Communicative strategies

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КИЇВСЬКИЙ НАЦІОНАЛЬНИЙ УНІВЕРСИТЕТ ІМЕНІ ТАРАСА ШЕВЧЕНКА









КОМУНІКАТИВНІ
СТРАТЕГІЇ


Пі дручник

Видання друге,
доповнене та перероблене


За редакцією проф. А. Е. Левицького



Рекомендовано Міністерством освіти і науки, молоді та спорту України
як підручник для студентів вищих навчальних закладів












УДК 811.111(0,75.8)
ББК 81.2АНГ-928
К63

Автори:
А. Е. Левицький, Т. Є. Набережнєва, Р. В. Поворознюк,
І. М. Рудик, С. І. Сидоренко, С. В. Скрильник,
І. В. Трищенко, Г. В. Чеснокова, В. В. Якуба

Рецензенти:
д-р філол. наук, проф. Л. В. Коломі єць
(Київський національний університет імені Тараса Шевченка),
д-р філол. наук, проф. А. Ґ. Ґудманян
(Національний авіаційній університет),
д-р філол. наук, проф. С. І. Потапенко
(Ніжинський державний університет імені Миколи Гоголя)

Рекомендовано до друку вченою радою Інституту філології
(протокол № 11 від 30 червня 2011 року)

Ухвалено науково-методичною радою
Київського національного університету імені Тараса Шевченка
26 червня 2013року



К63
Комунікативні стратегії : підручник / А. Е. Левицький, Т. Є. Набереж-
нєва, Р. В. Поворознюк та ін. : за ред. А. Е. Левицького – К. : Видав-
ничо-поліграфічний центр ''Київський університет'', 2013. – 559 с.
ISBN 978-966-439-631-5
Підручник є першим в Україні виданням з курсу ''Комунікативні стратегії'',
що викладається студентам магістратури з фаху ''Переклад'' і "Мова та література
(англійська)". Виклад текстів уроків ґрунтується на комунікативній спрямованості
сучасних пошуків у галузі методики викладання іноземних мов.
Для студентів магістратури перекладацьких і мовних відділень вищих навчальних
закладів, перекладачів-практиків, викладачів-мовників, науковців, які цікавлять-
ся проблемами комунікативної лінгвістики, і широкого загалу читачів.

УДК 811.111(0,75.8)
ББК 81.2АНГ-928

Гриф надано Мі ні стерством осві ти і науки, молоді та спорту Украї ни
( лис т № 1/ 11- 9503 ві д 13. 10. 11)

ISBN 978-966-439-631-5  Левицький А. Е.,
Набережнєва Т. Є., Поворознюк Р. В. та ін., 2011
 Видавництво ''Логос'', 2011
 Левицький А. Е.,
Набережнєва Т. Є., Поворознюк Р. В. та ін., 2013
 Київський національний університет імені Тараса Шевченка,
ВПЦ ''Київський університет'', 2013

3
CONTENTS



FOREWORD..................................................................................................... 4



BOOK ONE....................................................................................................... 7

Part 1. How to Become a Successful Interlocutor.......................................... 7

Unit 1. Communication as a Form of Human Activity............................... 7
Unit 2. Preliminaries to Successful Communication ............................... 47
Unit 3. Principles of Successful Communication..................................... 75
Unit 4. Verbal and Non-verbal Communication.................................... 109

Part 2. Social Aspect of Communication.................................................... 155

Unit 1. Ethnicity of Interlocutors.......................................................... 155
Unit 2. Status of a Person in Human Interaction................................... 182
Unit 3. Gender Issues in Communication ............................................. 216
Unit 4. Age Factor in Human Interaction............................................. 243
Unit 5. Tendencies in Present-day Communication.
Political Correctness ................................................................ 274



BOOK TWO.................................................................................................. 315

Part 3. A Human in the Society.
Individual Aspect of Communication............................................. 315

Unit 1. Relations.................................................................................. 315
Unit 2. Contacts .................................................................................. 353
Unit 3. Emotions.................................................................................. 397
Unit 4. Feelings................................................................................... 446
Unit 5. Attitudes .................................................................................. 486

SUPPLEMENT ............................................................................................. 523
Outline of Text Analysis ........................................................................................523

Reader in Communication Related Issues..............................................................527

4
FOREWORD

Dear readers,

the main task Universities are to reach at present deals with
training future teachers / translators / interpreters, who are ready
to converse their ideas and perceive new information effectively
and efficiently in the new globalized world. Thus all forms of
communication appear to be the sources of new information human
beings are ready to obtain for satisfying both professional and
individual demands. They are supposed to analyze every new bit
of information critically and creatively singling out the most
important issues and finding perspectives for further professional
and personal activities.
'Communication Strategies' as a University course serves this aim
to the utmost. It is one of the main subjects within the framework of
training future teachers / translators / interpreters though they prove
to have different focuses. Future masters of Language / Literature /
Translation take this course each term of their studies on a Master
program. That is why, Book One is addressed to masters of the first
year of studies and Book Two – for the Masters of the second year of
studies. The textbook contains the resources for self-access work
after finishing the theoretical course. For example, the supplement
may be widely applied by the students while working over their
Master paper presentations.
The above course triggers the issues of general communication
theory, prerequisites for gaining success in human intercourse (Book
One. Part One), social aspects of communication, such as ethnicity of
interlocutors, status, gender and age in communication (Book One.
Part Two), individual aspects of human discourse, which are closely
interconnected with emotions, attitudes, feelings, relations and
contacts (Book Two). Every unit is focused upon cultural
specifics of communication. This approach is useful for shaping
the main strategies to be applied in every form of communication.
Thus Section A of each unit is aimed at developing strategies of text
interpretation and translation. Section B deals with revealing some

5
key issues of speaking strategies with respect to discourse situation
mirrored through its social and individual aspects. Section C
proves to be a good example of representing the skills acquired in
written and oral discourse praxis. It is aimed at shaping students'
abilities to write articles, abstracts, essays, summaries, reviews
etc; to make conference presentations; to participate in the
debates. Attention is paid to the choice of vocabulary for voicing
creative ideas, critical approach to the information perceived.
Self-access activities are appraised.
The units are designed for serving communicative purposes. They
reveal the latest trends in foreign language teaching methodology.
Furthermore, the authors took into account the cross-disciplinary
nature of present-day communicative linguistics, which means that
socio- and psycholinguistic phenomena are regarded within the
framework of human interaction. This approach to train translators
and language teachers developls students' skills to successfully
communicate in English or adequately do translations by applying
appropriate communication strategies.
The coursebook is compiled with accord to the requirements of
Master Training Programs [8.020307 'Translation (English)' and
8.020306 'Language and Literature (English)']. It does not contradict
'Curriculum for English Language Development in Universities and
Institutes' forwarded by Professor S. Yu. Nikolayeva and her group.
It develops the ideas expressed in different textbooks on Practical
Course of English be means of summing up the knowledge the
students obtained while studying practical English grammar,
phonetics, stylistics and vocabulary. Moreover, this book helps the
students to attribute their language skills acquired in the bachelor
courses in discourse praxis of basic types.
This coursebook appeared as a result of creative activities of The
Taras Shevchenko National University of Kyiv (Prof. А. Levitsky,
Assoc. Prof. R. Povorozniuk, Assoc. Prof. I. Tryshchenko, PhD
T. Naberezhneva and Master of Translation Studies S. Skryl'nyk),
The National Aviation University (Assoc. Prof. S. Sydorenko), The
Borys Hrynchenko University of Kyiv (Assoc. Prof. H. Chesnokova,
Assoc. Prof. V. Yakuba), The Ivan Franko State University of

6
Zhytomyr (Assoc. Prof. I. Rudyk). The authors are very much
obliged to the reviewers (Prof. L. Kolomiyets, Prof. A. Ghudmanian,
Prof. S. Potapenko). Special thanks to Assoc. Prof. O. Yu. Vasylchenko
for her active participation in giving shape to the conception of this
book and to PhD A. V. Karaban, who took part in discussing several
parts of the book.
We wish happiness, health, success and good luck to you, our
readers. This coursebook was designed for you – to assist you in
mastering English communication strategies.
The book is alive as long as it is improved. That is why we
welcome your reviews, comments and other kinds of evaluation at
[email protected]

Si ncerel y yours,
Prof. A. Levitsky

7
BOOK ONE



PART ONE
HOW TO BECOME
A SUCCESSFUL INTERLOCUTOR



Uni t one
COMMUNICATION AS A FORM
OF HUMAN ACTIVITY


S E C T I O N A
PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. Is language the only means of communication in the modern
world? If not, give alternative examples.
2. How important are the language skills for the individual
development? Can they be replaced by anything?
3. Is knowledge of a foreign language an important formative
factor? Can you prove it?
4. How can you improve (develop) your language skills? While
answering, draw upon your personal experience.
5. Which role does the practice of translation play in the language
learning?
6. Every process of communication has its strong points and
drawbacks. Can you name some of them? What are the causes of
obstacles impeding the communication?

Spe e c h Pat t e r ns

But it was learning English at the age of 10 … that gave him
firsthand knowledge of how traumatic it could be to be forced
to sink or swim verbally in a foreign environment.

It is my resigning from office that proves to be the most pleasant
moment of my life.

8
It is sleeping all day that I find most invigorating.
It was spending her gap year in Paris that decided her fate.
It will be obtaining the degree that Sarah is looking forward to.

I kind of had to learn because the faster I learned,
the faster I would get out of my difficult situation.

She kind of had to accept the offer.
My father kind of relishes the prospect.
Our professor kind of ran for President but then decided to pull
out of the race.
I kind of expected that to happen.

The struggle with language was something very forming of my character.

His appreciation is something very typical of this man's nature.
Late hours were something very irritating of this job.
Your call is something very considerate of you.
John's career is something so defining of him.

The interactive and trendy features of the program
are what make it appealing.

Tom Adams's perseverance is what makes him successful.
Rest and recreation are what guarantee the resort's fame.
Bringing up the child and juggling two jobs are what would break
any woman's back.
Staying up and having fun are what led to your failure at the
exam.

We have to overcome that, people thinking learning a language
is very difficult.

Imagine this, people despising you because of your skin color.
We have to cope with that, your mother being suspicious of me.
Try to figure this, Jackie going out with Tom.
They would have to accept that, children leaving their parent's nest.

9
Ex e r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each
speech pattern. Make sure they can be used while discussing the
problems of communication.

III. Fill in the gaps using a suitable speech pattern. Sentences are
based on the excerpts taken from 'Jacqueline Kennedy: Historic
Conversations on Life with John F. Kennedy' (abcnews.go.com/
Politics/Jacqueline_Kennedy/jacqueline...):

1. Think about that, Jacqueline Kennedy … (to speak) her time with
her husband in the White House as 'our happiest years' just months after
his assassination. 2. Their extraordinary personal and political
partnership … (to thrive). 3. The audio and transcripts of the interviews,
conducted by friend and longtime Kennedy aide Arthur M. Schlesinger
Jr., … (to be released) in book form this month. 4. The sounds of
matches striking, ice cubes clinking, and even her children playing in
the background … it so illuminating. 5. The distinctive, breathy voice –
at times wistful, at times wickedly irreverent – … revealing of a woman
who carefully kept herself out of the public eye.

IV. React to the statements below using the appropriate
speech patterns. Sentences are based on the excerpts taken
from'Jacqueline Kennedy: Historic Conversations on Life with
John F. Kennedy' (abcnews.go.com/Politics/Jacqueline_Kennedy/
jacqueline...):

1. 'Please don't send me anywhere. If anything happens, we're all
going to stay right here with you,' she recalled telling the president.
2. She said that even if there wasn't enough room in the White House
bomb shelter, she and the children would stay by his side. 3. In one
scene recounted by Mrs. Kennedy, historian David Donald spoke to the
president and a collection of friends and aides about the Lincoln presi-
dency at the White House in 1962. President Kennedy was the first to
break the silence with a question, she recalled. 'Do you think' – it's the
one thing that was on his mind – 'would Lincoln have been as great a
President if he'd lived?' 4. The president tried to take a 45-minute nap

10
every day at lunch time, and would change into pajamas like his idol,
Winston Churchill. He was a voracious reader who brought books with
him into the bathtub, and even tried to read at meals and while doing
his tie. 5. 'If all this had to happen, I just wish he could have seen some
more good things come in, that he worked so hard for. The tax bill, the
civil rights bill, the economy up so high,' she said.

V. Make up a short dialogue discussing the problems of
communication. Be sure to use speech patterns from Unit One.

VI. Translate from Ukrainian into English using speech
patterns:

1. Саме те, що людське спілкування не обмежується виключ-
но словами, й робить його таким цікавим. 2. Тільки уявіть: за
кілька років комп'ютери із сенсорним екраном замінять усі зви-
чні показники в громадських місцях. 3. Саме запекла боротьба з
конкурентами сформувала жорсткий стиль його керівництва.
4. Лише завдяки знанням іноземної мови фахівці підвищують
свій рейтинг на ринку праці. 5. Легкість і доступність виділяють
цю інтерактивну програму з-поміж інших.

Te x t

I. Look through the following comments
before reading the text:

Comme nt s

1. Ros e t t a St one . The Rosetta Stone
is an Ancient Egyptian stele inscribed
with a decree issued at Memphis, Egypt
in 196 BC on behalf of King Ptolemy V.
The decree appears in three scripts: the
upper one is in Ancient Egyptian
hieroglyphs, the middle one in Egyptian
script, and the lower text in Ancient
Greek. Because it presents essentially
the same text in all three scripts (albeit with some differences between
them), it provided the key to the modern understanding of Egyptian
hieroglyphs. The term Rosetta Stone is now used in other contexts as the
name for the essential clue to a new field of knowledge.

11
2 . CEO (chief executive officer). The corporate executive
responsible for the operations of the firm; reports to a board of direc-
tors; may appoint other managers (including a president).

3. Commodi t i e s t r a de r . The person authorized to work on
the regulated commodities exchanges, in which commodities are
bought and sold in standardized contracts.

4. IPO. Initial Public Offering (IPO), also referred to simply as a
'public offering', is when a company issues common stock to the public
for the first time. They are often issued by smaller, younger companies
seeking capital to expand, but can also be done by large privately-owned
companies looking to become publicly traded. e.g. The listing of World
Online in March 2000 was the biggest Dutch Internet IPO at the time,
valuing the company at 12 billion euros ($18 billion).


II. Read the text He'd like to teach the world to talk and come
up with a list of sentences that highlight the main idea of the text.

III. Analyze Tom Adams's utterances as for their communi-
cative functions. Say which type (i.e. representatives, directives,
commissives, expressives, declarations) is prevailing. Does the
speaker use any illocutionary acts? Give your examples. Are there
any indirect speech acts? How did you single them out?


He' d l i ke t o t each t he worl d t o t al k
Rosetta Stone CEO Tom Adams also wants
to change how people learn other languages
(USA Today, Nov.8, 2010)


Tom Adams, born in Stockholm, educated in England, and onetime
commodities trader from the Philippines to China, has taken his
multilingual experience to help teach millions how to communicate in
a foreign tongue and make his company money doing it.

12
Adams is CEO of
the language learning
company Rosetta Stone.
It's a company that's
become wildly successful
by replicating through
computer technology
the type of immersion
in a foreign language
that Adams got growing
up in France and Britain,
and by traveling much
of the globe, from Germany to Mongolia.
Rosetta Stone's approach to learning a second or even third
language is simple: Instead of having students stare at a blackboard
and memorize grammar, it uses images of real-life situations to
convey meaning and trigger understanding, the natural method
that helped most of us pick up our first language.
The idea for Rosetta Stone's interactive language program
didn't begin with Adams, who's been CEO there since 2003. But his
life experience and leadership have helped propel the company from
$10 million in revenue to nearly $300 million in less than a decade.
'I'm Swedish, grew up in France, moved to England when I
was 10, and had really immersive experience to draw on and to
inspire me at Rosetta Stone', says Adams, who spent six years buying
and selling raw materials in Mongolia, the Philippines and other
parts of the globe.
He took the company public in April of last year when few
businesses dared to launch an initial public stock offering in the
midst of deep recession and great economic uncertainty.
The IPO came at a time when businesses, especially, realized how
intertwined the world's economy is and how increasingly important it
is to know a foreign language. His innovations and success led to his
being chosen Ernst & Young's Entrepreneur of the Year.
Adams anticipates greater success this year.
'I set a big goal for the company to get to $100 million in revenue,
and going from 10 (million dollars) to 100 seemed like a mountain

13
climb', he says.'Obviously, we crossed that threshold, and now we're
on track to do close to three times that much in this calendar year. In
the space of seven years, it has actually exceeded my expectations.'

Forced l earni ng experi ence

Adams almost personifies Rosetta Stone and its learning tech-
nique. He studied German in school, and learned Spanish while in
Spain from a teacher who would speak no other language. But it was
learning English at the age of 10, when his parents enrolled him in
school in Britain, that gave him firsthand knowledge of how
traumatic it could be to be forced to sink or swim verbally in a for-
eign environment.
'People thought I was stupid because I didn't understand what
they were saying', Adams says. 'It was a very lonely experience. At
the same time, I had no way out. I kind of had to learn because the
faster I learned, the faster I would get out of my difficult situation.
Language was something that defined me, and the struggle with
language was something very forming of my character.'
The original company, founded in 1992, was called Fairfield
Language Technologies when he came on board. It had been produc-
ing an interactive software program dubbed Rosetta Stone, after the
ancient artifact that helped researchers decipher Egyptian hiero-
glyphics.

Not -so-t edi ous st udy

The interactive and trendy features of the program are what make
it appealing, language experts and students say. Members of U.S.
Armed Services use the software to learn languages ranging from
Arabic to Pashto. And roughly 15,000 schools and colleges in the
U.S. have incorporated the software into their instruction.
'A huge problem in language learning is most people have only
known failure', Adams says. 'They've known trying very hard,
listening to teachers ramble on about different rules of grammar.
We have to overcome that, people thinking learning a language is
very difficult. Our view is it's something that takes an investment of
your time, but it doesn't have to be difficult. It can be fun.'

14
The latest version of the software includes Rosetta World, where
users can play online games that allow them to practice their new
language alone and with other players, among other activities;
Rosetta Studio, where users participate in live sessions coached by
native speakers; and a customer service component that offers en-
couragement and assistance to users from agents who monitor their
progress.
Rosetta Stone offers instruction in 31 languages ranging from
Russian and Vietnamese to Navajo and Chitimacha, a language
spoken by the Chitimacha Tribe of Louisiana, which was in danger
of disappearing.
'In many countries, language learning is bread', Adams says.'If
you know English, your income is a multiple of what it is when you
don't. We're developing solutions for that English language-learning
market today.'
'As I look five to 10 years out… Rosetta Stone is important as a
company not just because we're going to change how people learn
their language, but I think we'll change how people learn', he says.


Essent i al Vocabul ary

Vocabulary Notes

1. onetime adj. or one-time 1. a) Occurring or undertaken only
once: a one-time winner in 1995. b) Having been in the past; former:
He asked his one-time classmates for help. 2. Sports Relating to or
being a shot made from a pass that is not stopped prior to shooting.
one-timer n. an ice hockey shot that occurs when a player meets
a teammate's pass with an immediate slapshot, without any attempt
to control the puck on his stick.

