionless as the parrot. He put out a hand and touched it gently on the top of its back. The back was hard and cold, and when he pushed the hair to one side with his fingers, he could see the skin underneath, grayish-black and dry and perfectly preserved. “Good gracious me,” he said.

“How absolutely fascinating.” He turned away from the dog and stared with deep admiration at the little woman beside him on the sofa. “It must be most awfully difficult to do a thing like that.” “Not in the least,” she said. “I stuff all my little pets myself when they pass away. Will you have another cup of tea?” “No, thank you,” Billy said. The tea tasted faintly of bitter almonds, and he didn’t much care for it. “You did sign the book, didn’t you?” “Oh, yes.” “That’s good. Because later on, if I happen to forget what you were called, then I can always come down here and look it up. I still do that almost every day with Mr. Mulholland and Mr . . . Mr...”

“Temple,” Billy said. “Gregory Temple. Excuse my asking, but haven’t

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there been any other guests here except them in the last two or three years?”

Holding her teacup high in one hand, inclining her head slightly to the left, she looked up at him out of the corners of her eyes and gave him another gentle little smile. “No, my dear,” she said. `Only you.'

CHARACTERIZATION There are two principal characters in the story 'The Landlady' - the landlady herself, and Billy Weaver, a young man arriving in an unfamiliar city and looking for accommodation. Billy is 17 years old, optimistic and innocent. The landlady is middle aged with a friendly and welcoming manner; but does she have a sinister motive? The story draws on similarities with certain European folk tales which start with young children being taken in by apparently well-meaning adults ('Hansel and Gretel' or 'Babes in the Wood' being a prime example). Is the house where Billy sees the sign 'Bed and Breakfast' enchanted? Does the landlady have magical, witch-like powers? Or is it all in the imagination?

Billy Weaver Billy Weaver is introduced right at the beginning of the story, and we learn the following about him immediately: brisk: active; lively big shots: important, successful colleagues Bath: City of Roman origins in the west of England From the information given above, try to answer these questions by choosing the best answer, A, B, C or D: 1. The weather was most likely A rainy B hot C cold D foggy 2. The work Billy did was probably A on the assembly line of a factory B on a building site C in a government department D in an office 3. The important people at the Head Office A intimidated Billy B admired Billy C inspired Billy D bored Billy 4. Billy was

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A starting a new job B moving to a new post with the same company C running away from his old job D starting a new branch for his company 5. The Head Office had A expected him to find his own accommodation B suggested some alternative accommodation C not been able to find accommodation D arranged a place for him to stay QUESTION: If you were seventeen years old and being sent to do some work for a company in an unfamiliar town, would you expect the company to organize accommodation for you in advance or not?

So far we know that Billy is 17 years old, is wearing a brown suit under his overcoat, and is also wearing a hat. The next extracts from the story tells us a little bit more about what Billy looked like, according to the landlady.

It seems that Billy Weaver is a tall, handsome young man with beautiful looking teeth, but who dresses in a rather oldfashioned way, and who has been sent by his employers to find his own lodgings in an unfamiliar city before starting to work in a branch of the company.

What Billy is doing and how he behaves is better understood if we understand that the story was written in 1959, when, presumably, it is set.

"It is such a pleasure to open the door and see someone standing there who is exactly right‌..Like you" "I don't think they were famous. But they were incredibly handsome, both of them. They were tall and young and handsome, my dear, just exactly like you."

"Seventeen is the perfect age! Mr. Mulholland was also seventeen.

But I think he was a trifle shorter than you are: in fact, I'm sure he was, and his teeth weren't quite so white. You have the most beautiful teeth, Mr. Weaver, did you know that?" "They're not as good as they look," Billy said, "They've got simply masses of fillings in them at the back."

Old fashioned clothes? "..a new brown trilby hat ..." - trilby: soft felt hat with lengthwise dent in crown and narrow brim.

The Landlady The landlady herself - we never discover her name - is clearly described in the story. The physical description paints a fairly detailed picture. However, there is another character that is hinted at throughout the

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text. This is not an obvious or overt description but relies on hints and suggestions, and the reader's knowledge of some traditional folk tales.

The physical description Make a list of the adjectives used above which give us a positive feeling for the landlady. Can you find any adjectives that give us a negative feeling about her?

An observation by Billy Weaver. Billy gets an immediate impression that, nice as she is, the landlady is also a little bit strange. This is how he thinks of her after two minor incidents: In the passages below, which two expressions mean that the landlady is a little bit crazy, according to Billy?

1____________________________________________________________ ___ 2 _____________________________________________________________ __ Incidentally, Billy goes on to surmise that his landlady was a little bit mad because of something that might have happened to her in the past, such as losing a son 'in the war', a reference to the Second World War. "She was about forty-five or fifty years old, and the moment she saw him she gave him a warm welcoming smile."

"She had a round pink face and very gentle blue eyes."

"She seemed terribly nice. She looked exactly like the mother of one's best school-friend welcoming her into the house to stay for the Christmas holidays."

"He noticed that she had small, white, quickly moving hands and red finger-nails."

"The old girl is slightly dotty, Billy told himself. But at five and sixpence a night, who gives a damn about that?" "Now, the fact that his landlady appeared to be slightly off her rocker didn't worry Billy in the least. After all, she was not only harmless - there was no question about that - but she was obviously a kind a generous soul."