2. replicate v. [transitive]. 1. a) To duplicate, copy, reproduce, or
repeat, b) Biology To reproduce or make an exact copy or copies of
(genetic material, a cell, or an organism), c) To fold over or bend
back. 2. v. [intransitive]. To become replicated; undergo replication.
3. adj. replicate, also replicated. Folded over or bent back upon itself:
a replicate leaf.
replica n. an exact copy or reproduction, esp. on a smaller scale


15
3. immerse v. [transitive]. a. (often followed by in) to plunge or
dip into liquid, b) (often passive; often followed by in) to involve
deeply; engross: to immerse oneself in a problem, c) (Christianity /
Ecclesiastical Terms) to baptize by immersion
immersion n. a. (Christianity / Ecclesiastical Terms) a form of
baptism in which part or the whole of a person's body is submerged
in the water, b. (Astronomy) Also called ingress the disappearance of
a celestial body prior to an eclipse or occultation, c. the act of im-
mersing or state of being immersed in another culture, environment
etc.
immersive adj. providing information or stimulation for a num-
ber of senses, not only sight and sound: immersive television sets

4. propel v. a. to drive forward, especially mechanically: The
boat is propelled by a diesel engine. b. (oneself) to proceed
propeller n. a. device, consisting of revolving blades, used to
drive a ship or an aircraft.
propulsion n. the process of propelling or being propelled: jet-
propulsion.
propelling-pencil n. a pencil consisting of a metal or plastic case
containing a lead that is pushed forward by a screwing mechanism.

5. raw material n. a. material on which a particular
manufacturing process is carried out, b. a person or thing regarded as
suitable for some particular purpose: raw material for the army

6. enroll, also enrol v. [transitive]. a. to enter or register in a roll,
list, or record: enrolled the child in kindergarten; enroll the minutes
of the meeting, b. to roll or wrap up., c. to write or print a final copy
of; engross. v. [intransitive]. to place one's name on a roll or register;
sign up: We enrolled in the army.
enrollment, also enrolment n. a. the act or process of enrolling;
the state of being enrolled, b. the number enrolled: The class has an
enrollment of 27 students, c. a record or an entry.

7. dub v. [transitive]. 1. a. to tap lightly on the shoulder by way of
conferring knighthood, b. to honor with a new title or description, c.
to give a name to facetiously or playfully; nickname: He was dubbed

16
Shorty because of his size. 2. a. to insert a new soundtrack, often a
synchronized translation of the original dialogue, into (a film), b. to
add (sound) into a film or tape: dub in strings behind the vocal.

8. artifact, also artefact n. an object produced or shaped by
human craft, especially a tool, weapon, or ornament of
archaeological or historical interest, b. something viewed as a
product of human conception or agency rather than an inherent
element: 'The very act of looking at a naked model was an artifact of
male supremacy' (Philip Weiss), c. an inaccurate observation, effect,
or result, especially one resulting from the technology used in
scientific investigation or from experimental error: The apparent
pattern in the data was an artifact of the collection method.

9. tedious adj. tiresome by reason of length, slowness, or
dullness; boring: tedious days on the train, a tedious speech/speaker.
Synonyms: boring, deadening, ho-hum, irksome, tiresome,
wearisome, dull, slow
tediously adv.
tedium n. boredom; tediousness: the tedium of a long journey.

10. trendy adj. Informal of or in accord with the latest fad or
fashion: trendy clothes. Synonyms: fashionable, in (slang), now
(informal), latest, with it (informal), flash (informal), stylish, in
fashion, in vogue, up to the minute, modish, voguish, culty
trendies n. pl. one who is drawn to and represents the latest
trends:'International trendies have spread the word about the area's
new nightclubs' (Lynn Langway).

Word Combi nat i ons and Phrases

intertwined world's economy
to be on track to do smth.
in the space of
language defines smb.
character-forming struggle with language
to decipher Egyptian hieroglyphics
languages ranging from Arabic to Pashto
to come on board
to be a multiple of smth.

17
Vocabul ary Exerci ses


I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Come up with three sentences of your own with each
vocabulary item. Make sure they can be used while discussing
the problems of communication.

III. Consult a dictionary, transcribe the following words and
practice their pronunciation:

Revenue, entrepreneur, threshold, technique, traumatic,
hieroglyphics, multiple

IV. Match the word combinations and phrases on the left with
their definitions on the right:

1. to be on track to do smth. A. tightly-knit
2. in the space of B. to read or interpret
3. (languages) ranging from..to C. to aim at, pursue
4. intertwined (economy) D. formative, decisive
5. character-forming (struggle) E. during
6. to decipher (hieroglyphics) F. to give form or meaning to
7. (language) defines smb. G. to fluctuate within
specific limits
8. to come on board H. to take the job

V. Translate the following sentences containing word
combinations and phrases or their derivatives:

1. Ми спрямовані на успіх за будь-яку ціну. 2. Не місце при-
крашає людину, а людина місце. 3. У цьому світі все настільки
взаємопов'язане, що одним незграбним рухом можна вчинити
велику шкоду. 4. За якісь нещасні три місяці підготуватися до
такого складного іспиту? 5. На вибори прийшли всі, чорні та
білі, жінки й чоловіки. 5. Я не можу розшифрувати твій почерк.
6. Ця визначальна боротьба стала кульмінацією його життя.

18
7. Тепер, коли ми заручилися підтримкою президента, можна
зосередитися на безпосередніх справах. 8. Його прибуток у ба-
гато разів перевищує мій.


VI. Paraphrase the following sentences containing units of the
Essential Vocabulary. Focus on the highlighted words. Translate
the sentences into Ukrainian:

1. Over the next eight months, the 2009 King High graduate will
immerse herself in the cultures of five countries – Turkey, Tanzania,
India, New Zealand and Mexico – for a study abroad in global-
ization. 2. These grueling exercises – in which one has to propel
oneself of the ground and then clap hands in midair before lowering
the body to the ground – fine tune the muscles in arms and shoul-
ders considerably. 3. Asian stocks fell on speculation weakening
economic growth in the U.S. and Europe's sovereign- debt crisis
will damp the outlook for the region's exporters and raw-material
producers. 4. Bollywood is lurching with arms outstretched into
new territory with its first zombie comedies, hoping to replicate the
success of a host of light-hearted Hollywood movies about the living
dead. 5. An onetime 9/11 hero hailed for helping two people escape
the World Trade Center was sentenced to at least a year in prison, his
second term behind bars after two separate bribery cases turned his
story of heroism into a tale of graft in the wake of the attacks.
6. Parents have rushed to enrol children as young as four into self-
defence classes after a spate of attempted abductions south of Ade-
laide. 7. Deputy Prime Minister Nick Clegg launched a scathing
attack on the parliament's main weekly debate, saying it was a dis-
play of 'tedious, ghastly, predictable tribalism.' 8. The tiny
scorecard ballyhooing 'The Great Game for the Championship of
the United States' is more than an artifact from what was then, in the
autumn of 1866, the most widely anticipated baseball game ever
played. 9. It's so gritty the bus has been dubbed the 'Dirty 30,' so
packed its riders often have to elbow their way on. 10. Youngsters
are going to great lengths to wear branded clothes with trendy lo-
gos as they are feeling the pressure of celebrity culture and keeping
up with their peers. 11. Because radiocarbon dating is limited to
the last 50,000 years, an artifact like a flint tool is dated by the age
of the sediment in which its found.

19
VII. Fill in the gaps with appropriate words from the Essential
Vocabulary. Translate the resulting sentences in Ukrainian:

1. The average price of polysilicon, the … for solar modules, fell
1.3 percent to $49.38 a kilogram from the previous week. 2. …
French presidential hopeful Dominique Strauss-Kahn on Sunday ac-
knowledged 'moral fault' in a sexual encounter with a New York
hotel chambermaid, but insisted that he engaged in no 'aggression or
constraint' that should have resulted in his arrest. 3. Angelina Jolie is
planning to … her kids at a UK school after filming for Brad Pitt's
new movie. 4. Fashion bloggers will help… online sales of designer
clothes, jewels and luxury cars to more than 11 billion euros
($15 billion) in 2015. 5. In 2008, Barack Obama tapped into a record
of nearly 15 million voters who cast ballots for the first time, a surge
in registration that may be difficult … next year. 6. I enjoy stories
written by people who are at first unfamiliar with the territory, but
then …, learn the terrain, and provide a unique perspective on any
given subject. 7. How guns got into … downtown Miami dance spot
is only one of many questions police, grieving relatives and a next
door club owner have about an early morning shooting that left one
person dead. 8. Experts have proved that the …, which was
unearthed at the Gohar-Tappeh prehistoric mound in Mazandaran
Province in 2005, is a clarinet. 9. Scientists in Italy and Spain have
developed a new type of pasta …'super spaghetti' made with
nutritious barley flour that may reduce the risk of heart disease.
10. School supply shopping can be … and annoying, but when it
starts winding down, you miss it.

VIII. Change the form of the words in brackets to fit the sen-
tences below. Translate the resulting sentences in Ukrainian:

1. 'I love dance as an art form,' says current Chicago mayor,
former White House chief of staff, and (time) dance student Rahm
Emanuel, a Chicago native who wants his city to be known for its
moves. 2. The move comes two years after the school board
suspended a similar Spanish language (to immerse oneself) program
at two primary schools. 3. Moving (to replicate) of the Titanic
anchor just a couple of miles from the Black Country Living

20
Museum to the town where the original was built will cost the
council £22,000. 4. Many exhausted employees long for a renewing
vacation, and now well-heeled travelers can opt for a relaxing, (to
immerse) sleep experience at a destination sleep school held at the
luxurious Lasource Beachfront Resort in Grenada. 5. A digital (to
replicate) of the Shroud of Turin, is on display in Abbotsford. In a
mystery spanning more than 2,000 years, some believe the face
imprinted on a piece of cloth is the actual face of the Son of God.
6. Cancer Research UK scientists have discovered that a protein
called Rac1 prompts pigment cells to sprout long 'legs' (to propel)
skin cancer cells and allowing them to spread. 7. University of
Nebraska (to enroll) grew by 1 percent this school year, surpassing
50,000 students at all four campuses for the first time since 1993.
8. It's often difficult – when we are incessantly enmeshed in the
nastiness of modern politics, bombarded with news from the criminal
world and confronted with self-serving actions of many corporate
leaders, celebrities and athletes – to remember that human beings
have a capacity to inspire, amaze and transcend (tedious) of day-to-
day life. 9. The new and improved burger, (to dub) Dave's Hot N'
Juicy after company founder Dave Thomas, will feature a thicker
patty, more cheese, and a buttered bun. 10. Till (tedious) do us part:
Couples who want to avoid divorce had better sweat the small stuff.
11. A sausage bath? Indeed. This is (trend) culinary-ese for
simmering Italian sausage in a white wine bath.

IX. Translate the sentences containing words from the Essential
Vocabulary into English:

1. Копія старовинного манускрипту зберігається у Британсь-
кій бібліотеці, де всі бажаючі можуть зануритися в магію слів.
2. Колишній радник президента опинився в центрі політичного
скандалу, коли виявилося, що багатий мафіозі скерував його
кар'єру на зліт. 3. Крім сировини, область постачає численні
цінні матеріальні знахідки. 4. Знайома записала свою доньку в
британську школу, але дівчинці програма здалася нудною.
5. Багатих молодиків без певної професії в нашій країні презир-
ливо величають ''світськими левами''. 6. Не варто копіювати цей
предмет, його довершеність не піддається відтворенню. 7. Мені
зручно користуватися олівцями з висувним грифелем. 8. Нудьга
постійно докучає колишнім впливовим урядовцям на схилі літ.

21
9. Програма занурення в культуру іншої держави допомагає
студентам краще опанувати іноземні мови. 10. Деякі віддають
перевагу дубльованим фільмам, я ж дивлюся тільки кіно із
субтитрами. 11. Легким поплескуванням по плечу його посвя-
тили в лицарі. 12. Ми пишаємося тим, що кількість учнів у
нашій школі найбільша.

X. Compose short situations in dialogue using the Essential
Vocabulary


Exerci ses t o t he Text

I. Summarize the text in a short paragraph of 60–80 words

II. Write a précis of the text in 20–30 words

III. Pick up sentences from the text describing Tom Adams. Give
his character sketch and speech portrait

IV. Put 15 guestions to the text, focusing on the problems of
communication

V. Pick out from the text all words and phrases describing the
process of communication. Use them in situations of your own

VI. Write out the sentences containing word combinations and
phrases and translate them into Ukrainian

VII. Answer the following questions after reading the text:

1. Why did Tom Adams choose to name his company Rosetta
Stone?
2. Summarize the speaker's track record. Which countries had he
been to?
3. Why did taking Rosetta Stone public prove to be a risky
venture? Describe the attending circumstances.
4. Outline the speaker's experience of learning various foreign
languages. Does it correspond with your own? Share your insights
into the problem.

22
5. What does the article say about the origins of Rosetta Stone
company? Which facts prove its viability?
6. What is a major problem in language learning, according to
Tom Adams? Do you agree with his assessment?
7. How many languages does Rosetta Stone project cover? Name
the most exotic ones. Do you know the names of communities who
speak these languages?
8. How does Rosetta Stone help to protect the disappearing
languages? Prove your point by citing an example from the text.
9. Comment on Tom Adams' assertion that 'language learning is
bread'? Does it hold true for Ukraine?

VIII. Study the following units of the Topical vocabulary
(describing the essential features of human communication). Then go
through the text again and give the Ukrainian equivalents for the
highlighted words:

multilingual experience
language learning company
interactive language program
immersion in a foreign language
images of real-life situations
to communicate in a foreign tongue
to replicate through computer technology
to convey meaning
to trigger understanding
to pick up the language
to draw on immersive experience
to give smb. firsthand knowledge
to sink or swim verbally
to ramble on about smth.

IX. Tom Adams has traveled extensively around the globe. Say in
which context the following geographical names were mentioned in
the text. Which of the places mentioned on the list he didn't
actually visit:

Stockholm, England, the Philippines, China, France, Germany,
Mongolia, Spain, Egypt, Louisiana

23
X. Do a research on Ernst & Young's Entrepreneur of the Year
award. Tell who it is granted to, what attributes must the
contenders have etc. Discuss the importance of awards as an in-
centive mechanism

XI. Suggest your own candidates for Ernst & Young's
Entrepreneur of the Year award. Explain your choice

XII. Analyze the following sentences containing units from
the comments. Translate them into Ukrainian:

1. In a recent newscast about America backing out of its
involvement in the Afghan war, it was stated that 'looking back at the
Russian failure in a similar issue could be the Rosetta stone for our
military's action.' 2. China's IPO market slowed by a fifth in the first
half of 2011 amid a lack of mega deals that hit the market the year
before, with fundraisings dominated by small businesses, a trend that
analysts said could last for a few more months. 3. The Rosetta Pro-
ject is preserving every language ever spoken, on one nano-etched
piece of metal. 4. Nedim Soylemez is a star commodities trader for
JP Morgan. He was once named in Trader Monthly's 30 Under 30 –
in the second position – with a fellow energy trader saying: 'He has
the most raw trading talent I've ever seen.' 5. At least 720 companies
have filed their IPO intentions in the past three months around the
world, hoping to raise about $67 billion. 6. The company
representatives said on Thursday that its new CEO is resigning, after
taking the job just three months ago, because of disagreements over
management philosophy. 7. The red and black jacket worn by Mi-
chael Jackson in the classic 'Thriller' video was sold at auction for
$1.8 million. A commodities trader from Austin, Texas purchased
the jacket. He says the jacket will be sent on tour and used as a fund-
raising tool for children's charities. 8. Yahoo CEO Carol Bartz has
huge digital feet. That's according to a new ranking out by PeekYou,
a company that measures the virtual presence of a person using an
algorithm that weighs public information to determine business lead-
ers' digital footprint. 9. If you're looking to invest in Facebook before
its IPO but not privy to the secondary markets where shares of the
company have been trading, there's a new (albeit somewhat indirect)
way to buy a stake. 10. Asia's biggest commodities trader, Noble
Group, doesn't see Brazil just for its potential in sugar cane. It's also

24
doubling capacity to warehouse soybeans and building crushing
and biodiesel plants in the center-west grain belt. 11. Citigroup
CEO Vikram Pandit, who took a $1 salary after his bank received
the most taxpayer assistance of any US lender, is poised to collect
$80 million from other payments and awards that may eventually
total more than $200 million.

XIII. Imagine that you are one of the language learning
software developers. Which methods of language learning would
you rather base the software on? Discuss the pros and cons of
each method:

a) Rote learning, a learning technique which focuses not on
understanding but on memorization by means of repetition.
b) Mnemonics, often verbal, such as a very short poem or a
special word used to help a person remember something, particularly
lists, but they may be visual, kinesthetic or auditory. This is based on
the principle that the human mind much more easily remembers spa-
tial, personal, surprising, sexual or humorous or otherwise meaning-
ful information than arbitrary sequences.
c) Link of associations, based on creating an association between
the elements of that list. Alternatively one could use visualisation,
seeing in one's mind's eye an image that includes two elements in the
list that are next to each other.
d) The Method of loci, a technique for memorizing practiced
since classical antiquity which is a type of mnemonic link system
based on places (loci, otherwise known as locations). It enables an
orator to easily remember a speech or students to easily remember
many things at will.

XIV. Practice using expressions from the Thematic vocabulary
by inserting them into the sentences. Translate the sentences:

1. She… for several minutes before introducing the main speaker.
2. It was here that he obtained his … of battleships and their
construction. 3. For embracing the … our university requires all
graduating students to attain proficiency in a foreign language
equivalent to three semesters of college-level study. 4. Trojan horses

25
often contain viruses that … and corresponding computer files. 5. …
are also used to harness the power of language learning and
increase performance and productivity for the Government sector.
6. Now that we've bought the farm, we'll have to make a go of it,
... 7. Thanks to the…, the language learner may test the first
halting attempts of pronouncing words and phrases versus those
recorded by a native speaker. 8. Thousands of students from
around the world are participating in … experiences during winter
break. 9. As good communicators, we are taught to check for
signals so that we can ensure that we have ... 10. Do you … a
foreign … better by learning through books or watching
shows/movies? 11. Sales is not an easy job here. We give you two
weeks training, then it's ... 12. He's funny, but he tends to ...
13. Can someone … me … on being an archaeologist?
14. Language … is a method of teaching a second language in
which the target language is used as the means of instruction.
15. Old sayings always seem to … better than plain words.

XV. Read the following quotes. Comment on their pertinence,
illustrating your point with real-life situations. Translate them
into Ukrainian, providing a translation commentary:

Language shapes the way we think, and determines what we can
think about. – Benjamin Lee Whorf
Those who know nothing of foreign languages know nothing of
their own. – Johann Wolfgang von Goethe
It's no coincidence that in no known language does the phrase 'As
pretty as an airport' appear. – Douglas Adams
Change your language and you change your thoughts. – Karl
Albrecht
There are hundreds of languages in the world, but a smile speaks
them all. – Anonymous
Language is not an abstract construction of the learned, or of
dictionary makers, but is something arising out of the work, needs,
ties, joys, affections, tastes, of long generations of humanity, and has
its bases broad and low, close to the ground. – Noah Webster


26
XVI. Look through an excerpt from Tom Adams' CV. What
are the new facts you have found out while reading it? Share
your clues about the sort of personality he has, his secrets of
success etc. Act out an interview with the CEO of Rosetta Stone

ABOUT TOM ADAMS

(USA Today, Nov.8, 2010)

Born: Stockholm
Age: 38
Education: Bachelor of Arts in history,
Bristol University, England;
MBA from Insead, France
Job: CEO of Rosetta Stone. In 2010, the
company has had total sales bookings of
more than $285 million, total revenue of
more than $265 million.
Number of employees: Just under 2,000.
Favorite food: Swedish fish roe. A favorite Swedish breakfast
dish that comes in a tube.
Dislikes: Clutter.
Hobbies: Cycling and traveling.
Family: Married to Alexandra. Children: Madeleine, 2, and Axel,
6 months.
Favorite vacation spot: Rome. He visited as a child, but feels he
really experienced it in 1998, falling in love with its people.
Once in a lifetime experience: Sailed across the Atlantic from
the Canary Islands on a 45-foot boat in 2000.

XVII. Role-play. One of you is Tom Adams giving his
motivation speech to a pool of reporters. Ask questions on the
speaker's experience, reasons for success of a language learning
company, language as a means of global communication etc

XVIII. Make up dialogues to describe the following situations:

a) One of you is selling an interactive language learning software
to the corporate clients. Think about the persuasion techniques you

27
would choose, outline the most appealing points etc. The clients are
trying to undermine your presentation by asking questions, making
comments, expressing doubts.
b) Two scholars are debating the advantages of 'man versus
computer' language teaching. Define the groups of potential students,
their special requirements, methods and techniques tailored for
every approach.
c) A group of researchers is trying to find a way to save an endan-
gered language. Suggest the policies the government should
implement to this purpose, some practical measures (school courses,
celebrities endorsement etc.), and sources of financial support. Draw
a blueprint of a long-term plan for the language revival.


S E C T I O N B

Te x t

I. The following excerpt from the novel Eat Pray Love by
ELIZABETH GILBERT illustrates the therapeutic role
language learning may play. How can this phenomenon be
explained, in your opinion? Was it a reckless decision on the
part of the author to start learning Italian? Substantiate your
point of view by giving examples

II. Look through the following comments before reading
the text:


Comme nt s

1. To make the practical justification for smth. To find
reasonable grounds for smth, explain smth as. e.g. I knew I could
make no practical justification for what I was doing.
2. To bone up on smth. To study intensely, usually at the last
minute. e.g. I had to bone up on my Latin verbs before the final
exam.
3. Diligent soldier. A set expression used to characterize a
persevering person, responsible but lacking excitement in life and
generally boring.

28
4. Credit record. A record of an individual's or company's past
borrowing and repaying, including information about late payments
and bankruptcy.
5. Continuing education. Instructional courses designed espe-
cially for part-time adult students.
6. This was hilarious. Very funny or merry.
7. In case Italy ever invades Ethiopia again, and is actually
successful this time. Allusion to the Second Italo-Abyssinian War
(also referred to as the Second Italo-Ethiopian War), a colonial war
that started in October 1935 and ended in May 1936. The war re-
sulted in the military occupation of Ethiopia and its annexation into
the newly created colony of Italian East Africa.
8. To slosh home. To splash, wade, or flounder in water.
9. Teensy little telephone. Tiny (an adjective used for
intensification). e.g. What used to cover women taking a swim in the
beach are now becoming smaller and teensy weensy covering only
small parts of the body.
10. A yucky divorce. Disgusting, nasty.


III. Read the text

EAT PRAY LOVE

(by Elizabeth Gilbert)

Elizabeth M. Gilbert (born July 18,
1969) is an American author, essayist,
short story writer, biographer, novelist and
memoirist. She is best known for her 2006
memoirs, Eat, Pray, Love, which as of
December 2010, has spent 199 weeks on
the New York Times Best Seller list, and
was also made into a film by the same
name in 2010.

For years, I'd wished I could speak
Italian – a language I find more beautiful than roses – but I could
never make the practical justification for studying it. Why not just
bone up on the French or Russian I'd already studied years ago? Or

29
learn to speak Spanish, the better to help me communicate with
millions of my fellow Americans? What was I going to do with
Italian? It's not like I was going to move there. It would be more
practical to learn how to play the accordion.
But why must everything always have a practical application? I'd
been such a diligent soldier for years – working, producing, never
missing a deadline, taking care of my loved ones, my gums and my
credit record, voting etc. Is this lifetime supposed to be only about
duty? In this dark period of loss, did I need any justification for
learning Italian other than that it was the only thing I could imagine
bringing me any pleasure right now? And it wasn't that outrageous a
goal, anyway, to want to study a language. It's not like I was saying,
at the age thirty-two,'I want to become the principal ballerina for the
New York City Ballet.' Studying a language is something you can
actually do. So I signed up for classes at one of those continuing
education places (otherwise known as Night School for Divorced
Ladies). My friends thought this was hilarious. My friend Nick
asked, 'Why are you studying Italian? So that – just in case Italy
ever invades Ethiopia again, and is actually successful this time –
you can brag about knowing a language that's spoken in two whole
countries?'
But I loved it. Every word was a singing sparrow, a magic trick, a
truffle for me. I would slosh home through the rain after class, draw
a hot bath, and lie there in the bubbles reading the Italian dictionary
aloud to myself, taking my mind off my divorce pressures and my
heartache. The words made me laugh in delight. I started referring to
my cell phone as il mio telefonino ('my teensy little telephone').
I became one of those annoying people who always say Ciao! Only
I was extra annoying, since I would always explain where the word
ciao comes from. (If you must know, it's an abbreviation of a phrase
used by medieval Venetians as an intimate salutation: Sono il suo
schiavo! Meaning: 'I am your slave!') Just speaking these words
made me feel sexy and happy. My divorce lawyer told me not to
worry; she said she had one client (Korean by heritage) who, after a
yucky divorce, legally changed her name to something Italian, just to
feel sexy and happy again.
Maybe I would move to Italy, after all…

30
IV. After reading the text answer the following questions:

1) Why did Elizabeth's wish to study Italian remain unfulfilled for
so long?
2) Knowing what language, in her opinion, would be especially
relevant for an American? If we extrapolate the same argument to
Ukraine, what would be your choice?
3) How does she demonstrate that for a long time her life was
completely duty-bound?
4) What examples of impractical goals does the author give? How
does she stress their impracticality?
5) How did she actually learn the language, if we go by the
information in the text?
6) Why does knowing the origins of the word ciao make her feel
sexy and happy just speaking it?
7) Can you explain the grounds of the conclusion she makes?

V. Elizabeth Gilbert's prose has some resemblance to a
confessional monologue. Do you feel she's addressing her readers
directly or just recording her thoughts and feelings? How can
you prove it?

VI. How would you characterize the author's style? Choose
among the following descriptions: neutral, slang-ridden, educated,
logical, emotional, matter-of-fact, precise, woolly, lyrical, nostalgic,
dry, over-the-top, understated

VII. Which role do the colloquial elements play in the canvas
of the text? Analyze the following expressions: teensy, yucky, to
bone up on smth in terms of the following:

a) Which register do they belong to?
b) Which age group speaks using similar words?
c) How does it characterize the author?
d) Can we form an opinion about her emotional state, experience,
the level of her maturity etc. based on the lexis she uses?

31
VIII. Find in the text the sentences containing information
on the following subjects:

a) the languages Elizabeth used to study early in her life;
b) the name of the renowned American ballet company;
c) the country Italy was unsuccessfully trying to invade;
d) the city the world famous Italian salutation comes from;
e) the heritage of a client who used to be in a similar frustration
after her divorce.

IX. Study the meaning of the highlighted words and
expressions using Comments and translate the following
sentences into Ukrainian

1. Although one could make justification for why he/she
grounded a child, that would definitely not be an excuse. The excuse
would be the child's reason for getting grounded. 2. Continuing
education is about adults going back to school for any reason– a
degree, advanced degree, professional certification, learning on the
job etc. 3. Use the fridge magnets to make a justification for travel
expenses. 4. A fit, highly-skilled and diligent soldier with a quiet,
unassuming manner, he was preparing himself for parachute selec-
tion on return to Colchester. 5. I have to bone up on the state driving
laws because I have to take my driving test tomorrow. 6. You know
how they say, 'Diligent soldiers never lose.' 7. Having a good credit
record is important if you want to borrow money in the future, so
take a few steps to ensure that yours is as squeaky clean as possible.

X. Practice the use of expressions from the Comments by
inserting them in the sentences below:

1. The test includes history, math, and languages, so I'll have to
… a lot of subjects. 2. The water was dirty and smelled ... 3. Every-
one had a … time. 4. For years we lived in a … apartment that was
the size of the proverbial broom closet. 5. What is this … pink stuff
on my plate? 6. We had to … across the wet meadow. 7. With new
developments in medicine happening all the time, doctors continu-

32
ally need to ... 7. …clothes in a solution of bleach and detergent.
8. He had a fund of … tales. 9. There's only a … chance that I'll be
able to make your party, as I'm up to my eyeballs in work. 10. The
water in his bottle … back and forth as he ran. 11. I felt … after
eating all that cake. 12. If you are attempting to repair your…, there
are some pitfalls awaiting you if you do not have the proper
knowledge and information.

XI. Translate the sentences using the material of the Comments.
Focus on the expressive features of the Ukrainian text:

1. Мене аж нудить від її зарозумілої поведінки. Вона нічим,
на мою думку, не виправдана. 2. Як така крихітна сумочка може
вміщати стільки речей одразу? 3. Пам'ятаєш байку про легкова-
жну бабку й мураху? Так от мурахи нині не в моді. 4. Зубрив
англійські теми вчора весь вечір, а отримав автомат на екзамені.
5. Це було так смішно, що ми ледь животи не надірвали.
6. Влітку раптом вдарили дощі. Емілі доводилося хлюпати до-
дому по калюжам у благеньких черевичках. 7. Вона – справжній
робот. Здається, й хвилини не відпочиває. 8. Те, до чого вдають-
ся банки, перевіряючи кредитоспроможність своїх клієнтів, про-
сто обурює.

XII. Read the following funny quotes. Comment on their perti-
nence. Translate them into Ukrainian, providing a translation
commentary:

The quantity of consonants in the English language is constant. If
omitted in one place, they turn up in another. When a Bostonian
'pahks' his 'cah,' the lost r's migrate southwest, causing a Texan to
'warsh' his car and invest in'erl wells.' – Author Unknown.
W (double U) has, of all the letters in our alphabet, the only
cumbrous name, the names of the others being monosyllabic. This
advantage of the Roman alphabet over the Grecian is the more
valued after audibly spelling out some simple Greek word, like
'epixoriambikos.' Still, it is now thought by the learned that other

33
agencies than the difference of the two alphabets may have been
concerned in the decline of 'the glory that was Greece' and the rise
of'the grandeur that was Rome.' There can be no doubt, however, that
by simplifying the name of W (calling it 'wow,' for example) our
civilization could be, if not promoted, at least better endured.
– Ambrose Bierce.
English is a funny language; that explains why we park our car on
the driveway and drive our car on the parkway. – Author Unknown
I would never use a long word where a short one would answer
the purpose. I know there are professors in this country who 'ligate'
arteries. Other surgeons only tie them, and it stops the bleeding just
as well. – Oliver Wendell Holmes.
I like the word 'indolence.' It makes my laziness seem classy.
– Bern Williams.
Our language is funny - a fat chance and slim chance are the same
thing. – J. Gustav White.
Sometimes it's just a short swim from the shipwreck of your life
to the island paradise of your dreams – assuming you don't drown in
the metaphor. – Robert Brault.

XIII. Which of the quotations focuses on a) the rules of
pronunciation, b) spelling, c) distribution and collocations, d) use
of registers, e) idiomaticity? Choose one of them to comment on

XIV. Discuss advantages and disadvantages of studying a
foreign language by immersion into a corresponding culture.
Focus on the following aspects:

a) would it be comfortable to address strangers for assistance;
b) would you feel safe in the unusual surroundings;
c) would you be able to get your point across to the people
speaking a foreign tongue you are not especially familiar with;
d) how would you feel if the idiomatic meaning of the utterances
eludes you?
Make up di al ogues t o i l l ust rat e each of t he si t uat i ons


34
XV. Panel discussion 'Language is a pathway to a foreign
culture.' Discuss how knowing a foreign language helps you get
a glimpse of the way of life, values, and emotional peculiarities
of the native speakers. Imagine that you are representatives of
both the first- and second- (third-) language speaking culture.
Share your previous experience of communication

XVI. Analyze the quotation from the Bible:

'Wherever you go, I will go; And wherever you lodge, I will lodge;
Your people shall be my people, and your God, my God' (Ruth 1:16–17
NKJV). In the ancient world, the married woman was supposed to
integrate fully within the culture of her husband. Is it still the case?
Do you think it's acceptable to abandon one's roots and start all
afresh? What would be the strongest motivation in this case?

XVII. Language is the mirror reflecting every aspect of our
lives. This is proved by the amusing facts below. Choose a fact you
like and comment on it using up to 6–8 sentences. If you have
chosen Fact 1, suggest your own explanation based on the
presumable origin of the term. How can you interpret Fact 7?

1. The longest word in the English language is 1909 letters long
and it refers to a distinct part of DNA.
2. Some biblical scholars believe that Aramaic (the language of the
ancient Bible) did not contain an easy way to say 'many things' and
used a term which has come down to us as 40. This means that when
the Bible -in many places -refers to '40 days,' they meant many days.
3. The 'huddle' in football was formed due a deaf football player
who used sign language to communicate and his team didn't want the
opposition to see the signals he used and in turn huddled around him.
4. Many languages in Africa include a 'click' sound that is
pronounced at the same time as other sounds. You must learn these
languages in childhood to do it properly.
5. 'Go!' is the shortest complete sentence in the English language.
6. Of all the words in the English language, the word ' set ' has the
most definitions.

35
7. All pilots on international flights identify themselves in
English.
8. Clans of long ago that wanted to get rid of their people without
killing them used to burn their houses down – hence the expression
'to get fired.'
9. The phrase 'rule of thumb' is derived from and old English law
which stated that you couldn't beat your wife with anything wider
than your thumb.

XVIII. Which of the facts explain the origins of linguistic units?
Can you come up with the Ukrainian equivalents to the word
'huddle' (Fact 3) and the idiomatic expression 'rule of thumb'
(Fact 9) without looking into the dictionary? Illustrate their
meaning by using them within the sentences of your own

XIX. Make up dialogues to illustrate the following situations:

a) A young Ukrainian girl is married to an American. They live in
the U.S. Although her husband wants their child to speak both
languages, she thinks it would be difficult for a child to be raised in
the bilingual circumstances.
b) The French are notoriously belligerent about preserving their
language intact from the English influence. A group of English-
speaking exchange students arrives to the French families. They are
trying to establish contact without offending their hosts' feelings.
c) Residents of the former colonies tend to consider their
language less prestigious than the language of the metropolitan
country. Imagine that you are a headmaster who wants to set up a
school providing classes in the native language. Explain the necessity
of attending them to the indigenous population.
d) You are on the brink of signing an important business deal with
the clients who don't speak your language. Moreover, you get an
impression that the interpreter assigned to them is not good for
his/her job.
e) You are an interpreter for the President at an important
international forum. While making his speech, the dignitary confuses
some important historical facts. You correct him in the translation.
However, he is offended and stands his ground.

36
XX. Choose one of the quotations below and compose a speech
deliberating on their relevance. Present the speech in class:

One man's frankness is another man's vulgarity. – Kevin Smith
I personally believe we developed language because of our deep
inner need to complain. – Jane Wagner
Euphemisms are unpleasant truths wearing diplomatic cologne.
– Quentin Crisp
If you can speak three languages you're trilingual. If you can
speak two languages you're bilingual. If you can speak only one lan-
guage you're an American. – Author Unknown


XXI. Comment on a passage from Eat Pray Love by Elizabeth
Gilbert:

We were talking the other evening
about the phrases one uses when trying
to comfort someone who is in distress.
I told Giovanni that in English we
sometimes say, 'I have been there.' This
was unclear to him at first – I've been
where? But I explained that deep grief
sometimes is almost like a specific
location, a coordinate on a map of time.
When you are standing in that forest of
sorrow, you cannot imagine that you
could ever find your way to a better
place. But if someone can assure you
that they themselves have stood in that same place, and now have
moved on, sometimes this will bring hope.
In return, Giovanni told me that empathizing Italians say L'ho
provato sulla mia pelle, which means 'I have experienced that on my
skin.' Meaning, I have also been burned or scarred in this way, and
I know exactly what you are going through.


37


Pa y a t t e nt i on t o t he f ol l owi ng poi nt s :

a) Which phenomenon does the passage describe?
b) What creative means does the author use to emphasize the idio-
matic diversity?
c) How does she prove the language's ability to describe the same
situation in different ways?
d) What emotional connotations does this scene have, in your
opinion?
e) What can we say about the level of emotional maturity of the
collocutors? Is it equal?
f) Can this fact explain a misunderstanding at the beginning of
the passage?

XXII. Analyze the comic strip above. Which function of
communication does it illustrate? What is the obstacle to its suc-
cessful progress? Why is Jon 'paralyzed with fear'?

http://www.gocomics.com/features

38
XXIII. Imagine that you went to take language courses abroad.
Write a letter outlining the strategies and methods they use, the
effect of language immersion; suggest your own tricks for
successful learning

XXIV. Do a case study of several situations reflecting
difficulties of communication with representatives of foreign
countries. Suggest the practical solutions for each of them

XXV. Prepare a presentation on the issue of protecting the
disappearing languages


S E C T I O N C

INTONATION AND SYNTAX REVIEWED

When we speak, when we read, even silently, a musical
movement inevitably accompanies our words, constituting sentence
intonation. Intonation refers to the rise and fall of the pitch contour
within a given tone group as distinguished from paralinguistic vocal
features which refer to aspects like the pitch range of an individual,
loudness/softness, and features of voice quality.
Intonation patterns in some languages can lead to conspicuous
fluctuations in pitch, giving speech a sing-song quality. Fluctuations
in pitch either involve a rising pitch or a falling pitch. Intonation is
found in every language, but the realization and function are seem-
ingly different. It is used, for example, to add attitudes to words (atti-
tudinal function) and to differentiate between wh-questions, yes-no
questions, declarative statements, commands, requests, etc. Intona-
tion can also be used for discourse analysis where new information is
realized by means of intonation. It can also be used for em-
phatic/contrastive purposes.
Generally speaking, the following intonations are distinguished:

Rising Intonation means the pitch of the voice increases over time [];
Falling Intonation means that the pitch decreases with time [];
Dipping Intonation falls and then rises [];
Peaking Intonation rises and then falls [].


39
The functions of intonation can be divided into six categories:
a) informational: for example, in English I saw a man in the
garden answers 'Who did you see?' or 'What happened?', while I saw
a man in the garden answers 'Did you hear a man in the garden?'
b) grammatical: for example, in English a rising pitch turns a
statement into a yes-no question, as in He's going home? This use
of intonation to express grammatical mood is its primary grammati-
cal use.
c) illocution: the intentional force is signaled in, for example,
English Why don't you move to California? (a question) versus
Why don't you move to California? (a suggestion).
d) attitudinal: high declining pitch signals more excitement than
does low declining pitch, as in English Good morning versus
Good morning.
e) textual: linguistic organization beyond the sentence is signaled
by the absence of a statement-ending decline in pitch, as in English
The lecture was canceled [high pitch on both syllables of 'canceled',
indicating continuation]; the speaker was ill. versus The lecture was
canceled. [high pitch on first syllable of 'canceled', but declining
pitch on the second syllable, indicating the end of the first thought]
The speaker was ill.
f) indexical: group membership can be indicated by the use of
intonation patterns adopted specifically by that group, such as street
vendors, preachers, and possibly women in some cases.