READING BETWEEN THE LINES

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'Reading between the lines' means that there is a message contained in the words on the page beyond the literal meaning. On a number of occasions there is a hint that some magic is being used. This feeling that something beyond his control is happening continues when we discover that the landlady seem to have been expecting him, though this chances of this being true might seem impossible.

Make a list of the things that seemed to indicate that Billy was expected in the house. _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ What reasons can you think of for this? _____________________________________________________________ _____________________________________________________________ ANALYZE THE STORY ACCORDING TO THE FOLLOWING PLAN 1.

2.

3.

The main events in the author’s life that influenced his artistic career, his way of thinking and his style.

The content of the text being analyzed.

The main idea of the text, i.e. the author’s “message” to the readership.

Stylistic devices which help to express the main idea (i.e., to characterize the personages, to depict precisely the setting for the events, to express the author’s attitude towards the narrated events and the characters, etc.).

Other stylistic devices (those which do not obligatory help to render the author’s message, but build up the style of the narration).

Before analyzing the text answer the following questions: ・ Provide a summary of the story. ・ Get ready to interpret the story along the following lines: What kind of text is it?

E.g. a) absorbing, captivating, involving, gripping, keeping in suspense, unputdownable, fascinating, exciting, amusing, enjoyable, delightful,

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whimsical, elegant, poetic, real, full-blood, human, perceptive, profound, shrewd, challenging, high-brow, sophisticated, supernatural, eccentric; b) bizarre, macabre, outrageous, obscene, dirty, nasty, demanding, controversial, provocative, dense, complex, moralistic, disturbing, depressing, low-brow, orthodox, banal, trivial, boring, dull, down-to-earth, everyday. ・ Find the themes, ideas, conflicts, identify the genre of the story. Is the theme of the story of psychological, social, philosophical nature? Is the theme explicit or implicit in the story?

E.g. The story is basically about … ・ Who is the narrator? Is the author’s presence non-committal or direct in his attitude towards his characters and their actions? What is the general tone of the story (formal, neutral, ironical, farcical, satirical)? ・ Where is the scene set? Does the setting contain any hidden implication? Does the author follow deductive or inductive way of presenting the facts? ・ Who are the main characters? Are their names significant? Does the author present a direct description of their appearance, main traits, actions, relationships? Name the round and flat characters? Who is the main protagonist ? Antagonist ? How are the characters introduced into the story? Are the secondary personages of vital importance too? What role do they play? ・ What is the plot of the story? Find an exposition, complications, climax, and denouement. How can you characterize the ending: tricky, twisted, open, etc.? Is the time presentation scenic or panoramic? ・ Comment on the composition of the story and paragraphs structure.

What is the topic sentence of each paragraph? ・

What are the symbols in the story?

・

Speak on the title and the message of the story.

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・ Get ready for a stylistic analysis of the story. Find the most prominent repetitions of the story. Comment on the style of the story, its characteristic features. Which EMs and SDs help the author reveal the state of the characters?

Sum up all your literary and stylistic observations and say what makes the author’s style individual.

Analyze passages below, define their style and point out features, peculiar to each style.

Passage 1.

The 164 million-year-old reptile fossils were found on a beach in southern Skye, off the UK's west coast. The new species forms a missing link between ancient terrestrial turtles and their modern, aquatic descendants. The discovery of Eileanchelys waldmani, which translates as "the turtle from the island", is reported in the Royal Society journals. The turtles were found embedded in a block of rock at the bay of Cladach a'Ghlinne, on the Strathaird peninsula. It contained four well-preserved turtle skeletons, and the remnants of at least two others. Together, these are the most complete Middle Jurassic turtles described to date. The historic specimens are now being housed in the National Museums Scotland, Edinburgh. They were uncovered by a team from London's Natural History Museum and University College London (UCL). "Why did turtles enter the water? We have no idea. It's a mystery - like asking why cetaceans went back into the sea," said Jérémy Anquetin, of the department of palaeontology at the Natural History Museum. "Little by little, we are filling the gaps. "Now, we know for sure that there were aquatic turtles around 164 million years ago. "Eileanchelys may represent the earliest known aquatic turtle. "It is part of a new revision we are having about turtle evolution."

Passage 2.

Early nineteenth-century Britain was considered a time of political repression, mostly due to the wars with America and the French Revolution.

The political hierarchy during this time period consisted of the Monarchy, the Tories and the Whigs.

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Due to the lack of dignity and honesty involved with the Monarchy and these parties, the war years from 1793-1815 were particularly a time of discontent. In the years after the French Revolution, the government and the parliament were extremely small. Eventually, however, the central government in London began to weaken as the country began to improve and expand internally (Roach 40-42).

In aspects of social reform, poverty was the biggest stigma in Britain. Additional issues of illness, mortality, life expectation, wages, marriage age, child mortality, slavery and women’s roles in society began to bring agitation to every social class. Between 1802 and 1813, the population increased slowly and steadily. Edwin Chadwick published his first article in the Westminster Review in 1828, arguing that more statistical information was necessary about these particular issues. He pointed out the mortality rates were significantly different in the various social classes. Yet he did believe that there had been an improvement in the living conditions of all classes. In general, social reforms began in Britain during the time of the French Revolution because the aristocracy and government deeply feared that social turmoil would result (Roach 18).