The English pitch has four levels: low (1), middle (2), high (3),
and very high (4). Normal conversation is usually at middle or high
pitch; low pitch occurs at the end of utterances other than yes-no
questions, while high pitch occurs at the end of yes-no questions.
Very high pitch is for strong emotion or emphasis.
Declarative sentences show a 2–3–1 pitch pattern. If the last
syllable is prominent the final decline in pitch is a glide. For
example, in This is fun, this is is at pitch 2, and fun starts at level 3
and glides down to level 1.
Wh-questions work the same way, as in Who (2) will (2) help
(31)? and Who (2) did (3) it (1)?
Yes-no questions with a 23 intonation pattern usually
have subject-verb inversion, as in Have (2) you (2) got (2) a
(2) minute (3, 3)? The question could also be framed without

40
subject-verb inversion but with the same pitch contour:
The (2) plane (2) has (2) left (2) already (2, 3, 3)?
Tag questions with declarative intent at the end of a declarative
statement follow a 31 contour rather than a rising contour, since
they are not actually intended as yes-no questions, as in We (2)
should (2) visit (3, 1) him (1), shouldn't (3, 1) we (1)? But tag ques-
tions exhibiting uncertainty, which are interrogatory in nature, have
the usual 23 contour, as in We (2) should (2) visit (3, 1) him (1),
shouldn't (3, 3) we (3)?
Questions with 'or' can be ambiguous in English writing with
regard to whether they are either-or questions or yes-no questions.
But intonation in speech eliminates the ambiguity. For example,
Would (2) you (2) like (2) juice (3) or (2) soda (3, 1)? emphasizes
juice and soda separately and equally and ends with a decline in
pitch, thus indicating that this is not a yes-no question but rather a
choice question equivalent to Which would you like: juice or soda?
In contrast, Would (2) you (2) like (2) juice (3) or (3) soda (3, 3)? has
yes-no intonation and thus is equivalent to Would you like something
to drink (such as juice or soda)?
As you can see from the information above, the intonation
patterns are inextricably linked to the syntactic structure of the
sentences and should be analyzed in a close relation to them. In
linguistics, syntax (from Ancient Greek σύνταξις 'arrangement' from
σύν syn, 'together', and τάξις táxis, 'an ordering') is the study of the
principles and rules for constructing phrases and sentences in natural
languages.
A sentence can include words grouped meaningfully to express a
statement, question, exclamation, request, command or suggestion. It
can be defined in orthographic terms alone, i.e. as simply that which
is contained between a capital letter and a full stop. For instance, the
opening of Charles Dickens' well known novel, Bleak House, begins
with the following three sentences:
London. Michaelmas term lately over, and the Lord Chancellor
sitting in Lincoln's Inn Hall. Implacable November weather.
The first sentence involves one single word, a proper noun. The
second sentence has only a non-finite verb. The third is a single
nominal group.

41
A clause consists of a subject and a predicate. The subject is typi-
cally a noun phrase, though other kinds of phrases (such as gerund
phrases) work as well, and some languages allow subjects to be omit-
ted. The predicate is a finite verb phrase: a finite verb together with
zero or more objects, zero or more complements, and zero or more
adverbials.
There are two types of clauses: independent and subordinate
(dependent). An independent clause demonstrates a complete thought;
it is a complete sentence: for example, 'I am sad.' A subordinate clause
is not a complete sentence: for example, 'because I had to move.'


Cl as s i f i c at i on of s e nt e nc e s

By structure

One traditional scheme for classifying English sentences is by the
number and types of finite clauses:
1) A simple sentence consists of a single independent clause with
no dependent clauses.
2) A compound sentence consists of multiple independent
clauses with no dependent clauses. These clauses are joined together
using conjunctions, punctuation, or both.
3) A complex sentence consists of at least one independent clause
and one dependent clause.
4) A complex-compound sentence (or compound-complex sen-
tence) consists of multiple independent clauses, at least one of which
has at least one dependent clause.

By purpose

Sentences can also be classified based on their purpose:
1) A declarative sentence or declaration, the most common type,
commonly makes a statement: 'I am going home.'
2) An interrogative sentence or question is commonly used
to request information –'When are you going to work?' – but
sometimes not.
3) An exclamative sentence or exclamation is generally a more
emphatic form of statement expressing emotion: 'What a wonderful
day this is!'

42
4) An imperative sentence or command tells someone to do
something: 'Go to work at 7:30 in the morning.'
The periodic sentences emphasize their important point by
putting first all subordinate clauses and other modifiers to the main
idea. The sentence unfolds gradually, so that the thought contained in
the subject/verb group becomes available only at the sentence's end.
Obviously artificial, it is used mostly in what in oratory is called the
grand style.
A 'now-famous periodic sentence' occurs in Nikolai Gogol's short
story 'The Overcoat' (translated by David Magarshack):
Even at those hours when the gray Petersburg sky is completely
overcast and the whole population of clerks have dined and eaten
their fill, each as best he can, according to the salary he receives and
his personal tastes; when they are all resting after the scratching of
pens and bustle of the office, their own necessary work and other
people's, and all the tasks that an overzealous man voluntarily sets
himself even beyond what is necessary; when the clerks are
hastening to devote what is left of their time to pleasure; some more
enterprising are flying to the theater, others to the street to spend
their leisure staring at women's hats, some to spend the evening
paying compliments to some attractive girl, the star of a little official
circle, while some – and this is the most frequent of all – go simply to
a fellow clerk's apartment on the third or fourth story, two little
rooms with a hall or a kitchen, with some pretensions to style, with a
lamp or some such article that has cost many sacrifices of dinners
and excursions – at the time when all the clerks are scattered about
the apartments of their friends, playing a stormy game of whist,
sipping tea out of glasses, eating cheap biscuits, sucking in smoke
from long pipes, telling, as the cards are dealt, some scandal that
has floated down from higher circles, a pleasure which the Russian
do never by any possibility deny himself, or, when there is nothing
better to talk about, repeating the everlasting anecdote of the
commanding officer who was told that the tail had been cut off the
horse on the Falconet monument – in short, even when everyone,
was eagerly seeking entertainment, Akaky Akakievich did not indulge
in any amusement.
A loose sentence expresses the main thought near the beginning
and adds explanatory material as needed.

43
We bashed the piñata for 15 minutes without denting it, although
we at least avoided denting one another's craniums and, with masks
raised, finally pried the candy out with a screwdriver.
A cumulative sentence places the general idea in the main clause
and gives it greater precision with modifying words, phrases, or
clauses placed before it, after it, or in the middle of it. In this exam-
ple, the phrases eyes squinting, puffy, and always on alert look for-
ward to the pronoun he in the main clause; the phrases after the word
forest look back to the word week in the main clause.
Eyes squinting, puffy, always on alert, he showed the effects of a
week in the forest, a brutal week, a week of staggering in circles
driven by the baying of wolves.
http://en.wikipedia.org/wiki/Intonation_(linguistics)

I. Read the text Intonation and Syntax Reviewed. Does it
cover all the cases of intonation use? How does the English
language differ from Ukrainian in its use of intonation in various
types of utterances? Give your examples of the intonation's
emphatic/contrastive purposes?

II. Translate examples of sentences from the Intonation and
Syntax Reviewed into Ukrainian. Give your examples of
declarative statements, interrogatory and negative utterances,
commands, requests etc. Focus on their correct pronunciation

III. Select and write out sentences of various types from Ex.
XXX. Draw their intonation patterns

IV. Name the type of each utterance below. Taking into
account their communicative purpose, say whether the
intonation is rising or falling. Read the sentences aloud with a
correct intonation

1. You already! (reproach)
2. You shouldn't have (reproach)
3. It's unbelievable! (surprise)
4. That's not very nice! (reproach)

44
5. I don't think I will. (disagreement)
6. How could you? (reproach)
7. Why should I tell you? (irony)
8. You must be joking! (surprise)
9. So what? (reproach)
10. Well, I never! (disagreement)
11. You know best, don't you? (irony)


V. The following excerpt is taken from the Gaggle with
Deputy National Security Advisor for Strategic Communications
Ben Rhodes Aboard Air Force One (September 19, 2011). It
typifies a formal style of language. Read the text focusing on the
correct use of intonation. State the predominant groups of
utterances. Draw their intonation patterns

Q Will the President be meeting with Palestinian President Abbas
during this day?
MR. RHODES: We don't have any meetings scheduled at this
point. If that changes, we'll let you know. Currently, we're planning
on meeting with Prime Minister Netanyahu on Wednesday, midday.
It's always possible that there are changes in the schedule, but right
now there's no meeting planned.
Q Is an effort being made to schedule something? I mean, he's
there already meeting with Ban Ki-Moon, meeting with various
leaders.
MR. RHODES: I'm sorry?
Q Abbas is already there meeting with leaders all day long to-
day.Is there any effort to schedule a meeting with him?
MR. RHODES: I mean, we're certainly – we've been in touch
with the Palestinians at a range of levels over the course of the
last few weeks, so we've been in communication with them.
Again, we don't have a meeting set up at this point. We'll let you
know if that changes.


45
Q Ben, as you, of course, know, the United States is part of a
broader effort to try to sway the Palestinians not to pursue this bid
for statehood from the U.N., for reasons you've stated, and now it
seems as clear as ever that Abbas is planning to go ahead with that.
What is your assessment of the state of play on that?
MR. RHODES: Well, again, we've noted President Abbas's
statement that he was going to pursue action at the Security Council.
He's yet to file that action. But we've made our position clear, which
is that we oppose actions to achieve a Palestinian state through the
United Nations. Insofar as their actions at the Security Council, we
would oppose those, and if it came to a vote, we've made it clear that
we would veto actions in the Security Council.
Act out the Gaggl e i n cl ass. Transl ate your versi on
consecuti vel y i nto Ukrai ni an.


VI. The following excerpt is taken from the Remarks by the
First Lady at a 'Let's Move' Restaurant Announcement
(September 15, 2011). The First Lady's speech is rather informal.
Read the text focusing on the correct use of intonation. State the
predominant groups of utterances. Draw their intonation
patterns. Find examples of emphatic intonation

Hi, everyone! How you guys doing? How many people got to
get out of school today to have lunch? Oh, nice, nice. Have you
tried the food yet? It's good, right? All right, you hear that? Good
food, well done.
With this new commitment, Darden is making healthier drinks
and healthier side dishes the default choices on their kids' menus.
You know what 'default choice' means, kids? That means that's the
first thing you get. If you don't choose anything, you get the broccoli,
okay? Trust me, I tried it. It doesn't work. Doesn't play so well.
With that said, there is nothing wrong with occasionally splurging
on treats and desserts, right? I mean, that's the fun of being a kid.
And quite frankly, it's the fun of being human. And I certainly have
done my share of splurging. I splurge. It's a good thing.

46
Act out the Remarks i n cl ass. Transl ate your
versi on consecuti vel y i nto Ukrai ni an.

VII. The last dialogue is an example of a very informal and
highly confrontational style of communication. This is a bar
altercation between Bristol Palin, the daughter of Sarah Palin,
onetime governor of Alaska and U.S. vice-presidential nominee,
and a man making offensive remarks against her mother. Find
examples of emphatic intonation. Draw their patterns

Man: She [your mother] is evil.
Bristol: You want her dead?
Man: You know what, if there is a hell, and I don't think there is
one, she will be there.
Bristol: OK, why is that?
Man: She's evil. She's evil.
Bristol: And that's why you hate her?
Man: And why do you say that?
Bristol: Because I can tell you are.

Ac t out t he al t e r c at i on i n c l as s

47
Uni t t wo

PRELIMINARIES
TO SUCCESSFUL COMMUNICATION




S E C T I O N А

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following
questions, drawing on your experience:

1. What do you think are the best ways to impress your
interlocutor?
2. Which factors influence your further relationship with
your boss?
3. Is it important to be open-minded in a conversation with a
superior?
4. Is it necessary to always openly express your opinion in a
conversation even if it might damage your reputation?
5. Do you always pick out words to gain a certain result in
talking to your boss?
6. Is there any difference in a register you use in a
conversation with a superior and with you friend?
7. What do you think'subordination' might mean? Does it
really influence the way you speak to either your inferior or
superior?
8. What do you think are the best ways to impress your
interlocutor?
9. Which factors influence your further relationship with your
boss?
10. Is it important to be open-minded in a conversation with a
superior?
11. Is it necessary to always openly express your opinion in a
conversation even if it might damage your reputation?

48
12. Do you always pick out words to gain a certain result in
talking to your boss?
13. Is there any difference in a register you use in a conversation
with a superior and with you friend?
14. What do you think'subordination' might mean? Does it really
influence the way you speak to either your inferior or superior?

Speech Patterns

'Should such an emergency arise …'

Should such an emergency arise, we'll have to make the decision
as quickly as possible.

'But why go to extremes?'

In case he takes it to extremes, he may be fired.
At the opposite extreme is a skyscraper with its conspicuous
spike.
The project seems to be a failure in the extreme.

Entwine one's fingers on one's belly

The Dean entwined his fingers on his stomach and waited for the
plea he expected.


Exe r c i s e s

I. Study the speech patterns and think of your own translations
of them.

II. Complete the dialogue using appropriate speech patterns.

A: We've decided to attract additional workforce to accomplish
the project … - the boss … … … being rather nervous.
B: … ... ... ? We have to do our utmost to economize.

49
III. React to the statements below using the appropriate
speech pattern. Several of them are possible.

1. You've totally failed. I'll fire you. How could you …? 2. Your
girlfriend has just told you you're a foul! 3. How come dared you
behave like this. 4. I've thought through your offer and… 5. You're
lingering too much. You fall from one end into another one. 6. In
case we succeed we could come on to another project.

IV. Translate the following sentenced from Ukrainian into
English using speech patterns.

1. Не в тому річ, що ми не можемо впоратись із завданням.
Справа в тому, що нам заважають і створюють різні перепони.
2. Навіщо впадати в крайнощі? Необхідно йти по середній лінії
і обирати завжди помірний темп розвитку. 3. Всі знають, коли
він збирається когось лаяти, то зазвичай він схрещує руки на
грудях. То є знак його роздратованості.

V. Make up short dialogues thinking of different situations
each speech pattern can be used in.


Te x t

FROM THE FOUNTAINHEAD

BY AYN RAND

Ayn Rand – a Russian-American novelist, known
for developing a philosophical system called
Objectivism. She was born on January 20
th
1905 in
Russia. Ayn Rand moved to the USA in 1926. After her
several unsuccessful novels she eventually gained fame
in 1943 with her novel'The Fountainhead' that
immediately became a bestseller in the USA and around
the globe. She is an author of several philosophical nov-
els and short stories aimed to depict an endeavor of a
human-being to break through the confinements of self-
restrictions. Her heroes are strugglers for freedom of
Life and Beauty. Ayn Rand died on March 6
th
1982.


50
Howard Roark, a student of the Stanton Institute of Technology,
gets to know, he is expelled from the Institute for his special views of
architecture. He was invited to have a talk with the Dean.
The Stanton Institute of Technology stood on a hill, its crenellated
walls raised as a crown over the city stretched below. It looked like a
medieval fortress, with a Gothic cathedral grafted to its belly. The
fortress was eminently suited to its purpose, with stout, brick walls, a
few slits wide enough for sentries, ramparts behind which defending
archers could hide, and corner turrets from which boiling oil could be
poured upon the attacker – should such an emergency arise in an
institute of learning. The cathedral rose over it in lace splendor, a
fragile defense against two great enemies: light and air.
The Dean's office looked like a chapel, a pool of dreamy twilight
fed by one tall window of stained glass. The twilight flowed in
through the garments of stiff saints, their arms contorted at the
elbows. A red spot of light and a purple one rested respectively upon
two genuine gargoyles squatting at the corners of a fireplace that had
never been used. A green spot stood in the center of a picture of the
Parthenon, suspended over the fireplace.
When Roark entered the office, the outlines of the Dean's figure
swam dimly behind his desk, which was carved like a confessional.
He was a short, plumpish gentleman whose spreading flesh was held
in check by an indomitable dignity.
'Ah, yes, Roark,' he smiled. 'Do sit down, please.'
Roark sat down. The Dean entwined his fingers on his stomach
and waited for the plea he expected. No plea came. The Dean cleared
his throat.
'It will be unnecessary for me to express my regret at the
unfortunate event of this morning,' he began,'since I take it for
granted that you have always known my sincere interest in your
welfare.'
'Quite unnecessary,' said Roark.
The Dean looked at him dubiously, but continued:
'Needless to say, I did not vote against you. I abstained entirely.
But you may be glad to know that you had quite a determined little
group of defenders at the meeting. Small, but determined. Your

51
professor of structural engineering acted quite the crusader on your
behalf. So did your professor of mathematics. Unfortunately, those
who felt it their duty to vote for your expulsion quite outnumbered
the others. Professor Peterkin, your critic of design, made an issue of
the matter. He went so far as to threaten us with his resignation
unless you were expelled. You must realize that you have given
Professor Peterkin great provocation.'
'I do,' said Roark.
'That, you see, was the trouble. I am speaking of your attitude
towards the subject of architectural design. You have never given it
the attention it deserves. And yet, you have been excellent in all the
engineering sciences. Of course, no one denies the importance of
structural engineering to a future architect, but why go to extremes?
Why neglect what may be termed the artistic and inspirational side of
your profession and concentrate on all those dry, technical,
mathematical subjects? You intended to become an architect, not a
civil engineer.'
'Isn't this superfluous?' Roark asked.'It's past. There's no point in
discussing my choice of subjects now.'
'I am endeavoring to be helpful, Roark. You must be fair about
this. You cannot say that you were not given many warnings before
this happened.'
'I was.'
The Dean moved in his chair. Roark made him uncomfortable.
Roark's eyes were fixed on him politely. The Dean thought, there's
nothing wrong with the way he's looking at me, in fact it's quite
correct, most properly attentive; only, it's as if I were not here.
'Every problem you were given,' the Dean, went on,'every project
you had to design – what did you do with it? Every one of them done
in that – well, I cannot call it a style – in that incredible manner of
yours. It is contrary to every principle we have tried to teach you,
contrary to all established precedents and traditions of Art. You may
think you are what is called a modernist, but it isn't even that. It is ...
it is sheer insanity, if you don't mind.'
'I don't mind.'

52
'When you were given projects that left the choice of style up to
you and you turned in one of your wild stunts – well, frankly, your
teachers passed you because they did not know what to make of it.
But, when you were given an exercise in the historical styles, a
Tudor chapel or a French opera house to design – and you turned in
something that looked like a lot of boxes piled together without
rhyme or reason – would you say it was an answer to an assignment
or plain insubordination?'
'It was insubordination,' said Roark.
'We wanted to give you a chance – in view of your brilliant record
in all other subjects. But when you turn in this –' the Dean slammed
his fist down on a sheet spread before him –'this as a Renaissance villa
for your final project of the year – really, my boy, it was too much!'
The sheet bore a drawing – a house of glass and concrete. In the
corner there was a sharp, angular signature: Howard Roark.
'How do you expect us to pass you after this?'
'I don't.'
'You left us no choice in the matter. Naturally, you would feel
bitterness toward us at this moment, but ...'
'I feel nothing of the kind,' said Roark quietly.'I owe you an
apology. I don't usually let things happen to me. I made a mistake
this time. I shouldn't have waited for you to throw me out. I should
have left long ago.'
'Now, now, don't get discouraged. This is not the right attitude to
take. Particularly in view of what I am going to tell you.'
The Dean smiled and leaned forward confidentially, enjoying the
overture to a good deed.
'Here is the real purpose of our interview. I was anxious to let you
know as soon as possible. I did not wish to leave you disheartened.
Oh, I did, personally, take a chance with the President's temper when
I mentioned this to him, but ... Mind you, he did not commit himself,
but ... Here is how things stand: now that you realize how serious it
is, if you take a year off, to rest, to think it over – shall we say to
grow up? – there might be a chance of our taking you back. Mind
you, I cannot promise anything – this is strictly unofficial – it would
be most unusual, but in view of the circumstances and of your
brilliant record, there might be a very good chance.'

53
Roark smiled. It was not a happy smile, it was not a grateful one.
It was a simple, easy smile and it was amused.
'I don't think you understood me,' said Roark.'What made you
suppose that I want to come back?'
'Eh?'
'I won't be back. I have nothing further to learn here. 'I don't
understand you,' said the Dean stiffly.'Is there any point in
explaining? It's of no interest to you any longer.'
'You will kindly explain yourself.'
'If you wish. I want to be an architect, not an archeologist. I see
no purpose in doing Renaissance villas. Why learn to design them,
when I'll never build them?'
'My dear boy, the great style of the Renaissance is far from dead.
Houses of that style are being erected every day.'
'They are. And they will be. But not by me.'
'Come, come, now, this is childish.'
'I came here to learn about building. When I was given a project,
its only value to me was to learn to solve it as I would solve a real
one in the future. I did them the way I'll build them. I've learned
all I could learn here – in the structural sciences of which you don't
approve. One more year of drawing Italian post cards would give me
nothing.'
An hour ago the Dean had wished that this interview would
proceed as calmly as possible. Now he wished that Roark would
display some emotion; it seemed unnatural for him to be so quietly
natural in the circumstances.
'Do you mean to tell me that you're thinking seriously of building
that way, when and if you are an architect?'
'Yes.'
'My dear fellow, who will let you?'
'That's not the point. The point is, who will stop me?'
'Look here, this is serious. I am sorry that I haven't had a long,
earnest talk with you much earlier ... I know, I know, I know, don't
interrupt me, you've seen a modernistic building or two, and it gave you
ideas. But do you realize what a passing fancy that whole so-called
modern movement is? You must learn to understand – and it has been

54
proved by all authorities – that everything beautiful in architecture has
been done already. There is a treasure mine in every style of the past.
We can only choose from the great masters. Who are we to improve
upon them? We can only attempt, respectfully, to repeat.'
'Why?' asked Howard Roark.
No, thought the Dean, no, he hasn't said anything else; it's a
perfectly innocent word; he's not threatening me.
'But it's self-evident!' said the Dean.
'Look,' said Roark evenly, and pointed at the window. 'Can you
see the campus and the town? Do you see how many men are
walking and living down there? Well, I don't give a damn what any
or all of them think about architecture or about anything else, for that
matter. Why should I consider what their grandfathers thought of it?'
'That is our sacred tradition.'
'Why?'
'For heaven's sake, can't you stop being so naive about it?'
'But I don't understand. Why do you want me to think that this is
great architecture?' He pointed to the picture of the Parthenon.
'That,' said the Dean,'is the Parthenon. 'So it is.'
'I haven't the time to waste on silly questions.'
'All right, then.' Roark got up, he took a long ruler from the desk,
he walked to the picture.'Shall I tell you what's rotten about it?'
'It's the Parthenon.' said the Dean.
'Yes, God damn it, the Parthenon!'
The ruler struck the glass over the picture.
'Look,' said Roark.'The famous flutings on the famous columns –
what are they there for? To hide the joints in wood – when columns
were made of wood, only these aren't, they're marble. The triglyphs,
what are they? Wood. Wooden beams, the way they had to be laid
when people began to build wooden shacks. Your Greeks took marble
and they made copies of their wooden structures out of it, because
others had done it that way. Then your masters of the Renaissance
came along and made copies in plaster of copies in marble of copies in
wood. Now here we are, making copies in steel and concrete of copies
in plaster of copies in marble of copies in wood. Why?'
The Dean sat watching him curiously. Something puzzled him,
not in the words, but in Roark's manner of saying them.

55
Comme nt ar y

Tudor Chapel – a chapel built in the Tudor
architectural style. The style is the climax of
the development of the medieval architecture
during the Tudor Period (1485–1603) in
England. Oxford and Cambridge colleges are
carried out in Tudor style. The principal
examples of the style are:
Henry VII Lady Chapel at Westminster
Abbey, King's College Chapel, Cambridge,
St. George's Chapel, Windsor Castle

French Opera House – was an opera house
in New Orleans. It was one of the city's
landmarks from its opening in 1859 until it was
destroyed by fire in 1919. It stood in the
French Quarter at the uptown lake corner
of Bourbon and Toulouse Streets, with the
main entrance on Bourbon. The French Opera
House itself was the most fashionable
establishment in New Orleans in the years
between the Civil War and World War I.
Attendance at the opera there was a social
event of importance with ritual and tradition.

Modernism in architecture – is a term
used to imply a period in architectural
history during the 20th century with
efforts to reconcile the principles
underlying architectural design with rapid
technological advancement and the modernization of society.
Modernism in architecture is broadly characterized by
simplification of form and subtraction of ornament from the
structure and theme of the building.

Gothic Architecture – the history of Gothic Architecture dates
back to the 12th Century. This was an exciting time in Medieval
European history. Many Knights had travelled to the Holy Land

56
on Crusades. They had seen the magnificent
solid fortresses of the Byzantine Empire and
these massive buildings influenced and
revolutionized castle building ideas,
engineering and architecture. The new, Gothic
Style of architecture and decoration emerged in
France. It was initially simply called 'The
French Style.' The views expressed during the
Renaissance period of history led to a different
name for the style of architecture – Gothic.


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. stretch (v) – 1) To make something bigger or looser by pulling
it. e.g. Is there any way of stretching shoes? 2) to become bigger
when you pull it or return to its original shape when you stop. e.g.
Jeans stretch and you fill comfortable. 3) To straighten your arms,
legs or body e.g. He stretched and yawned. 4) To reach something
(stretch across / over) e.g. She stretched across the table to take
butter. 5) stretch the truth/ the limit – not to be completely honest.
6. to overstretch the argument – to exaggerate.

2. graft (v) (onto / to / into) – 1) to take a piece if skin, bone,
tissue and from one part of the body and attach it to a damaged one.
e.g. New skin has been grafted on from his back. 2) to make an idea,
system, etc. become part of another one. e.g. This though has been
grafted onto a new curriculum. 3) to work hard e.g. The students
have been grafting for the whole semester.

3. eminent (adj) – 1) famous and respected especially in a
particular area (an eminent architect) 2) (of qualities) unusual,
excellent (eminent good sense, humor, etc.).

4. fragile (adj) – 1) easily broken or damaged (fragile china / glass
/ bones). 2) weak and uncertain, easily destroyed and spoiled (a fragile
relationship / peace / ceasefire). 3) delicate and beautiful (fragile
beauty) 4) (about health) – fragile nervous system / health / liver, etc.
fragile (n) brittle, breakable, flimsy.

57
5. contort (v) – to become twisted or make sth twisted out of its
normal shape. e.g. A spasm of pain contorted his face; contorted
limbs / bodies; contorted vision of truth.

6. indomitable (adj) – very brave and determined, not willing to
accept defeat. e.g. an indomitable spirit.

7. crusade (v) – to make a long and determined effort to achieve
sth that you believe to be right and fair. e.g. He was crusading for
free education.
crusader (n).

8. insane (adj) – 1) seriously and mentally ill. e.g. to go insane
2) very stupid, crazy and dangerous e.g. drive insane. e.g. This
moment of peace was driving me insane – I craved for a battle.


Word Combi nat i ons and phrases

crenellated walls
take something for granted
needless to say
abstain from something
make an issue of the matter
outnumber
superfluous
in view of
earnest talk
passing fancy


Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and commentary to the text. Find
Ukrainian equivalent to each thematic word and phrase. Find them
in the text and comment on their usage.

II. Come up with three sentences of your own with each item in
Essential Vocabulary.


58
III. Match the phrases on the left with the correct definitions
on the right:

Take something for granted weak health
Outnumber toil to death
Go insane foremost figure
Earnest talk abbundant
Contorted vision refrain from
Fragile health take a a face value
Needless to say exceed
Superfluous hard talk
Abstain from warped thinking
Graft hard greatly determined
Indomitable spirit there's no point in
Eminent personality go crazy

IV. Give antonyms to the following words and phrases using
Essential Vocabulary.

Robust, sanity, lacking, stick to sth, stay idle, infamous, weak
spirit, distinct view, desultory talk, indifferent to everything,
resilient, lazy, unknown person, scarcity, strong-willed, considering
sth, not to take seriously, important to say.

V. Paraphrase the following sentences using the Essential
Vocabulary.

1. Education services are overexcessive to the extent that they do not
live up to people's expectations. 2. The Government are going to keep
away from suspicious agreements. 3. More than 30 percent of voters did
not come to the polling stations. 4. He expressed his strong
determination to help his co-worker with the project. 5. He had no
genuine understanding of the organization he was administering. 6. Nick
took his girlfriend's new passion too close to his heart. 7. The number of
delegates at this year's conference exceeded the respective number last
year. 8. More than half working people in the country are toiling to get a
crummy pay. 9. Warped thinking dominated the organization. 10. The
scholars over-exeggarated the idea of a newly-minted gadget.

59
VI. Translate the following sentences into Ukrainian. Pay special
attention to the words and phrases in italics.

1. Your professor of structural engineering acted quite the
crusader on your behalf. 2. There is a treasure mine in every style of
the past. 3. Here is how things stand: now that you realize how
serious it is, if you take a year off, to rest, to think it over – shall we
say to grow up? 4. It would be most unusual, but in view of the
circumstances and of your brilliant record, there might be a very
good chance. 5. The twilight flowed in through the garments of stiff
saints, their arms contorted at the elbows. 6. You turned in
something that looked like a lot of boxes piled together without
rhyme or reason – would you say it was an answer to an assignment
or plain insubordination. 7. The fortress was eminently suited to its
purpose, with stout, brick walls, a few slits wide enough for sentries,
ramparts behind which defending archers could hide, and corner
turrets from which boiling oil could be poured upon the attacker–
should such an emergency arise in an institute of learning. 8. Of
course, no one denies the importance of structural engineering to a
future architect, but why go to extremes. 9. It will be unnecessary for
me to express my regret at the unfortunate event of this morning,' he
began,'since I take it for granted that you have always known my
sincere interest in your welfare. 10. He went so far as to threaten us
with his resignation unless you were expelled.

VII. Complete the following sentences with one suitable
thematic word or word combination given above. Translate
them into Ukrainian.

1. Ralf had always … that his father would survive him – that his
own name would be the first grimly called. 2. It is the good fortune
of a man who for the greather part of a lifetime has … without effort
from making himself disagreeable with his friends. 3. His affection
for Sindy was but … . 4. ... your brilliant reputation, we made a
decision to let you stay here. 5. It was quite a … action, which
another time might not have happened at all. 6. … are the ideal
accompanyment to your stone curtain walls. 7. …, I never meant to

60
hurt anyone out there. 8. IPhone user now... . Android user both
in the USA and aroud the globe. 9. She always tends to …, even
if she is not sure of her own strength. 10. I was quite an … . As a
result, they parted.

VIII. Translate the following sentences from Ukrainian into
English in writing.

1. З огляду на вищенаведені факти, ми не впевнені в тому, що
заводський експеримент матиме успіх. 2. Джекі полюбляв чита-
ти різні романтичні історії, в яких автор так гарно змальовував
миттєві запаморочення, що так швидко і назавжди зникали у
прірву байдужості. 3. Проектна комісія вважає результати екс-
перименту надлишковими і вимагає перегляду його методів.
4. В делечині з-поміж хмар майорів величний храм. Його зубча-
сті стіни, що оминали периметр його будови надавали храму
відчуття непідступності. 5. За останні декілька років кількість
жінок, що приходять вчитися на водія категорії 'Б' перевищує
кількість чоловіків. Емансипація набирає обертів.6. Багато депу-
татів утрималися при голосуванні за даний законопроект, оскі-
льки вважають його неначасі. 7. Директор підприємства дуже
серйозно поставився до цього питання і наказав відділам про-
слідкувати за тим, щоб цю проблему було вирішено. 8. Ральф
прийняв на віру, все що йому повідомили. Звичайно, він засму-
тився. 9. Годі й говорити про це! Інтернет ще не досяг найвищо-
го рівня розповсюдження у світі. 10. BBC почала транслювати у
прямому ефірі ток-шоу, в якому ведучий намагається вести сер-
йозну розмову з політиками та відомим діячами кіно та театру.

IX. Compose short situations in dialogues using essential
Vocabulary.


Exe r c i s e s t o t he Te xt

I. Read the text ones again, paying attention to the way the
communication between Howard Roark and the Dean is
underway.

61
II. Summarize the text in a short paragraph of 100 words.

III. Write a précis of the text in 50 words.

IV. Retell the text as if you were a) the Dean b) Howard
Roark.

V. Rewrite the conversation between the Dean and Howard
Roark as if the student were disappointed at his expulsion.

VI. Hold a round-table discussion of the following topics:

1. Freedom of speech and mind.
2. Ability to develop and evolve as a personality.
3. Freedom of mind as a prerequisite to a successful education.
4. Preliminaries to a successful communication if you're
undervalued.
5. Do not overreach yourself.

VII.Answer the following questions. Discuss them in class.

1. Is there anything ominous in the way the Dean's office looks?
Did Howard Roark feel anxious about the forthcoming interview
with the Dean? 2. Comment on the beginning of the conversation.
Was it right of Howard Roark to stay heedless of the welcoming
words of the Dean? 3. What did entwined fingers of the Dean imply
to Howard Roark? 4. Comment on the way Howard Roark responded
to the long speeches of the Dean. What reaction can such a treatment
produce? 5. Was Howard Roark constantly looking straight into the
Dean's eyes? Did the Dean feel comfortable about it? 6. Did Howard
Roark really want to study in the Institute after he had been expelled?
7. How would you describe the manner Howard Roark held the
conversation with his superior? What aim did he pursue? 8. What did
Howard Roark mean by saying'I want to be an architect, not an
archeologist'? 9. What implications can such a conversation have for
a young student? Did he really manage to prove his outlook? Was he
trying to do that?

62
S E C T I O N В

TOPICAL VOCABULARY

Assertiveness
Assert ones rights
Win-win
Win-lose
employ tactics
disrespectful,
manipulative,
demeaning
abusive
make negative/positive assumptions
retaliatory
let one's needs go unmet
verbose
vent oneself
in a bind
alienate
in the long run


I. Read the text. Translate it into Ukrainian. Discuss
it in class.

What I s As s e r t i v e ne s s ?

Assertiveness is the ability to express one's feelings and assert
one's rights while respecting the feelings and rights of others.
Assertive communication is appropriately direct, open and honest,
and clarifies one's needs to the other person. Assertiveness comes
naturally to some, but is a skill that can be learned. People who
have mastered the skill of assertiveness are able to greatly reduce
the level of interpersonal conflict in their lives, thereby reducing a
major source of stress.

63
How Doe s As s e r t i v e ne s s Compar e
t o Ot he r Be hav i or ?

Sometimes people confuse aggressiveness with assertiveness,
seeing that both types of behavior involve standing up for one's
rights and expressing one's needs. The key difference between the
two styles is that individuals behaving assertively will express
themselves in ways that respect the other person. They assume the
best about people, respect themselves, and think'win-win' and try to
compromise.
In contrast, individuals behaving aggressively will tend to employ
tactics that are disrespectful, manipulative, demeaning, or abusive.
They make negative assumptions about the motives of others and
think in retaliatory terms, or they don't think of the other person's
point of view at all. They win at the expense of others, and create
unnecessary conflict.
Passive individuals don't know how to adequately communicate
their feelings and needs to others. They tend to fear conflict so much
that they let their needs go unmet and keep their feelings secret in
order to 'keep the peace'. They let others win while they lose out; the
problem with this (which I'll go into in more detail momentarily) is
that everybody involved loses, at least to an extent.

What Doe s As s e r t i v e ne s s Look Li ke ?

Here are some common scenarios, with examples of each style of
behavior:
Scenario A: Someone cuts in front of you at the supermarket.
An aggressive response would be to assume they did it on
purpose and angrily say, 'Hey, jackass, no cuts!'
A passive response would be to just let the person stay in front of you.
An assertive response would be to assume that they may not have
seen you in line, and politely say,'Excuse me, but I was in line.'
Scenario B: Your friend, who can be quite verbose, calls to vent
about her bad day. Unfortunately, you have a lot of work to do and
don't have time to talk.

64
An aggressive response would be to become angry that she
obviously doesn't respect your time, cut her off, and sarcastically say,
'Oh, get over it! I have my own problems!'
A passive response would be to let her talk for as long as she
needs, and figure that your deadline can suffer; she needs your help.
An assertive response would be to listen for a minute or two, then
compassionately say,'Wow, it sounds like you're having a tough day!
I'd love to talk to you about it, but I don't have the time right now.
Can we talk later tonight?'

What Ar e t he Be ne f i t s of As s e r t i v e ne s s ?:

Assertiveness affects many areas of life. Assertive people tend to
have fewer conflicts in their dealings with others, which translates
into much less stress in their lives. They get their needs met (which
also means less stressing over unmet needs), and help others get their
needs met, too. Having stronger, more supportive relationships
virtually guarantees that, in a bind, they have people they can count
on, which also helps with stress management, and even leads to a
healthier body.
Contrasting with this, aggressiveness tends to alienate others and
create unnecessary stress. Those on the receiving end of aggressive
behavior tend to feel attacked and often avoid the aggressive
individual, understandably. Over time, people who behave
aggressively tend to have a string of failed relationships and little
social support, and they don't always understand that this is related to
their own behavior. Ironically, they often feel like victims, too.
Passive people aim to avoid conflict by avoiding communication
about their needs and feelings, but this behavior damages
relationships in the long run. They may feel like victims, but
continue to avoid confrontation, becoming increasingly angry until,
when they finally do say something, it comes out aggressively. The
other party doesn't even know there's a problem until the formerly
passive individual virtually explodes! This leads to hard feelings,
weaker relationships, and more passivity. (from www.stress.about.com)

II. Look up the words and word combinations in a
dictionary. Make up three sentences with each of these words
and word combinations.

65
III. Give synonyms to the following words and phrases
according to the list given above.

Insulting, eloquent, confide oneself, in the long term, neglect
one's needs, reciprocal, to assume, to apply tactics, without risk of
loss, without respect, protect one's rights, in a predicament, debar,
unjust.

IV. Fill in the gaps. Consult the text. Translate the sentences
into Ukrainian in writing.

1. They assume the best about people, respect themselves, and
think ... and try to compromise. 2. Sometimes people confuse
aggressiveness with …, seeing that both types of behavior involve
standing up for one's rights and expressing one's needs. 3. In
contrast, individuals behaving aggressively will tend to … that are
…, …, …, or … . 4. Your friend, who can be quite … calls to … …
her bad day. 5. Having stronger, more supportive relationships
virtually guarantees that, … they have people they can count on,
which also helps with stress management, and even leads to a
healthier body. 6. They … … … about the motives of others and
think in retaliatory terms, or they don't think of the other person's
point of view at all. They win at the expense of others, and create
unnecessary conflict. 7. Contrasting with this, aggressiveness tends
to … others and create unnecessary stress. 8. They tend to fear
conflict so much that they … … … … … and keep their feelings
secret in order to 'keep the peace'. 9. Passive people aim to avoid
conflict by avoiding communication about their needs and feelings,
but this behavior damages relationships … … … … . 10. … is the
ability to express one's feelings and … … … while respecting the
feelings and rights of others.