From 1799 through 1832, the country of Great Britain began the process of social, political and economical reform. The common belief in the early nineteenth-century was that if an individual pursued his or her own interests, those particular interests would serve both the personal interest as well as the society’s interest (Roach 32). A group referred to as the Protestant Dissenters gained both political and economic importance during this time, as well. The behavior of the Protestant Dissenters was highly individualistic, mostly due to the fact that they refrained from participation with government-sponsored religion. They wished to practice any religion they wanted to practice, with out government intervention.

Passage 3.

Where does all this stuff that you’ve heard about this morning the victim feminism, the gay rights movement, the invented statistics, the rewritten history, the lies, the demands, all the rest of it where does it come from? For the first time in our history, Americans have to be fearful of what they say, of what they write, and of what they think. They have to be afraid of using the wrong word, a word denounced as offensive or insensitive, or racist, sexist, or homophobic. We have seen other countries, particularly in this century, where this has been the case. And we have always regarded

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them with a mixture of pity, and to be truthful, some amusement, because it has struck us as so strange that people would allow a situation to develop where they would be afraid of what words they used. But we now have this situation in this country. We have it primarily on college campuses, but it is spreading throughout the whole society. Were does it come from? What is it? We call it "Political Correctness." The name originated as something of a joke, literally in a comic strip, and we tend still to think of it as only halfserious. In fact, it’s deadly serious. It is the great disease of our century, the disease that has left tens of millions of people dead in Europe, in Russia, in China, indeed around the world. It is the disease of ideology. PC is not funny. PC is deadly serious.

Passage 4.

INSTRUCTIONS FOR SCORER The official scorer should record the numbers of the starting players of each team, in the serving order submitted, in the appropriate spaces provided on the game scoresheet (under Player No.). Each square represents one play or action such as a serve, a substitution or a time-out. Each play should be recorded as such using the appropriate figure in the key accompanying the match scoresheet.

The squares, unless otherwise indicated, represent a serve. If a point is scored on the serve, the respective point shall be recorded. If the serve results in a loss of rally, replay or penalty, the appropriate figure shall be inserted. As each point is scored, the appropriate number should be marked off the running score section.

DEFINITIONS FOR SCORER Serve: Contact with the ball to initiate play.

Point: A point is awarded when the opposing team violates a rule during play.

Penalty Point: A point which is awarded when the opposing team violates a rule during play or a dead ball.

Loss of Rally: A loss of rally is awarded when the serving team violates a rule during play.

Replay: A replay is the act of putting the ball in play (other than at the start of the game) without awarding a point or a loss of rally and without a service rotation.

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Re-serve: When the server releases the ball for service, then catches it or drops it to the floor.

UNIT 3. STYLISTICS AND TRANSLATION Read a well-known story by A.Chekhov, compare it with the original text, analyze the style of the original and the translation.

Fill in the following table, paying attention to Russian-English equivalents.

Original Translation Commentary полное соответствие, конфискованный confiscated сохранение крыжовник gooseberries образности А.П. Чехов1 ХАМЕЛЕОН Через базарную площадь идёт полицейский надзиратель Очумелов в новой шинели и с узелком в руке. За ним шагает рыжий городовой с решетом, доверху наполненным конфискованным крыжовником. Кругом тишина... На площади ни души... Открытые двери лавок и кабаков глядят на свет божий уныло, как голодные пасти; около них нет даже нищих.

— Так ты кусаться, окаянная? — слышит вдруг Очумелов.— Ребята, не пущай её! Нынче не велено кусаться! Держи! А... а! Слышен собачий визг. Очумелов глядит в сторону и видит: из дровяного склада купца Пичугина, прыгая на трех ногах и оглядываясь, бежит собака. За ней гонится человек в ситцевой крахмальной рубахе и расстёгнутой жилетке». Он бежит за ней и, подавшись туловищем вперёд, падает на землю и хватает собаку за задние лапы. Слышен вторично собачий визг и крик: «Не пущай!» Из лавок высовываются сонные физиономии, и скоро около дровяного склада, словно из земли выросши, собирается толпа.

— Никак беспорядок, ваше благородие!..— говорит городовой.

1

http://www.bibliomania.com

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Очумелов делает полуоборот налево и шагает к сборищу. Около самых ворот склада, видит он, стоит вышеписанный человек в расстёгнутой жилетке и, подняв вверх правую руку, показывает толпе окровавленный палец. На полупьяном лице его как бы написано: «Ужо я сорву с тебя, шельма!» да и самый палец имеет вид знамения победы. В этом человеке Очумелов узнаёт золотых дел мастера Хрюкина. В центре толпы, растопырив передние ноги и дрожа всем телом, сидит на земле сам виновник скандала — белый борзой щенок с острой мордой и жёлтым пятном на спине. В слезящихся глазах его выражение тоски и ужаса.

— По какому это случаю тут? — спрашивает Очумелов, врезываясь в толпу.— Почему тут? Это ты зачем палец?.. Кто кричал?

— Иду я, ваше благородие, никого не трогаю...— начинает Хрюкин, кашляя в кулак.— Насчёт дров с Митрий Митричем,— и вдруг эта подлая ни с того, ни с сего за палец... Вы меня извините, я человек, который работающий... Работа у меня мелкая. Пущай мне заплатят, потому — я этим пальцем, может, неделю не пошевельну... Этого, ваше благородие, и в законе нет, чтоб от твари терпеть... Ежели каждый будет кусаться, то лучше и не жить на свете...

— Гм!.. Хорошо...— говорит Очумелов строго, кашляя и шевеля бровями.