V. Compose situations with different scenarios in form of
a dialogue. Try to apply the tactics of assertiveness.

1. Someone is preventing you from reading your favorite book.
2. You're having a phone-talk with your friend. Your parents are
here to make you stop it, because they think you have yet much to do.

66
3. You're standing at the reception desk in a hotel. You want to
check in, but there's no one to help you. 30 minutes later a
receptionist tells you there're no empty rooms in the hotel.
4. You've booked a return ticket to Kharkiv online. You're sure
you can get it from a booking office. A clerk tells you, you have not
paid via Visa, so you cannot get a ticket.
5. You're late for the first night. You're not let in.
6. Your scenario.

VI. Translate the text into English. Discuss it in class.

Аналіз діяльності сучасних організацій дає підстави робити
висновок, що конфлікт є важливою формою взаємодії людей, за-
собом вирішення тих чи інших ділових проблем та самоствер-
дження особистості в колективі. Поява конфліктів і їх подальший
аналіз дає змогу глибше вникнути у тонкощі ділових стосунків,
таємниці порозуміння між менеджерами і працівниками, вироби-
ти оптимальну стратегію взаємодії, надати спірним сторонам
шанс уникнути серйозної сутички. Це дуже важливо передусім
для сучасних організацій, менеджери та працівники яких вважа-
ються особистостями з розвиненим почуттям гідності, чіткими
рольовими установками, своїм 'Я', орієнтацією на діловий успіх.
Основні види органі заці йних конфлі кті в:
• тип організації, в якій виникають конфлікти (школа, мініс-
терство, банк, ТОВ, СП, ПП тощо);
• місце локалізації конфлікту (всередині організації чи зовні
під час її взаємодії з соціальним середовищем). Можуть бути
внутрішніми й зовнішніми;
• кількість людей, задіяних в конфлікті (від однієї людини до
кількох малих або великих соціальних груп). Можуть бути: вну-
трішьноособистісними, міжособистісними, між особистістю і
групою, між двома групами;
• управлінський статус учасників конфлікту (їх місце в сис-
темі вертикальних або горизонтальних управлінських стосун-
ків). Можуть бути: вертикальними та горизонтальними;
• статус керівника в конфлікті. Можуть бути: конфлікти, в
яких керівник організації є безпосереднім їх учасником, та кон-
флікти, в яких керівникові доводиться бути 'третьою стороною',
тобто коли він є посередником у розв'язанні конфліктів.

67
Як правило, конфлікт в організації має 'багатовимірну' кла-
сифікацію. Наприклад, конфлікт між працівниками організації
може бути класифікований як внутрішньоорганізаційний, гори-
зонтальний (між особами, що посідають однакої місце в ієрархії
управлінських стосунків), інтергруповий (усередині групи).
Представник управлінського персоналу у конфлікті може віді-
гравати роль посередника у процесі розв'язання конфлікту.
Визначення видів організаційних конфліктів уможливлює
більш точне окреслення причин, що викликають їх.
Всі конфлі кти класифі кують за причинами ї х ви-
никнення:
• конфлікт ролей – зіткнення різних соціальних ролей, які
виконуються однією людиною або кількома людьми (групами,
організаціями);
• конфлікт бажань – зіткнення кількох бажань у свідомості
однієї людини, зіткнення свідомостей кількох людей (груп, ор-
ганізацій) з приводу одного й того бажання;
• конфлікт норм поведінки – зіткнення цінностей, норм пове-
дінки, життєвого досвіду під час взаємодії та спілкуванні людей
(груп, організацій).

Зауважимо, що конфлі кти у реальному житті часто
поєднані мі ж собою і мають об' єктивно-суб' єктивну
природу:
• з одного боку, вони зумовлені зовнішніми об'єктивними
чинниками (соціально-політичною та економічною ситуацією в
суспільстві, станом розвитку забезпечення певної галузі народ-
ного господарства, особливостями функціонування конкретної
організації тощо);
• з іншого – вони обумовлені внутрішніми суб'єктивними
чинниками (психологічними характеристиками учасників конф-
лікту, їхніми потребами, інтересами, мірою значущості для них
конфліктної ситуації, особливостями характеру, мірою толеран-
тності у спілкуванні тощо).

Проте, залежно від конкретного типу конфлікту важливе місце
займають ті чи інші причини: за конфліктами ролей провідними є
соціальні причини, за конфліктами бажань спостерігається збалан-

68
сованість соціальних і психологічних причин, конфліктами норм
поведінки головними є психологічні чинники (з підручника
Винославська О. В., Бреусенко-Кузнєцов О. А., Зливков В. Л.,
Апішева А. Ш., Васильєва О. С. Психологія. Навчальний посіб-
ник / К.: Фірма 'ІНКОС', 2005. – 351 c.)


VII. Discuss the following cartoons in class.










69
Wr i t i n g

• Write 250–400-word interview with your fellow-student.
• Make up a report on the way to achieve successful
communication.
• Imagine you were a journalist. Share your experience of talking
to celebs.
• Write an essay of 2000 words on the importance of being a good
interlocutor.



S E C T I O N C

MODALITY REVIEWED

Ti p 1

Modality is a characteristic of a verb which is expressed by the
category of Mood and indicates the attitude of a speaker towards the
action expressedby the verb from the point of view of its feasibility or
the word which expresses the speaker's point of view.


MOOD



Indi cat i ve
An action or a state
is stated as a fact.

Imperat i ve
An action is in form
of a command
or a request.

Subj unct i ve
An action or a state
is imaginary, desired,
a non-fact.


I. Detemine the correct mood of the verb in the following
sentences. Translate them into Ukrainian.

1. If I have enough time, I go to the gym every evening. 2. If
anyone calls, tell them I'm out. 3. What is more important, we have
to live up to our customers' expectations. 4. A car is a means of

70
transport, which was invented for the rich few, and now is available
for everyone. 5. If I were you, I would accept the invitation. 6. It is
strongly recommended that he should continue the experiment.
7. The Will be true! 8. Suffice it to say that we soon were home.
9. Don't be afraid and frustrated! We'll soon quit. 10. Hardly had he
ever resorted to such a trifle. 11. It's high time the law were adopted.
12. The rule is applicable to all the cases of misconduct. 13. It's
important that he be really kind to her. 14. Wisdom of life is
something achieved at its end.


II. Translate the sentences into English paying attention to the
correct form of the verb. Dermine the mood of the verb.

1. Вона бажала, щоб він був найкращим у світі байкером, то-
му їй довелося поступитися своїми принципами. 2. Щоб ви не
казали, їй не достатньо часу на підготовку до екзамена. 3. Мені
довелось взяти таксі, щоб не спізнитися на потяг. 4. Будь чем-
ним до своїх колег, тоді вони тебе поважатимуть. 5. Художник
використав різномаїття кольорів для відтворення різнобарв'я
пейзажа. 6. Надягніть капелюх, щоб не застудитись. 7. Коли б ви
не прийшли до мене, я завжди радий вам допомогти. 8. Автобус
зупинився для того, щоб туристи могли помилуватися виглядом
собора. 9. Тихо! Не говоріть так гучно. Якщо ви не зупинитесь,
я не зможу все уважно вивчити. 10. Перед тим, як вмикати ком-
п'ютер, перевірте, чи під'єднаний кабель.


Ti p 2

Modality is also expressed by modal words and phrases, which
express a speaker's attitude to a fact or an action. We can single out
the following groups of modal words and expressions:
• Expressing certainty:
• Certainly, for sure, surely, of course, apparently, no doubt,
undoubtedly, clearly, etc.
• Expressing supposition:

71
• Probably, perhaps, plausibly, feasibly, maybe, possibly, etc.
• Expressing desirability or indesirability:

Fortunately, hopefully, happily, luckily and their antonyms.
N/B. It is important not to confuse modal words and adverbs,
which are homonymous but can be distinguished by their meaning
and syntactic function. Modal words are used as parantheses or
sentence-words, meanwhile adverbs are used as adverbial modifiers.


I. Translate the following sentences into Ukrainian. Say whether
the words in italics are adverbs or modal words. Determine the
group each of it belongs to and its syntactic function.

1. He was heading for the destination surely and resolutely.
2. The company is, apparently, losing its position on the rating list.
3. They were sauntering happily down the boulevard hand in hand.
4. Hopefully, as you get throught the stressfull situation, you'll
benefit from it. 5. On the ground, the agreement transpired to be
vapid, for sure. 6. Amazingly enough, the start-up initiated a brand-
new tide in public business. 7. Mr. Johnson was amazingly touched
by the scene of his new premises. 8. There is no doubt that the client
should be blacklisted. 9. The newly-produced iMac will rush into the
hi-tech market as being a revolutionary solution to a reportedly
inhibited market. 10. Nevertheless, she happily married him. 11. It is
possibly the worst-case scenario of what could have happened.
12. Unhappily though, the wind was blowing straight into their
faces – so, they could not see anything.


II. Fill in the gaps with appropriate modal word. Translate
the sentences into Ukrainian.

1. The criminal was … accused of a serious crime. 2. The
representative of the company, …, had a narrow escape. 3. …,
Mr. Taleb thinks the big mistake is trying to avois shocks. 4. The
neologism is necessary because antifragility, …, is the secret to
success in a world full of uncertainty. 5. There's no word that, …,
quite captures the meaning. 6. …, instead of trying to predict the

72
future and failing, the best thing, …, to do is try to benefit from
shocks when they occur. 7. Fears , … the West, that extreme
Islamists are spoiling Libya's chances of creating a peaceful
democracy grew in September. 8. The country and the
government apparatus left behind the … erratic dictator, who had
run the country for, …, 42 years. 9. The government is keeping a
wary eye on suspended jihadists, … . 10. The prime minister, …,
is holding talks with five-member councils representing eastern
and western revolutionaries. 11. Another key to rebuilding the
state, … , is to foster reconciliation by accommodating the less
nasty parts of the old regime.


III. Translate the sentences into English, paying attention to
the use of modal words.

1. Можливо, найбільша наша проблема полягає в тому, що
ми невчасно взялись за цю справу. 2. Звичайно, все налагодить-
ся, і рух за незалежність переросте у мирні акції. 3. Так, прави-
льно, ви все зрозуміли так, як я хотів. 4. Конференція, очевидно,
не мала такого розмаху, як колись у часи, коли всі були зацікав-
лені у предметі дослідження. 5. Цікаво, але ніхто не з'явився на
засіданні попри те, що ми надіслали всім запрошення. 6. Мож-
ливо, телекомпанія запросить уповноважених представників
компанії на ток-шоу. 7. Безсумнівно, деякі делегати візьмуть
участь у погоджувальній раді. 8. Нажаль, нам не вдалось до-
дзвонитися до секретаріату – тому нам не дозволили зайти до
приміщення.


Ti p 3

Modality is also expressed by modal verbs. The modal auxiliaries
in English are: can, had better, may, might, must, ought to, shall,
should, will, would, need, dare. Phrasal modals are: be able to, be
going to, be supposed to, have to, used to, to be to. Modals are
defective (except dare, need) and do not take 's in a third person
singular. They precede a bare infinitive.

73
I. Revise the use of modal verbs. Say which of them express
obligation, possibility, demand, permission and purpose. Make
sure you know the syntactic formation of modal structures.


II. Fill in the gaps with a modal verb. Translate the sentences
into Ukrainian.

1. She … also be the friendliest person on the planet – she smiles
constantly at everybody in school, even me. 2. I … be smaller naturally,
but overall my family's resourcefulness has given me an edge in that
area. 3. Getting a knife … be pretty easy, but you've got to get your
hands on a bow. That's your best chance. 4. I … be embarrassed, but
they're so unlike people that I'm no more self-conscious than if a trio of
oddly colored birds were pecking around my feet. 5. In no time at all,
we are approaching the door and I … see that between the overcast sky
and evening hour the light is turning gray. 6. Even here, even in the
middle of nowhere, you worry someone might overhear you. 7. We
might do a tad better elsewhere, but we make an effort to keep on good
terms with Greasy Sae. 8. I don't dare stop to examine the contents of
the pack yet. 9. I … bite my lip not to scream every foul name I know at
the fire starter. 10. There … have been some rustling when I tipped
sideways, but the Careers have been too caught up in their own
argument to catch it. 11. Exactly how am I … work in a thank-you in
there? 12. Venia makes what's … be a sympathetic face.'Good news,
though. This is the last one. Ready?' 13. In theory, it's … be electrified
twenty-four hours a day as a deterrent to the predators that live in the
woods – packs of wild dogs, lone cougars, bears – that … threaten our
streets. 14. 'll be … to wash the damage done by the tears from my face.
15. I say generously, because really, you … tell that's only a small part
of the problem.


III. Translate the sentences into English paying attention to the
use of modal verbs.

1. Не може бути, щоб вона так швидко змогла прочитати цю
книгу, можливо, вона нас вводить в оману. 2. Де ти поклав ключ? –
Не знаю, я, мабуть, його поклав на телевізор. 3. Петро, очевидно,

74
захворів. 4. Ніхто нас сьогодні не очікує. Хоча, мабуть, ми і з'явим-
ся. 5. Можемо ми використати в цьому реченні умовний спосіб діє-
слова? 6. Мені довелося всю ніч працювати, щоб завершити справу.
Я вирішив, що мені не варто відкладати це на завтра. 7. Я впевне-
ний в тому, що він прийшов. Не може бути, щоб він ще не при-
йшов. 8. Хіба ви не знаєте цього чоловіка? Ні, він, очевидно, той,
якому ми мали повідомити про наше прибуття. 9. Повідомляється,
що делегація має приїхати найближчим часом. Я можу її зустріти?
Ні, вам не потрібно цього робити. Мабуть, за нею виїхала наша
машина. 10. Їй обов'язково потрібно принести та подати всі необ-
хідні документи, що стосуються її вступу до аспірантури.
11. Зачекайте, ось той хлопець! – Я не можу до нього підійти – бо-
юся. 12. Як у вас вистачає сміливості таке говорити? Ви, очевидно,
вже зовсім втратили відчуття реальності. 13. Не ватро там поверта-
тися до цієї розмови. Все вирішиться завтра. 14. Їм краще не пере-
читувати вправи. Вони і так заплутались у правилах. 15. Він фізич-
но не здатен переплисти річку. В нього болить нога. В минулому
році він з легкістю міг це робити. Шкода.

75
Uni t t hree

PRINCIPLES
OF SUCCESSFUL COMMUNICATION



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. What do we usually mean by 'successful communication'?
2. Can you give recent examples of successful communication
from your experience?
3. Do you know the meaning of the terms 'locution', 'illocution'
and 'perlocution'?
4. Is it always necessary/possible to 'say what you mean and mean
what you say'?
5. How can race and gender differences influence communication?
6. Is social background/upbringing important for achieving suc-
cess in communication?

Spe e c h Pat t e r ns

There he was again, right behind her.
'You following me, or something?' she said.

You're accusing me, or something?
Do you think I advised her to do it, or something?
Is it a threat, or something?

Perhaps we both err towards the episematic.
– Sorry, you've lost me.

Can you tell me about peculiarities of prime numbers?

76
Sorry, you've lost me.
Do you know the difference between synthetic and analytic
languages?
Sorry, you've lost me.
What does 'tautology' mean?
Sorry, you've lost me.


Will it trouble you a lot if your quest comes to nothing?
– No chance of that.


Will it trouble you a lot if you have to stay here for the weekend?
Will it trouble her a lot if we deliver your order after 8 p. m.?
Will it trouble him a lot if I take my dog with me?


– I'm sorry. I didn't mean to imply your garments
are anything other than attractive.


Don't take it amiss. He didn't mean to imply you were impolite.
Don't worry. She didn't mean to imply you cheated at the exam.
I'm sorry. I didn't mean to imply your cake is tasteless.


'I like it. And there was a mathematical Paul who said
that God's got a special book in which He records
all the most elegant proofs.'
'There you are then,' he said with a pleased smile


There you are, I told you she wouldn't mind.
There you are, take it!
Oh, there you are! I was looking for you.


– You don't sound as if you approve of God.


You don't sound as if you agree to go there with us.
You don't sound as if you believe his story.
She didn't sound as if she enjoyed the party.

77

– What form does your God take,
if you don't mind my asking?


Are you married, if you don't mind my asking?
Why have you invited this guy to the party, if you don't mind my
asking?
Do you have any children, if you don't mind my asking?


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each
speech pattern.

III. Fill in the gaps with suitable speech patterns:

1. Take it easy. She ... you were responsible for their failure.
2. Thanks for your offer. … if I pay by the credit card? 3. Are your
parents still alive, …? 4. You're spying on me, …? 5. I don't think
such iconoclastic behaviour is adequate in his situation. – Sorry, …
6. Your tone is not very friendly. … you approve of their statement.
7. I'm not sure that he'll help me with it. I agree with you that I'll
have to cope with it myself. – …, then.

IV. React to the statements below by using the appropriate
speech pattern:

1. If you don't talk to him today, I'll go and tell him everything
about your plans! 2. You should have chosen another dress for such
ceremonial meeting. 3. Have they made a DNA analysis to prove
his innocence? – … 4. She looks so agile for her age. – … 5. Why
were her remarks so caustic? – Don't take it amiss. … 6. I'd like to
invite you to my country house. – Thanks so much. …, if I bring
my parrot with me.


78
V. Translate the sentences below from Ukrainian into English
using speech patterns:

1. Чи завдам я тобі багато клопоту, якщо подзвоню о 8-й ран-
ку? 2. Ти мене лякаєш чи що? 3. Не переймайся. Вона не мала на
увазі, що ти поводився неадекватно. 4. Вам необхідно пройти
комплексне обстеження і зокрема зробити МРТ. – Вибачте, я не
розумію про що йдеться. 5. З твоїх слів не схоже, що ти в захваті
від його ідеї подорожувати автостопом. 6. Дозвольте запита-
ти, яку пенсію ви отримуєте. 7. Ти був правий. Він таки не при-
йшов на зустріч. – Ось бачиш. Мені казали, що на нього не мо-
жна покладатися.



Te x t


FROM THE STRANGER HOUSE

BY REGINALD HILL

Reginald Hill (born 3 April 1936) is a native of
Cumbria and a former resident of Yorkshire. After
National Service (1955–57) and reading English at
St Catherine's College, Oxford University (1957–
60) he worked as a teacher for many years, rising
to Senior Lecturer at Doncaster College of
Education. In 1980 he retired from salaried work
in order to devote himself full-time to writing. Hill
is best known for his more than 20 novels
featuring the Yorkshire detectives Andrew Dalziel
(pronounced /diɛl/) and Peter Pascoe.These novels together with the ad-
ventures of PI Joe Sixsmith, have confirmed Hill's position as the best
living male crime writer in the English-speaking world and won numer-
ous awards, including the Crime Writers' Association Cartier Diamond
Dagger for his lifetime contribution to the genre.



79
Very fond of black, our Mr. Madero, thought Sam. Or perhaps
he'd just made a big investment in the color when he was trying for
the priesthood.
She strolled across the road on to the bridge where she paused to
peer over the parapet. The Skad was no longer tumbling along like
brown coffee flecked with milky foam, but moving much more
smoothly with nothing but sun-starts breaking its surface. She
watched for a moment then turned to walk on. There he was again,
right behind her.
'You following me, or something?' she said.
'No,' he said, surprised. This is Stanebank, I believe, which I'm
reliably informed I need to ascend to reach my destination. It doesn't
look a sensible road to take my car up, even if it got over this bridge
without scraping the exhaust.' 'Why'd you want to drive anyway?'
said Sam. 'It's only a step.'
'So I've been told.'
He nodded at her rather curtly and set off. After a few moments,
Sam followed, already nibbling her chocolate. He was moving quite
quickly but she didn't doubt her ability to overtake him. Bleeding
townie, probably doesn't feel safe being more than a few yards from
his car, she thought.
But as the track steepened and she came up close behind him, she
detected a slight uneven-ness in his gait. Mrs Appledore said he'd
been ill and the poor bastard was definitely favouring his left leg.
Her own bruised hip gave a twinge as if in sympathy. She saw him
switch the briefcase, which looked quite heavy, from one hand to the
other as if to adjust his balance. All at once her plan to move
smoothly by him, offering a nod as curt as his own, seemed pretty
mean-spirited.
She fell into step alongside him and said, 'Great to see the sun,
isn't it?'
'Yes, it is', he said.
He spoke evenly but she thought she detected an effort not to let
her see he was breathing hard.
She said, 'Like a bit of choc?'

80
He glanced at the bar and said, 'You did not get enough toast for
breakfast?'
'Yeah, plenty. You were counting?'
'I tried but I lost count,' he said gravely.
The bastard was taking the piss! At least it meant he was human.
As if regretting the lapse, he went on quickly, 'But thank you, no.
It looks too dark for me. I prefer milk, English style.'
'You do? I'd have guessed you'd have gone for black and bitter.'
'Why so?'
'I don't know. The car. The gear you wear.'
'I see. By the same token you should perhaps be eating a half-ripe
lemon.'
Another joke?
Before she could pick her response he went on, 'I'm sorry. I did
not mean to imply your garments are anything other than attractive.
Perhaps however we both err towards the episematic.'
'Sorry, you've lost me.'
'A zoological term referring to the use of colour or markings to
enable recognition within a species.'
'Like I'm telling the world I'm Australian? Why not? And what
are you telling the world? That you run errands for God?'
She's been talking to our landlady, he guessed.
'There are worse jobs. I understand you are trying to track down
some ancestor here in
Illthwaite, Miss Flood. That must be fascinating, discovering your
origins.'
Letting her know that he'd been brought up to speed too.
'More frustrating than fascinating so far,' she said.' Things not
going well? Will it trouble you a lot if your quest comes to nothing?'
'No chance of that,' she declared. 'You're very confident. It's not
given to us to know everything.'
'You reckon?' she said, detecting a sermonizing note in his voice.
'Why not? There's no such word as unknowable. We must know, we
shall know. 'That sounds suspiciously like a quotation.' 'You're right.
David Hilbert, German mathematician.'

81
'Interesting. I prefer, for now we know in part, but then we shall
know even as we are known. St Paul. 'How was his maths?'
'Better than mine, I suspect,' he said. 'He did say, Prove all things.
Hold fast that which is good. How's that for a mathematician?'
She considered then said, 'I like it. And there was a mathematical
Paul who said that God's got a special book in which He records all
the most elegant proofs.'
'There you are then,' he said, with a pleased smile. 'It's good to
know our two Pauls had God in common.'
'Not so sure about that,' she said. 'Mine was a Hungarian called
Erdos. He usually called God SF, which stood for the Supreme Fas-
cist.'
That wiped the smile from his face.
'You don't sound as if you approve of God, Miss Flood,' he said.
'I approve of mine. Don't have a lot of time for yours,' she said.
He looked taken aback by her frankness.
He said, 'What form does your God take, if you .don't mind my
asking?'
'Why should I mind? If you really want to know something
asking's the only way to find out. So let's see. I'd say my God is the
last prime number.'
He did not respond to her definition, perhaps because he was
pondering it, more likely she thought complacently because he didn't
want to reveal he didn't know what she was talking about. Or maybe,
she thought with a bit more compassion, it was merely because he
needed all his breath to maintain an even pace up the hill whose
steepening gradient was testing her bruises. But she didn't have far to
go. A long low whitewashed house had come into view. At right an-
gles to it stood a taller building, unpainted and windowless, with a
broad chimney at the furthermost end from which issued the column
of smoke Sam had observed earlier. Presumably this was the forge or
smithy which gave the house its name.
A rough driveway to the house curved off the road. There was no
formal gateway but the entrance was marked by a huge slab of sand-
stone on which was carved THE FORGE with underneath it in smaller
letters Lasciate ogni ricchezza voi ch 'entrate.

82
'What's that all about?' wondered Sam.
'Its English version is usually'all hope abandon ye who enter
here', said Madero. 'In Dante's Inferno it's part of the inscription
above the entrance to the underworld. But here ricchezza, wealth, has
been substituted for speranza, hope. I don't know why.'
He sounded like a schoolteacher passing on information to a pupil.
'I'll ask,' said Sam. 'This is where I get off. You going much further?'
'Up to the Hall, which cannot be all that far.'
Sam glanced dubiously at the road ahead which looked to get
even steeper.
'Why not rest your bones here a couple of minutes? I'm sure Mr
Winander will be good for a cup of tea.'
He looked at her blankly for a moment, then said again with the
polite formality of an adult explaining the grown-up world to a child,
'Thank you, but I must go on. I have an appointment, you see.'
She opened her mouth, probably to say some-thing rude, but was
saved from herself by the sound of an engine. A Range Rover came
bowling up the hill. It drew up alongside them. The driver was Gerry
Woollass. Beside him sat a woman in a nun's headdress. There was
another woman in the back but Sam couldn't see her properly.
Woollass got out and came towards them.
'Senor Madero, is it?' he asked, getting the pronunciation right.
'Mr Madero in England,' corrected Sam's walking companion.
'You're on your hour, I'll give you that. I'm Gerald Woollass.'
They shook hands, then Woollass's gaze moved to Sam.
'Miss Flood, good morning,' he said. 'And how are you this
morning?'
'Fit as a butcher's dog,' she said.


Comme nt ar y

1. Hilbert David (1862–1943) – a German mathematician. He is
recognized as one of the most influential and universal mathemati-
cians of the 19th – early 20
th
century. Hilbert discovered and
developed a broad range of fundamental ideas in many areas,
including invariant theory and axiomatization of geometry. He also

83
formulated the theory of Hilbert spaces, one of the foundations of
functional analysis. He is also known as one of the founders of proof
theory and mathematical logic.
2. St Paul – is known worldwide as one of the earliest Christian
missionaries, along with Saint Peter and James the Just. He was also
known as Paul the Apostle, the Apostle Paul and the Paul of Tarsus.
However, he preferred to call himself 'Apostle to the Gentiles'. Paul
had a broad outlook and was perhaps endowed as the most brilliant
person to carry Christianity to varied lands, such as Cyprus, Asia
Minor (modern Turkey), mainland Greece, Crete and Rome. St. Paul
is said to have the greatest influence on Christianity. In fact, both
Jesus and Paul seem to have equally contributed to Christianity.
A significant author of the New Testament, Paul elevated the status
of Christian church as the body of Christ and the world outside as
under His judgment.
3. Erdos Paul (1913–1996) – a Hungarian mathematician. He
worked on problems in combinatorics, graph theory number theory,
classical analysis, set theory and probability theory. He is also known
for his 'legendarily eccentric' personality. Possessions meant little to
Erdos, most of his belongings would fit in a suitcase. He spent most
of his life as a vagabond, traveling between different university
campuses and his friends' places.
4. Dante's Inferno – the first part of the epic poem Divine
Comedy. Hell is depicted as nine circles of suffering located within
Earth. Allegorically Divine Comedy represents the journey of the
soul towards God, with Inferno describing the recognition and rejec-
tion of sin.

Es s e nt i al Voc abul ar y

Vocabulary Notes

1. tumble (verb) 1) to become much lower suddenly:
Unemployment tumbled to 5,6 % in November. 2) to fall to the
ground: It seemed that the walls had tumbled from the inside. 3) to
do gymnastic movements in which you roll your body over on the
floor. 4) to flow in large amounts (about water), also used about large

84
amounts of other things that move: Great white clouds tumbled over
mountain peaks above us. 4b used about long hair that hangs down.
– Long dark hair tumbled down her back.
tumble to smth. (informal) to realize or understand something.
tumble (noun) 1) a sudden fall in something such as a price or
value: take a tumble: The dollar took its biggest tumble in over two
years. 2) an occasion when someone falls to the ground. 3) (singular)
a mass of long hair: her red hair flashing in a tumble of angry waves.
tumbledown adj. a tumbledown building is old and in bad condi-
tion.
tumble dryer (noun) Br. E a machine used for making clothes
dry after they have been washed.
tumbler (noun) 1) a drinking glass without a handle or a stem;
the amount of drink that a tumbler can contain. 2) old-fashioned
someone who does a particular type of gymnastics on the floor.
tumbleweed (noun) a round plant that grows in dry areas and
rolls when it is blown by the wind.

2. exhaust (verb) 1) to make someone extremely tired and
without energy: Caring for young children can exhaust you
physically and mentally. 2) to use all you have of something: The
expedition was forced to turn back when it exhausted its food supply.
a) to use or consider all the possible ways of doing something: We
need to exhaust all possibilities before we give up. b) to talk about
something until you have nothing else to say about it: We soon
exhausted the subject of the weather.
exhaust (noun) 1) exhaust pipe: The car needs a new exhaust.
2) gases or steam produced by an engine as it works: exhaust
fumes/gases/emissions.
exhausted adj. 1) extremely tired and without enough energy to
do anything else: The exhausted skiers are looking forward to a good
night's sleep. 2) empty or finished, because a supply of something
has all been used: Fuel supplies are nearly all exhausted.
exhausting adj. extremely tiring: a long exhausting day at work.
exhaustion (noun) 1) feeling of being extremely tired and without
enough energy: Weak with exhaustion, the climbers were finally

85
lifted to safety. 2) the use of all you have of something: Increased
consumption will lead to faster exhaustion of our natural resources.
exhaustive adj. thorough or complete: The list is by no means
exhaustive.

3. nibble (verb) 1) to eat something by taking a lot of small bites:
Sheep were nibbling the grass. nibble at/on Mel nibbled at a
chocolate biscuit; also to bite the surface of something gently several
times: The parrot was nibbling her ear. 2) to show a slight interest in
an offer or idea.
nibble away at sth. to reduce the total amount of something by
gradually using small amounts of it: Beware of hidden costs that can
nibble away at your budget.
nibble (noun) 1) a small bite of something. 2) a sign of interest in
an offer or suggestion. 3) nibbles (plural, informal) small pieces of
food eaten at social events with drinks, for example crisps and nuts.

4. curt adj. using few words in a way that shows you are
impatient or angry: a curt reply/note. She apologized for being so
curt with me.
– curtly adv.

5. smithy (noun) a place where iron objects are made and
repaired by a blacksmith. Syn. forge.

6. quest (noun) literary a long difficult search.
quest (verb) literary to search for something.

7. reckon (verb) 1) to believe that something is true: I reckon
there's something wrong with him. be reckoned to be It is generally
reckoned to be the best restaurant in town; also to have a particular
opinion about someone or something: I think it'll work. What do you
reckon? what do you reckon to? (what is your opinion of?) What do
you reckon to her new boyfriend? 2) to calculate something: Analysts
reckon their profits have fallen by about 10 %. 3) Br E (informal) if
you reckon to do something, you expect to do it: We reckon to be
finished by this afternoon.
reckon on sth. to expect something to happen and plan for it:
Jenny hadn't reckoned on having twins!

86
reckon with sth. to consider something important when you are
making plans: Napoleon had not reckoned with the severity of the
Russian winter.
reckoning (noun) a calculation or measurement: By my
reckoning, it'll cost forty-five pounds a month.
day of reckoning a time when you are forced to deal with the re-
sults of your actions.
in/out of reckoning being/not being considered for a job or
position.

8. slab (noun) 1) a large flat piece of a hard material such as stone
or wood: a slab of rock/marble. 2) a large piece of food: a slab of
meat/butter/pizza. 3) a large flat surface that a dead person is laid on
in a mortuary: The body lay on a slab.

Wor d Combi nat i ons and Phr as e s

to reach one's destination
to take the piss (out of smb.)
by the same token
to run errands for
prime number
to be taken aback
steepening gradient


Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Make up sentences of your own with each item from
vocabulary notes.

III. Consult a dictionary, transcribe the following words and
practice their pronunciation:

ascend, scrape, nibble, gait, bruised , lapse, gear, garment,
species, ancestor, quest, sermonizing, complacently, compassion,
forge, smithy, inscription, dubiously.

87
IV. Match the phrasal verbs on the left with the correct
definitions on the right:

1) to tumble down a) to find someone or something after a long search
2) to get over b) to start going in particular direction
3) to go for c) to flow in large amounts
4) to track down d) to like a particular type of person or thing
5) to bring up e) to continue doing something as before
6) to set off f) to teach a child to behave in a particular way
7) to go on g) to overcome some obstacle, to move across


V. Match the words on the left with their antonyms on the right:

1) sensible a) oblivion
2) curt b) disguise
3) compassion c) irrational
4) recognition d) modest
5) frustrating e) suave
6) reveal f) indifference
7) complacent g) stimulating

VI. Fill in the gaps with word combinations and phrases given
after the vocabulary notes:

1. They had to take a plane, then change it for a train and finally
to drive 300 kms … and attend their sisters' wedding. 2. Seven is a
… because it can only be divided exactly by itself and one. 3. You
are not his servant or subordinate. Why do you … for him? You
should have more self-respect. 4. I … by her curt remarks. She had
never treated me like that before. 5. I tried to persuade him to change
his mind, but he was adamant. …, he even left the meeting. 6. He
may be very caustic. He enjoys … out of his colleagues. 7. As we
moved further north, the … of the hill increased.

VII. Paraphrase the following sentences using the Essential
Vocabulary of the unit:

1. We came across a number of old and half-ruined buildings on
our way to the station. 2. They didn't expect to get there so quickly.
3. He was extremely tired after working several night shifts. 4. She

88
decided not to give him a harsh reply. 5. There was nothing special
about that reception. You could see drinks and various light snacks
on the tables. 6. She conducted a comprehensive search trying to
track down her ancestors in different parts of the world. 7. This
beautiful sculpture was made out of a large piece of marble.

VIII. Translate the following sentences into Ukrainian. Pay
special attention to the words and word combinations in italics:

1. Byelorussian currency has recently taken its biggest tumble in
the past few years. 2. By my reckoning, it'll cost you a pretty penny.
3. Unpredictable expenses can sometimes nibble away at a family
budget. 4. What do you reckon to her new house? 5. Exhaust fumes
are among the main pollutants of the environment. 6. Finally she
tumbled to what he was asking. 7. He nodded curtly and moved on.

IX. Translate into English with the help of words and word
combinations from the Essential Vocabulary:

1. Очікуючи свою подругу, вона гризла печиво та гортала
сторінки жіночого журналу. 2. Я вважаю, що їм не слід їхати
туди машиною. 3. Сушилки для білизни не дуже розповсюджені
в Україні. 4. На них чекав виснажливий тиждень в експедиції.
5. Він витяг з холодильника величезний шмат сала і почав його
різати. 6. Гімнасти вправно кувиркалися в центрі зали. 7. Пошу-
ки щастя притаманні людям різного віку.

X. Make up short situations or dialogues using Essential
Vocabulary.



Exe r c i s e s t o t he Te xt

I. Summarize the text in a short paragraph of 60–80 words.

II. Write a précis of the text in 20–30 words.


89
III. Pick up from the text sentences describing the characters,
their behavior and manner of speech. Give the character sketches
and speech portraits.

IV. Retell the text a) on behalf of Sam Flood, b) Mig Madero,
c) bystander.

V. Practice dialogues between Sam Flood and Mig Madero.

VI. Write out from the text sentences containing the word
combinations and phrases given after the text and translate them
into Ukrainian.

VII. Answer the following questions on the text as fully
as possible:

1. What can you say about the setting of the story? Is it rural
or urban?
2. What do you come to know about characters' background and
professional interests after reading the text?
3. Where are the characters traveling during their conversation?
4. Are Sam and Madero in their best physical form?
5. What inferences can you make about the characters' relations?
Do they like/dislike each other?
6. Do they have a good sense of humor? What testifies to that?
7. How can you characterize Sam and Madero's conversational
styles?
8. What strategies does Madero use to mitigate some of his
remarks?
9. What is their attitude to religion and God?
10. What were the characters' destinations? Have they reached
them?
11. What was the purpose of Sam's coming to U.K.?



90
VIII. Reread the text to answer the questions below on its
style and composition.

1. What type of narrative do you come across in the text?
2. What stylistic device does the author use in the sentence 'The Skad
was no longer tumbling along like brown coffee flecked with milky foam,
but moving much more smoothly…'? What is the effect of it?
3. What is the function of the question'Great to see the sun, isn't
it?'? What type of question is it?
4. What can you say about syntactic structure of the
sentence'Like a bit of choc?' How does it characterize the speaker?
Find similar examples in the text.
5. What cases of irony have you found in the text? What is the
author's point in using it?
6. Whose point of view is presented in the sentence' The bastard
was taking the piss! At least it meant he was human.'
7. What graphical expressive means are used by the author?
What is the reason of such usage?
8. Why does the author use quotations from different sources in
this text? What functions of quotations do you know?
9. What stylistic figure is used in the sentence 'I did not mean to
imply your garments are anything other than attractive.'?
10. What types of epithets can you find in the text? Give relevant
examples.


IX. Write a letter to her/his parents on behalf of Sam or
Madero describing their meeting and impressions of each other.

X. Write an essay of 350 words on one of the following topics:

• Politeness as a strategy of successful communication.
• Can conflict communication be successful?
• Negotiate or not to negotiate?
• The art of listening.
• Truth never hurts the teller.


91
X. Read the blurbs to The Stranger House. Write a
similar/different blurb of your own and comment on it.

'A big psychological thriller, with passion and long-buried crimes
at its heart.'
(Daily Mail)

'A mystery novel, but far more than that. Gripping, menacing…
Hill is wonderful.'
(The Times)

'Great… As he presents revelation upon revelation, you're
enthralled by the cunning of the plotting.'
(Observer)

'A delightfully foggy gothic mystery.'
(Daily Telegraph)


S E C T I O N B


Consi der t he fol l owi ng i nformat i on as background t o
t he subsequent t asks:

Human communication presents a complex and multifaceted
phenomenon. Therefore it is studied by many branches of linguistics
from different perspectives. Pragmatics is one of them. It may be
defined at its simplest as the study of meaning in use or meaning in
interaction.
J. L. Austin is a person who is usually credited with generating
interest in what has since come to be known as pragmatics. Austin
was not a linguist at all, but a philosopher working at Oxford Univer-
sity in 1940s–1950s. Austin, his almost equally influential pupil
H. P. Grice and a group of like –minded philosophers came to be
known as ordinary language philosophers.
Austin's ideas on language were set out in a series of lectures
which he gave at Oxford University between 1952 and 1954; and he
delivered a version of these talks as the Williams James Lectures at

92
Harvard in 1955. After Austin's sudden death in 1960, the lectures
were brought together in book form by J. O. Urmson, based on
Austin's own lecture notes and recordings of his lectures. This book
is a rather informal one and entitled How to do things with words.
Austin and his group were reacting against some scholars' view that
everyday language is somehow deficient or defective, a rather
debased vehicle, full of ambiguities, imprecision and contradictions.
Their aim was to refine language, removing its imperfections and
illogicalities, and to create an ideal language. The response of Austin
and his group was to observe that ordinary people manage to
communicate extremely effectively and relatively unproblematically
with language just the way it is. Instead of striving to rid everyday
language of its imperfections, he argued, we should try to understand
how it is that people manage with it as well as they do.