— Хорошо... Чья собака? Я этого так не оставлю. Я покажу вам, как собак распускать! Пора обратить внимание на подобных господ, не желающих подчиняться постановлениям! Как оштрафуют его, мерзавца, так он узнает у меня, что значит собака и прочий бродячий скот! Я ему покажу Кузькину мать!.. Елдырин,— обращается надзиратель к городовому,— узнай, чья это собака, и составляй протокол! А собаку истребить надо. Немедля! Она наверное бешеная... Чья это собака, спрашиваю?

— Это, кажись, генерала Жигалова! — кричит кто-то из толпы.

— Генерала Жигалова? Гм!.. Сними-ка, Елдырин, с меня пальто... Ужас как жарко! Должно полагать, перед дождём... Одного только я не понимаю: как она могла тебя укусить? — обращается Очумелов к Хрюкину.— Нешто она достанет до пальца? Она маленькая, а ты ведь вон какой здоровила! Ты, должно быть, расковырял палец гвоздиком, а потом и пришла в твою голову идея, чтоб сорвать. Ты ведь... известный народ! Знаю вас, чертей!

— Он, ваше благородие, цыгаркой ей в харю для смеха, а она — не будь дура и тяпни... Вздорный человек, ваше благородие!

— Врёшь кривой! Не видал, так, стало быть, зачем врать? Их благородие умный господин и понимают, ежели кто врёт, а кто по

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совести, как перед богом... А ежели я вру, так пущай мировой рассудит. У него в законе сказано... Нынче все равны... У меня у самого брат в жандармах... ежели хотите знать...

— Не рассуждать!

— Нет, это не генеральская...— глубокомысленно замечает городовой.

— У генерала таких нет. У него всё больше легавые...

— Ты это верно знаешь?

— Верно, ваше благородие...

— Я и сам знаю. У генерала собаки дорогие, породистые, а эта — чёрт знает что! Ни шерсти, ни вида... подлость одна только... И этакую собаку держать?!.. Где же у вас ум? Попадись этакая собака в Петербурге или Москве, то знаете, что было бы? Там не посмотрели бы в закон, а моментально — не дыши! Ты, Хрюкин, пострадал и дела этого так не оставляй... Нужно проучить! Пора...

— А может быть, и генеральская...— думает вслух городовой.— На морде у ней не написано... Намедни во дворе у него такую видел.

— Вестимо, генеральская! — говорит голос из толпы.

— Гм!.. Надень-ка, брат Елдырин, на меня пальто... Что-то ветром подуло... Знобит... Ты отведёшь её к генералу и спросишь там. Скажешь, что я нашёл и прислал... И скажи, чтобы её не выпускали на улицу... Она, может быть, дорогая, а ежели каждый свинья будет ей в нос сигаркой тыкать, то долго ли испортить. Собака — нежная тварь... А ты, болван, опусти руку! Нечего свой дурацкий палец выставлять! Сам виноват!..

— Повар генеральский идёт, его спросим... Эй, Прохор! Поди-ка, милый, сюда! Погляди на собаку... Ваша?

— Выдумал! Этаких у нас отродясь не бывало!

— И спрашивать тут долго нечего,— говорит Очумелов.— Она бродячая! Нечего тут долго разговаривать... Ежели сказал, что бродячая, стало быть и бродячая... Истребить, вот и всё.

— Это не наша,— продолжает Прохор.— Это генералова брата, что намеднись приехал. Наш не охотник до борзых. Брат ихний охоч...

— Да разве братец ихний приехали? Владимир Иваныч? — спрашивает Очумелов, и всё лицо его заливается улыбкой умиления.— Ишь ты, господи! А я и не знал! Погостить приехали?

— В гости...

— Ишь ты, господи... Соскучились по братце... А я ведь и не знал! Так это ихняя собачка? Очень рад... Возьми её... Собачонка ничего себе... Шустрая такая... Цап этого за палец! Ха-ха-ха... Ну, чего дрожишь? Ррр... Рр... Сердится, шельма... цуцык этакий...

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Прохор зовёт собаку и идёт с ней от дровяного склада... Толпа хохочет над Хрюкиным.

— Я ещё доберусь до тебя! — грозит ему Очумелов и, запахиваясь в шинель, продолжает свой путь по базарной площади.

1884 A.P.Chekhov2 A CHAMELEON The police superintendent Otchumyelov is walking across the market square wearing a new overcoat and carrying a parcel under his arm.

A red-haired policeman strides after him with a sieve full of confiscated gooseberries in his hands. There is silence all around. Not a soul in the square. … The open doors of the shops and taverns look out upon God’s world disconsolately, like hungry mouths; there is not even a beggar near them.

“So you bite, you damned brute?” Otchumyelov hears suddenly. “Lads, don’t let him go! Biting is prohibited nowadays! Hold him! ah … ah!”

There is the sound of a dog yelping. Otchumyelov looks in the direction of the sound and sees a dog, hopping on three legs and looking about her, run out of Pitchugin’s timber-yard. A man in a starched cotton shirt, with his waistcoat unbuttoned, is chasing her. He runs after her, and throwing his body forward falls down and seizes the dog by her hind legs.

Once more there is a yelping and a shout of “Don’t let go!” Sleepy countenances are protruded from the shops, and soon a crowd, which seems to have sprung out of the earth, is gathered round the timber-yard.

“It looks like a row, your honour …” says the policeman.

Otchumyelov makes a half turn to the left and strides towards the crowd. He sees the aforementioned man in the unbuttoned waistcoat standing close by the gate of the timber- yard, holding his right hand in the air and displaying a bleeding finger to the crowd. On his half-drunken face there is plainly written: “I’ll pay you out, you rogue!” and indeed the very finger has the look of a flag of victory. In this man Otchumyelov recognises Hryukin, the goldsmith. The culprit who has caused the sensation, a white borzoy puppy with a sharp muzzle and a yellow patch on her back, is sitting on the ground with her fore-paws outstretched in the middle of the crowd, 2

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trembling all over. There is an expression of misery and terror in her tearful eyes.

“What’s it all about?” Otchumyelov inquires, pushing his way through the crowd. “What are you here for? Why are you waving your finger …? Who was it shouted?”“I was walking along here, not interfering with anyone, your honour,” Hryukin begins, coughing into his fist. “I was talking about fire-wood to Mitry Mitritch, when this low brute for no rhyme or reason bit my finger. … You must excuse me, I am a working man. …

Mine is fine work. I must have damages, for I shan’t be able to use this finger for a week, may be. … It’s not even the law, your honour, that one should put up with it from a beast. … If everyone is going to be bitten, life won’t be worth living. …”

“H’m. Very good,” says Otchumyelov sternly, coughing and raising his eyebrows. “Very good. Whose dog is it? I won’t let this pass! I’ll teach them to let their dogs run all over the place! It’s time these gentry were looked after, if they won’t obey the regulations! When he’s fined, the blackguard, I’ll teach him what it means to keep dogs and such stray cattle!

I’ll give him a lesson! … Yeldyrin,” cries the superintendent, addressing the policeman, “find out whose dog this is and draw up a report! And the dog must be strangled. Without delay! It’s sure to be mad. … Whose dog is it, I ask?”

“I fancy it’s General Zhigalov’s,” says someone in the crowd.

“General Zhigalov’s, h’m. … Help me off with my coat, Yeldyrin … it’s frightfully hot! It must be a sign of rain. … There’s one thing I can’t make out, how it came to bite you?” Otchumyelov turns to Hryukin. “Surely it couldn’t reach your finger. It’s a little dog, and you are a great hulking fellow! You must have scratched your finger with a nail, and then the idea struck you to get damages for it. We all know … your sort! I know you devils!”

“He put a cigarette in her face, your honour, for a joke, and she had the sense to snap at him. … He is a nonsensical fellow, your honour!”

“That’s a lie, Squinteye! You didn’t see, so why tell lies about it?

His honour is a wise gentleman, and will see who is telling lies and who is telling the truth, as in God’s sight. … And if I am lying let the court decide.

It’s written in the law. … We are all equal nowadays. My own brother is in the gendarmes … let me tell you. …”

“Don’t argue!”

“No, that’s not the General’s dog,” says the policeman, with profound conviction, “the General hasn’t got one like that. His are mostly setters.”

“Do you know that for a fact?”

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“Yes, your honour.”

“I know it, too. The General has valuable dogs, thoroughbred, and this is goodness knows what! No coat, no shape. … A low creature. … And to keep a dog like that!. … where’s the sense of it. If a dog like that were to turn up in Petersburg or Moscow, do you know what would happen? They would not worry about the law, they would strangle it in a twinkling!

You’ve been injured, Hryukin, and we can’t let the matter drop. … We must give them a lesson! It is high time. …!”

“Yet maybe it is the General’s,” says the policeman, thinking aloud. “It’s not written on its face. … I saw one like it the other day in his yard.”

“It is the General’s, that’s certain!” says a voice in the crowd.

“H’m, help me on with my overcoat, Yeldyrin, my lad … the wind’s getting up. … I am cold. … You take it to the General’s, and inquire there. Say I found it and sent it. And tell them not to let it out into the street. … It may be a valuable dog, and if every swine goes sticking a cigar in its mouth, it will soon be ruined.

A dog is a delicate animal. … And you put your hand down, you blockhead.

It’s no use your displaying your fool of a finger. It’s your own fault. …”

“Here comes the General’s cook, ask him. … Hi, Prohor! Come here, my dear man! Look at this dog. … Is it one of yours?”

“What an idea! We have never had one like that!”

“There’s no need to waste time asking,” says Otchumyelov. “It’s a stray dog! There’s no need to waste time talking about it. … Since he says it’s a stray dog, a stray dog it is. … It must be destroyed, that’s all about it.”

“It is not our dog,” Prohor goes on. “It belongs to the General’s brother, who arrived the other day. Our master does not care for hounds.

But his honour is fond of them. …”

“You don’t say his Excellency’s brother is here? Vladimir Ivanitch?” inquires Otchmuyelov, and his whole face beams with an ecstatic smile. “Well, I never! And I didn’t know! Has he come on a visit?”

“Yes.” “Well, I never. … He couldn’t stay away from his brother. … And there I didn’t know! So this is his honour’s dog? Delighted to hear it. …

Take it. It’s not a bad pup. … A lively creature. … Snapped at this fellow’s finger! Ha-ha-ha. … Come, why are you shivering? Rrr … Rrrr. … The rogue’s angry … a nice little pup.”

Prohor calls the dog, and walks away from the timber-yard with her. The crowd laughs at Hryukin.

“I’ll make you smart yet!” Otchumyelov threatens him, and wrapping himself in his greatcoat, goes on his way across the square.

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Translate the following haiku poems 3 into Russian. Collect the information about the structure of haikus. While translating concentrate on the mood, not on the words.

Windows NT crashed.

I am the Blue Screen of Death.

No one hears your screams.

------------------A file that big?

It might be very useful.

But now it is gone.

-------------------The Web site you seek Can not be located but Countless more exist -------------------Chaos reigns within.

Reflect, repent, and reboot.

Order shall return.

-------------------ABORTED effort: Close all that you have worked on.

You ask way too much.

-------------------Yesterday it worked Today it is not working Windows is like that.

-------------------First snow, then silence.

This thousand dollar screen dies so beautifully.

------------------With searching comes loss and the presence of absence: "My Novel" not found.

-------------------The Tao that is seen Is not the true Tao, until 3

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You bring fresh toner.

-------------------Stay the patient course Of little worth is your ire The network is down -------------------

A crash reduces your expensive computer to a simple stone.

-------------------Three things are certain: Death, taxes, and lost data.

Guess which has occurred.

-------------------You step in the stream, but the water has moved on.

This page is not here.

-------------------Out of memory.

We wish to hold the whole sky, But we never will.

-------------------Having been erased, The document you're seeking Must now be retyped.

-------------------Serious error.

All shortcuts have disappeared.

Screen. Mind. Both are blank.

UNIT 4. CREATIVE WRITING CREATING CHARACTERS Rewrite the following pieces as a first person monologue. You have to take on the voice of this person and attempt to capture their tone – how that person might sound in real life. It’s a guessing game: you have a whole series of clues and pointers to the character’s lifestyle,

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preoccupations, opinions and neuroses. The rest comes from your imagination and the very specific information you have filed away about the people you know and have watched.

The family of murdered British student Meredith Kercher have said they are pleased with the verdict against her killers but there was "no celebration".

American Amanda Knox, 22, was jailed for 26 years on Friday after being found guilty of Miss Kercher's murder and sexual violence. Her Italian exboyfriend Raffaele Sollecito, 25, was given 25 years.

Miss Kercher, 21, a Leeds University student from Surrey, was found with her throat slit in Perugia, Italy in 2007.

Blears: PM lacked expenses facts Hazel Blears has said Prime Minister Gordon Brown was not in possession of the full facts when he labelled her expenses "unacceptable".

House arrest begins for Polanski Film director Roman Polanksi has started his house arrest at his Swiss home in the resort of Gstaad. Polanksi, who is fighting extradition to the US over a 1977 case of unlawful sex with a minor, arrived by limousine at his home.

DiCaprio to voice new animation Leonardo DiCaprio is to make his animated debut as the voice of Jack The Frost in forthcoming film The Guardians, according to reports.

Trade newspaper Variety said the movie will take five popular childhood heroes - Santa, the Easter Bunny, the Tooth Fairy, the Sandman and Jack Frost.

Climate of fear among Dubai investors A week after concerns about debt problems at one of Dubai's biggest firms sent ripples around the financial world.

CREATING DIALOGUES

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With a notepad in hand record your friends’ conversations. Don’t concentrate on the things that are said, but look for the way people speak.

Listen out for the verbal tics that make people’s speech unique and individual. See how speech patterns reveal character, how they use slang and share around pet words. One of the most basic mistakes beginning writers often make is to give all their characters the same voice.

In cafes, parks or any public space where people can be observed try to write on several sheets of paper different aspects of the scene you are observing. So on one sheet of paper you record pieces of the actual dialogue you are hearing; on the second sheet, what people are doing they while speak; thirdly, the background detail, the noise of cars, birds, machines, etc.; fourthly, perhaps, they can start to imagine what past might be informing the conversations that are going on around them. Bring these pieces of paper into class and edit them together as if you were making a film.

Analyse the following dialogue from the perspective of the author. How is the cohesion of parts achieved?

George Bush4: "Condoleeza! Nice to see you. What's happening?"

Condoleeza Rice: "Sir, I have the report here about the new leader of China."

George: "Great. Lay it on me."

Condoleeza: "'Hu' is the new leader of China."

George: "That's what I want to know."

Condoleeza: "That's what I'm telling you."

George: "That's what I'm asking you. Who is the new leader of China?"

Condoleeza: "Yes." George: "I mean the fellow's name."

Condoleeza: "Hu." George: "The guy in China."

Condoleeza: "Hu." George: "The new leader of China."

Condoleeza: "Hu." George: "The Chinaman!"

Condoleeza: "Hu is leading China."

George: "Now whaddya' asking me for?"

Condoleeza: "I'm telling you Hu is leading China."

George: "Well, I'm asking you. Who is leading China?"

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Condoleeza: "That's the man's name."

George: "That's whose name?"

Condoleeza: "Yes." George: "Will you or will you not tell me the name of the new leader of China?"

Condoleeza: "Yes, sir."

George: "Yassir? Yassir Arafat is in China? I thought he was in the Middle East."

Condoleeza: "That's correct."

George: "Then who is in China?"

Condoleeza: "Yes, sir."

George: "Yassir is in China?"

Condoleeza: "No, sir."

George: "Then who is?"

Condoleeza: "Yes, sir."

George: "Yassir?"

Condoleeza: "No, sir."

George: "Look, Condoleeza. I need to know the name of the new leader of China. Get me the Secretary General of the U.N. on the phone."

Condoleeza: "Kofi?"

George: "No, thanks."

Condoleeza: "You want Kofi?"

George: "No." Condoleeza: "You don't want Kofi."

George: "No. But now that you mention it, I could use a glass of milk. And then get me the U.N." Condoleeza: "Yes, sir."

George: "Not Yassir! The guy at the U.N." Condoleeza: "Kofi?"

George: "Milk! Will you please make the call?"

Condoleeza: "And call who?"

George: "Who is the guy at the U.N?" Condoleeza: "Hu is the guy in China."

George: "Will you stay out of China?!"

Condoleeza: "Yes, sir."

George: "And stay out of the Middle East! Just get me the guy at the U.N." Condoleeza: "Kofi."

George: "All right! With cream and two sugars. Now get on the phone."

SETTING

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Get out and about and take down reams of notes about what places are like. You should collect all the specific data that will make the reader believe that they, too, have been in that place. The writer has to pay close attention to what all their senses are telling them. Real life is all hidden away, tucked away in the corners, and often the writer has to put themselves in the specific location and just listen and wait. Then you see real life going on in the particular, random, absurd way that it does. You might quite like the smell of hot dogs at the fairground, but that scent might have different associations for the characters you then have to put into that scene. Maybe she choked on a hot dog once.

Try to put your characters into two scenes, maybe a hospital, and then in their own living room. We see them at home and abroad. At home they are surrounded by all their familiar things, the objects and accoutrements they have cluttered about themselves through time. How does the writing give an impression of their being used to this place? And how is the character different when they are in a strange place? Setting can impact on a character in quite dramatic ways. You can show them as a fish out of water, alarmed perhaps, even scared, unsure how they will get home to their familiar comforts. The new place can seem threatening and grotesque as they find themselves in the hurly burly of a noisy crowd. Try to pick two very contrasting settings for this exercise, so that you can concentrate on showing different aspects of your characters. In a place where they are comfortable and very sure of themselves, people are very different.

Put them somewhere where everything is quite new and we start to test the mettle of their character – and also the fictionalizing skills of their creator.

CONSTRUCTING PLOTS The best plots are usually generated by character. It’s the moment at which a vivid, visceral, well-drawn character is pitted against the things that happen to him/her that create a good story. E.M. Forster’s classic example is that ‘the King died and then the Queen died’ is simply reportage, but when you say, ‘the King died and then the Queen died of grief’, you embark on a story. It gives you plot, a cause and effect.

Aristotle’s model is often helpful to give students some sense of how story develops in a very linear, almost mathematical way. This is refined into an eight point arc of events: stasis (the beginning) … Once upon a time …

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trigger … something out of the ordinary happens … quest … which causes the protagonist to seek something surprise … things don’t go as expected critical choice … forcing the protagonist to make a difficult decision climax … which has consequences reversal … the result of which is a change in status resolution … and it all went horribly wrong/they all lived happily ever after To look at Plot as a rude mechanical structure is helpful as it makes us realize how reductive this kind of methodology is, how it eats up characters in its inexorable drive towards conclusion. It’s here that characters come in. It’s the way they will resist the things that happen to them that will make your story interesting.

Here is a list of characters, objects and settings. Choose a character, then put him in the setting with the object. This is the Stasis.

Someone else is about to arrive on the scene. What is the Trigger that will generate a quest for your character?

A character: trapeze artist, labourer, vicar, model, policeperson, housewife, politician, teacher, rich layout, film star, DJ, tramp, journalist, barperson, pilot, secretary, nurse, etc.

An object: razorblade, photograph, bottle of pills, necklace, candle, wallet, revolver, soap, bottle of beer, pair of boots, ironing board, fishing rod, weights, typewriter, knife, hairspray, lamp, etc.

A setting: library, abandoned warehouse, industrial complex, remote cottage, towerblock, mansion, railway station, multi-storey car park, living room, beach, pine forest, moorland, mountain, pub, shopping centre, ruined castle, etc.

Analyse the following poem from the point of view of its plot structure. Provide a descriptive view of characters, objects and settings5.

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A Desi chap was deeply in love with a pretty foreign girl, whom he wanted. But he did not have the courage to talk to her in person. So he decided to go alone and with the help of a dictionary, he wrote a letter of proposal to her.

HE WROTE : Most worthy of your estimation after a long consideration and much mediation.

I have a strong indication to become your relation.

As to my educational qualification, it is no exaggeration or fabrication that I have passed my matriculation examination; no doubt without any hesitation and very little preparation.

What do you say to the solemnization of our marriage celebration according to the glorification of modern civilization and with a view to the expansion of the population of present generation.

On your approbation of the application, I shall make preparation to improve my situation, and if such obligation is worthy of consideration it will be our argumentation of the joy and exaltation of our joint dissimilation.

Thanking you in anticipation and with devotion, To remain victim of your fascination.

SHE WROTE : Dear Mr. Victim of my fascination, Congratulation for your lengthy narration of course full of affection aimed at an affiliation for a combination which on examination I find is a fine presentation of your ambition.

You have passed your matriculation with little preparation, what about my graduation after a long botheration, so improve situation in education and make an application by acquisition of post graduation and minimum qualification for the convocation and before taking your photo for circulation undergo beautification.

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Further strict observation of the following conditions is the regulation for the determination of our relation.

1. Consultation of my parents before approaching for my connection.

2. Communication of your confirmation that you are not a victim of any fascination and, 3. Procreation must not be your recreation.

In anticipation of a solid action instead of continuation of paper conversation.

I Remain, Unaffected by your affection.

Analyse the following story from the point of view of its plot structure. Provide a descriptive view of characters, objects and settings.

Translate it into Russian. Create your own story with Russian realias.

Japanese Banking Crisis6 Recent reports indicate the Japanese banking crisis shows no sings of improving. If anything, it’s getting worse. Following last week’s news that Origami Bank had folded, it was today learned that Sumo Bank has gone belly up. Bonsai Bank plans to cut back some of its branches. Karaoke Bank is up for sale and is going for a song. Meanwhile, shares in Kamikaze Bank have nose-dived and 500 jobs at Karate Bank will be chopped.

Analysts report that there is something fishy going on at Sushi Bank and staff there fear they may get a raw deal.

Translate the following text into Russian. Analyze its plot structure7 There was once a Japanese businessman who was engaged in a particular corporate meeting held in a particular business district in the Philippines. As he stepped out of the airport, he hailed the local cab, boarded it and requested his destination to be Manila Hotel. As the cab was attempting to make its way out to the main road, a ramming and screeching sound was heard. Out passed a Honda Civic CRX Turbo screaming away from the main junction. The Japanese remarked. "Mmmm, Honda! Made in Japan, verri powerful. verri faast!!" Some distance, a white executive sedan whoosh pass along side the cab a high cruising speed. "Ahhh, Toyota! Also made in Japan, verri fasto. Also verri good!, very faast" The cab-driver upon hearing the comments, look thru the rear mirror and was quite resented over the Jap's proud attitude. At that moment again, another car 6 7

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came ramming fast, overtaking and cutting every car ahead of it. "Mmmm, Mitsubishi! Also Japan, also verri good, very fast. Mmmm!" It was not long after reaching the designated hotel, the cab halted in front of the lobby door, the cab-driver stared at the meter and proclaimed. "That will be US$239.40, sir!" "Nan desu-ka! What?", the Jap was astonished. "The airport verrinear to hotel. "Er, sir, this meter is NEC, made in Japan, very good and 'very faast'.

Think of a product presentation in your group. Provide critical visions. Invite your friends and teachers to share in your sense of achievement.

BIBLIOGRAPHY Учебно-методическое и информационное обеспечение дисциплины Рекомендуемая литература Основная 1. Арнольд И.В. Стилистика. Современный английский язык. – М.: Флинта, 2009. – 384с.

2. Балкина Н. В. Хочу стать переводчиком: учеб. пособие для студентов вузов по лингвист. спец. – М.: Изд-во Рос. ун-та дружбы народов, 2004. – 450 с.

3. Бреус Е. В. Основы теории и практики перевода с русского языка на английский: учеб. пособие. – 2-е изд., испр. и доп. – М.: Издво УРАО, 2000. – 230 с.

4. Голденков М. А. Азы английского сленга и деловой переписки..  Минск: Асар; М.: Модерн-А, 2001. – 120 с.

5. Гуревич В.В. Стилистика английского языка. – М.: Флинта, 2005. – 380 с.

6. Казакова, Т. А. Практические основы перевода: English = Russian. – Урал. гос. пед. ун-т. – Екатеринбург: [б.и.], 2006. – 230 с.

6. Косоножкина Л.В. Практическая стилистика английского языка: анализ художественного текста. – М: Март, 2004. – 312 с.

7. Кухаренко А.В. Практикум по стилистике английского языка.

– М.: Флинта, 2009. – 184 с.

8. Сдобников В.В., Ивашкин М.П., Селяев А.В. Практикум по стилистике английского языка. = A Manual of English Stylistics – Москва: АСТ: Восток-Запад, 2005. – 101 с.

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9. Обвинцева О. В. Эвфемизм в политической коммуникации (на материале английского языка в сопоставлении с русским). – Урал. гос. пед. ун-т. – Екатеринбург : [б.и.], 2003. – 230 с.

10.

Znamenskaya T. A. Stylistics of the English language. – Moscow, 2002. – 214 с. Дополнительная 1. Обвинцева О. В. Эвфемизм в политической коммуникации (на материале английского языка в сопоставлении с русским). – Урал. гос. пед. ун-т. – Екатеринбург: [б.и.], 2003. – 30с.

2. Томберг О. В. Грамматика и поэтика английской народной баллады : историческое развитие и проблемы перевода. – Урал. гос. пед. ун-т.  Екатеринбург: [б.и.], 2003. – 190 c.

3. Томберг О. В. Грамматика и поэтика английской народной баллады: историческое развитие и проблемы перевода.  Урал. гос. пед. ун-т.  Екатеринбург: [б.и.], 2003. – 30с. Информационное обеспечение дисциплины Ресурсы удалённого доступа: http://www.suite101.com http://www.contemporarywriters.com http://www.promo.net./pg http://www.digital.library.upenn.edu/books/prize.html http://www.bibliomania.com http://www.asianjoke.com

МАТЕРИАЛЬНО-ТЕХНИЧЕСКОЕ И ДИДАКТИЧЕСКОЕ ОБЕСПЕЧЕНИЕ ДИСЦИПЛИНЫ визуальные опоры к лекционным занятиям по курсу (презентации Power Point); корпус текстов для тренировочных упражнений по видам анализа на лабораторных занятиях; портфель достижений (творческие письменные работы студентов и образцы лучших анализов, выполненных студентами).

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STYLISTICS. TRANSLATION. CREATIVE WRITING (WORKBOOK) пояснительная записка, обработка, упражения Н.А.Завьяловой

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