Topi c al Voc abul ar y

Addresser – адресант
Addressee – адресат
Blatantly – явно, відкрито, безсоромно
Cooperative Principle – принцип кооперації
Communicative failure – комунікативна невдача
Communicative conflict – комунікативний конфлікт
Illocution – ілокуція
Implicature – імплікатура
Conventional implicature – конвенціональна імплікатура
Conversational implicature – конверсаційна імплікатура
Locution – локуція
Maxim of manner – максима манери
Maxim of quality – максима якості
Maxim of quantity – максима кількості
Maxim of relation – максима відношення
Flout a maxim – явно порушувати максиму
Perlocution – перлокуція
Perlocutionary effect – перлокутивний ефект
Pragmatics – прагматика
Speech act – мовленнєвий акт
Speech act theory – теорія мовленнєвих актів

93
I. Read and discuss the text given below:

Te x t

FROM PRAGMATICS
BY J. THOMAS

H. P. Grice had worked with J. L. Austin at Oxford in 1940s and
1950s. Like Austin before him, Grice was invited to give the
Williams James lectures at Harvard University, and it was there
in 1967 that he first outlined his theory of imlicature (a shorter
version of which was published in 1975 in a paper 'Logic and
Conversation'). Grice's theory is an attempt at explaining how a hearer
gets from what is said to what is meant, from the level of expressed
meaning to the level of implied meaning. Grice distinguished
two different sorts of implicature: conventional implicature and
conversational implicature. In the case of conventional implicature
the same implicature is always conveyed, regardless of context,
whereas in the case of conversational implicature, what is implied
varies according to the context of utterance.
In order to explain the mechanisms by which people interpret
conversational implicature, in 'Logic and Conversation 'Grice intro-
duced four conversational maxims and the Cooperative Principle
(CP). The CP runs as follows:

Make your contribution such as is required, at the stage at which
it occurs, by the accepted purpose or direction of the talk exchange
in which you are engaged.

Already we have a problem. The fact that Grice expressed the CP
in the imperative mood has led some casual readers of his work to
believe that Grice was telling speakers how they ought to behave.
What he was actually doing was suggesting that in conversational
interaction people work on the assumption that a certain set of rules
is in operation, unless they receive indications to the contrary. In all
spheres of life we make similar assumptions all the time. A useful
analogy is driving a car. When we drive, we assume that other driv-

94
ers will operate according to the same set of regulations as we do
(or, at the very least, that they know what those regulations are). If
we could not make such assumptions the traffic system would
rapidly grind to a halt. Of course, there are times when we do have
indications that another driver may not obey the rules (a learner,
a drunk, a person whose car is out of control, an ambulance or fire
tender with its lights flashing and siren blaring) or that they may
be following a different set of rules (a car with foreign number
plates) and on these occasions we reexamine our assumptions or
suspend them altogether. And, of course, there arc times when our
assumption that others are operating according to the same set of
rules is misplaced, and then an accident may occur.
The same is true of conversation. Within a given community,
when we talk we operate according to a set of assumptions and, on
the whole, we get by. There will be times when we may suspend our
assumption that our interlocutor is operating according to the same
conversational norms as we are: we may be talking to a young child
who has yet to acquire our community's conversational norms, to
a drunk, to someone in pain or distress. Or we may be talking
to a person whom we have reason to think may have different
conversational norms from our own (a member of a different cultural
or linguistic community). And there will be times when our
assumptions are wrong and then mistakes and misunderstandings
occur, or when we are deliberately misled by our interlocutor. For, in
setting out his Cooperative Principle, Grice was not (as some
commentators have erroneously assumed) suggesting that people are
always good and kind or cooperative in any everyday sense of that
word. He was simply noting that, on the whole, people observe certain
regularities in interaction and his aim was to explain one particular set
of regularities – those governing the generation and interpretation of
conversational implicature. Consider the following example:

The speaker has accidentally locked herself out of her house. It is
winter, the middle of the night and she is stark naked:
A: Do you want a coat?
B: No, I really want to stand out here in the freezing cold with no
clothes on.

95
On the face of it, B's reply is untrue and uncooperative, but in fact
this is the sort of sarcastic reply we encounter every day and have no
problem at all in interpreting. How do we interpret it? According to
Grice, if A assumes that, in spite of appearances, В is observing the
Cooperative Principle and has made an appropriate response to his
question, he will look for an alternative interpretation. Grice argues
that without the assumption that the speaker is operating according to
the CP, there is no mechanism to prompt someone to seek for an-
other level of interpretation. The observation that the speaker has
said something which is manifestly untrue combined with the as-
sumption that the CP is in operation sets in motion the search for an
implicature. The four Conversational Maxims help us establish
what that implicaturc might be.
In 'Logic and conversation' Grice proposed four maxims, the
maxims of Quantity, Quality, Relation and Manner, which were for-
mulated as follows:

Quantity: Make your contribution as informative as is required
(for the current purpose of the exchange).
Do not make your contribution more informative than is required.

Quality: Do not say what you believe to be false.
Do not say that for which you lack adequate evidence.

Relation: Be relevant.

Manner: Avoid obscurity of expression. Avoid ambiguity.
Be brief (avoid unnecessary prolixity). Be orderly.

Grice was well aware, however, that there are very many
occasions when people fail to observe the maxims. The situations
which chiefly interested Grice were those in which a speaker bla-
tantly fails to observe a maxim, not with any intention of deceiving
or misleading, but because the speaker wishes to prompt the hearer to
look for a meaning which is different from, or in addition to, the
expressed meaning. This additional meaning he called
'conversational implicature' and he termed the process by which it is
generated 'flouting a maxim.'


96
A flout occurs when a speaker blatantly fails to observe a maxim
at the level of what is said, with the deliberate intention of generating
an implicature.

I. Decide whether the statements below are true or false,
according to what you read in the text:

• Grice attended the Williams James lectures given by Austin.
• In his work Grice was telling speakers how they ought to behave.
• Communication is similar to driving a car.
• A young child is fully aware of the conversational norms of
his/her community.
• Grice noticed that certain patterns exist in human communication.
• Grice argues that there are other mechanisms, besides the
Cooperative Principle, helping us in speech interpretation.
• Grice was mainly interested in situations when the speaker
wanted to deceive the hearer.
• Flouting a maxim leads to creation of implied meaning.

II. Give examples of conversational implicature similar to the
one from the text to show that you understand this notion.

III. Be ready to discuss cases when people fail to observe
the maxims.

IV. Think of situations in which a speaker flouts a maxim.

V. Illustrate cases of flouting different maxims with your
own examples.

VI. Make up short dialogues and let your groupmates guess
which maxim was flouted by you.

VII.Read and discuss the text given below:


97
Te x t 2

HOW WE LEARN
TO COMMUNICATE

Successful communication would be second nature if we grew up
in families that were already capable of honest and loving communi-
cation. But in previous generations, so-called loving communication
generally meant avoiding negative feelings. It was often as if nega-
tive feelings were a shameful sickness and something to be locked
away in the closet. In less 'civilized' families what was considered
loving communication might include acting out or rationalizing
negative feelings through physical punishment, yelling, spanking,
whipping, and all kinds of verbal abuse-all in the name of trying to
help the children learn right from wrong.
Had our parents learned to communicate lovingly, without
suppressing negative feelings, we as children would have been safe
to discover and explore our own negative reactions and feelings
through trial and error. Through positive role models we would have
learned successfully how to communicate-especially our difficult
feelings. As a result of eighteen years of trial and error in expressing
our feelings, we would have gradually learned to express our feelings
respectfully and appropriately.
Had our past been different, we would have watched our father
successfully and lovingly listen to our mother expand and express
her frustrations and disappointments. Daily we would have
experienced our father giving our mother the loving caring and
understanding that she needed from her loving husband.
We would have watched our mother trusting our father and
sharing her feelings openly, without disapproving or blaming him.
We would have experienced how a person could be upset without
pushing someone away with mistrust, emotional manipulation,
avoidance, disapproval, condescension, or coldness.
Throughout our eighteen years of growing up we would gradually
be able to master our own emotions just as we have mastered
walking or math. It would be a learned skill, like walking, jumping,
singing, reading, and balancing a checkbook.

98
But it didn't happen that way for most of us. Instead we spent
eighteen years learning unsuccessful communication skills. Because
we lack education in how to communicate feelings, it is a difficult
and seemingly insurmountable task to communicate lovingly when
we are having negative feelings.
(from Men are from Mars, Women are from Venus by J. Gray)


VIII. Explain the author's use of subjunctive mood in the
text above. What effect does it produce?

IX. Pick from the text words belonging to different parts of speech
that express positive or negative evaluation. Find their synonyms and
antonyms either in the text or in the dictionary. Illustrate their
usage by examples from fiction or your own ones.

X. Some adjectives have similar meanings but have a different
'force'. Make a chart to show the relative force of some of the
adjectives you have picked from the text according to the example
given below.

Slightly 'Normal' Very Extremely

(unemphatic)

anxious AFRAID terrified petrified

XI. Write a loving e-mail or SMS to your boy/girlfriend, but
express certain negative feelings concerning his/her being too busy to
go out, not very friendly to your relatives, flirting with your friends
too much, etc. Analyze the strategies you used.

XII. Role–Play.

Student A. You promised your boy/girlfriend to spend a week-
end together. But your boss is sending you on a business trip to an-
other city. Express your regret about the situation and persuade your
boy/girlfriend of your loving attitude to them. Suggest ways of
redressing their frustration.

99
Student B. Tell your boy/girlfriend about your hurt feelings
without blaming or offending them. Try to express your disappointment
in a friendly manner and show your understanding of the situa-
tion. Show that you appreciate their loving attitude to you.


XIII. Prepare a research presentation on one of the
following topics:

Linguistic means of expressing positive evaluation.
Linguistic means of expressing negative evaluation.
Strategies of successful communication in business.
Strategies of successful communication in education.
Strategies of successful communication in politics.
Strategies of successful communication in private life.
Strategies of successful communication in multicultural setting.
Strategies of successful communication in mass media
(press, TV and radio, electronic ones).
Strategies of successful communication in military sphere.
Strategies of successful communication in show business.


S E C T I O N C

STYLISTICS REVIEWED


I. Explain the usage of phonetic and graphical expressive
means in the given examples from fiction. Suggest your
variants of their rendering into Ukrainian:

1. Hippy dippy headgear is hot (Lite London).
2. He had only a blackish, bulgy nose, as big as a boot, that
he could wriggle about from side to side (R. Kipling).
3. Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! (G.M. Hopkins 'The Windhover').
4. Black is back. Black is beautiful. Black is basic.


100
Clichés maybe, but this season black is all those things, as well
as sophisticated, sexy, sumptuous and simple (Ottawa Citizen).
5. Then Kolokolo bird said with a mournful cry,' Go to the
banks of the great grey-green greasy Limpopo River, all set about
with fever trees, and find out' (R. Kipling).
6. The planes yaw and tilt. …Bump! Bump! At exactly the
same moment, but six thousand miles apart, the two planes touch
down (D. Lodge).
7. 'Mmmmmmmner їyour own?' Masters replied. This habit of
swallowing the first part of his sentences made communication with
a stressful proceeding (D. Lodge).
8. He spoke slowly and very loudly, as though I was deaf as well
as stupid, waving his hands about.
'NO GOOD. NO BLOODY GOOD. YOU'VE GOT TO PICK
FASTER. ALL FILL UP. FULL. FULL.' He swept his arms wide, as if
to embrace all his pathetic punnets.' DO YOU UNDERSTAND?'
No I didn't understand – the shouting was flustering me
(M. Lewycka).
9. If this is what she did to her e-mails, God knows what her text
messaging looked like!
Hi! Wnt to see Ktbg Sndytn ystrdy – mmbrd ur intrst in
E. Hodge as I ws lvg Ktty v trd by thn – sd shd thnk abt it – gt e frm
her tdy whch im frwdng – A mkng gd prgrss – tlks of cmg hme –
dr sys nt 4 cpl wkks at lst – thn cnvlsce smwhre lkeSndytn whre wrks
nt on hs drstp! Luv 2E nd Rsi nd Tg Cap (R. Hill).
10. 'Let Justice roll down like waters and Righteousness like an
everlasting stream' (A. Christie).
11. THE MOTHER. How do you know that my son's name
is Freddy?
THE FLOWERGIRL. Ow, eez ya-oon san, is e? Wal, fewd dan
y'de – ooty bawnz a mather should, eed now bettern to spawl a pore
gel's flahrzn that ran awy athaht pyin me f'them ? (Here with apolo-
gies, this desperate attempt to represent her dialect without a
phonetic alphabet must be abandoned as unintelligible outside
London) (J. B. Shaw).

101
12. is Benjy still crying
I don't know yes I don't know
Poor Benjy
I sat down on the bank the grass was damp a little then I
found my shoes wet
get out of that water are you crazy
but she didn't move her face was a white blur framed out of
the blur of the sand by her hair
get out now
she sat up then she rose her skirt flopped against her drain-
ing she climbed the bank her clothes flopping sat down
why don't you wring it out do you want to catch cold
yes (W. Faulkner)


II. Define syntactic stylistic devices used in the passages
below and give your variants of their rendering into
Ukrainian:

1. In the case of Sam Flood and Miguel Madero, this place was
situated far to the north. In a country called Cumbria. In a valley
called Skaddale. In a village called Illthwaite.
(R. Hill: The Stranger House)
2. For half an hour detectives discussed the file's explosive
material. Until just after noon, in fact.
(C. Dexter: Death Is Now My Neighbor)
3. '… this befell and behappened and became and was, O my Best
Beloved, when the Tame animals were wild. The Dog was wild, and
the Horse was wild, and the Cow was wild, and the Sheep was wild,
and the Pig was wild – as wild as wild could be – and they walked in
the Wet Wild Woods by their wild lones.'
(R. Kipling: Just So Stories)
4. Miguel Madero awoke. He was alone. His first thought was:
It's all been a dream. His second: But can a dream leave the sweet
odor of her in my nostrils?
(R. Hill: The Stranger House)

102
5. Never, in his lifetime of muted laughter and occasional tears,
had Morse spent such a horrifying night. Amid fitful bouts of semi-
slumber – head weighted with pain, ears throbbing, stomach in
spasms, gullet afire with bile and acidity – he'd imagined himself on
the verge of fainting, of vomiting, of having a stroke, of entering
cardiac arrest.
(C. Dexter: Death Is Now My Neighbor)
6. She shook her head. 'Sorry, Philip. I just can't. I have a date.'
A date? Who with? 'Just a guy. I don't know him all that well, ac-
tually, so I don't want to keep him waiting.'
(D. Lodge: Changing Places)
7. He shuddered and said an intercessory prayer for the poor lost
soul. A man who by all accounts was informed by an overwhelming
desire to do good. Much good it did him. A bitter tribute to futility.
(R. Hill: The Stranger House)
8. 'Mr. Zapp !' said O'Shea, bursting into the room and taking up
his stand between Morris and the TV.'Come in,' said Morris.'Mr.
Zapp, it's no business of mine what you choose to read –'
(D. Lodge: Changing Places)
9. Carefully, he took the knife in his hand.'Let me see you remove
this deadhead,' she ordered him. She took hold of a dead flower.'Cut
it just here, Patrick. Patrick! Are you listening to me?'
(R. Hill: Deadheads)
10. Serve on top of fresh spaghetti. Cover with rough new
parmesan and cut basil. Raw emotion can be added now. Serve. Eat.
Reflect.


III. Identify types of repetitions used in the examples below
and translate them into Ukrainian:

1. Deborah: Oh, how can you lie like that? How can you be such
a hypocrite?
(J. O'Neil)


103
2. Simon: This absurd sentimental sense of obligation! Obligation
for what? Almost any fool of a woman can have a son, and every
fool of a man has had a mother.
(J. O'Neil)
3. I heard your intake of astonishment at the effort of beauty and
the beauty of effort, as the horse cleared the jump.
There's no such thing as effortless beauty – you should know that.
There's no effort which is not beautiful – lifting a heavy stone or
loving you.
Loving you is like lifting a heavy stone.
(J. Winterson)
4. Margaret: Don't you think that I've gone through this
transformation, become hard! I'm not thin-skinned any more, can't
afford t' be thin-skinned any more.
(T. Williams)
5. We ran. We ran past a group of men – button-down shirts,
cardigans, cigarettes – sheltering under an awning while the rain
pelted off the canvas and onto the tips of their shoes.
We ran through the scattering shoppers, through the boys on bicy-
cles, through the wicker chairs hurled indoors by the barman.
(J. Winterson)
6. Deborah: – Yes, yes! You're right! I have been a fool! I should
have known! And I have known deep down inside me! I have never
entirely trusted her! I have always suspected her of hypocrisy! I have
resented her interference and possessiveness…
(J. O'Neil)
7. She'll urge you to confide. Resist.
Be careful, courteous, and cool.
Never trust a journalist.
'We're off the record,' she'll insist.
If you believe her, you're a fool.
She'll urge you to confide. Resist.
(W. Cope)
8. To avoid discovery I stay on the run. To discover things for
myself, I stay on the run.
(J. Winterson.)

104
9. Long: Blimey! Look at that, will yer? Just look at this 'ere
blooming mess! Just look at it! Look at the bleeding prices on them –
more than our 'ole bloody stokehole makes in ten voyages
sweating in hell!
(J. O'Neil)
10. Living is the art of loving, Loving is the art of caring, Caring
is the art of sharing, Sharing is the art of living.
(W. H. Davies)
11. These lives of ours that press in on us must be heard. We are
our own oral history. A living memoir of time. Time is downloaded
into our bodies. We contain it.
(J. Winterson)
12. First he hopped one yard; then he hopped three yards; then he
hopped five yards; his legs going stronger; his legs growing longer.
(R. Kipling)
13. Big Mama: Sure of what, sure of what, sure of what – what?
(She catches her breath in a startled sob).
(T. Williams)
14. What to say? That the end of love is a haunting. A haunting of
dreams. A haunting of silence. Haunted by ghosts it is easy to be-
come a ghost.
(J. Winterson)


IV. Define lexical and semantic stylistic devices used in the
sentences below and translate them into Ukrainian:

1. Flora, always tall, had grown to be very broad too, and short
of breath; but that was not too much. Flora whom he had left a lily,
had become a peony; but that was not too much.
2. '…for myself I will own at once that a style without metaphor
and simile, is to me like a day without sun or a woodland without
birds.'
3. Pile the bodies high at Austerlitz and Waterloo. Shovel them
under and let me work – I am the grass; I cover all.

105
4. What the old lady told Tanya about returning was just as
accurate. Airlines took the view that stowaway accidents should not
happen. …On the same basis airlines accepted responsibility for in-
suring that stowaways were returned to their point of origin and –
since there was no other way to convey them – offenders went back
in regular seats, getting normal service, including airline meals.
5. 'I can just remember her. She's a skeleton in the family
cupboard, isn't she? And they are such fun.'She wasn't much of a
skeleton as I remember her,' murmured Euphemia,'extremely well
covered.'
6. My love! My love! Prince Charming! Prince of life! I have
grown sick of shadows. You are more to me than all art can ever be.
7. 'I know that', Alice cried eagerly. 'You take some flour –
'Where do you pick the flower?' the White Queen asked. 'In
a garden?'
8. 'Prose in poetry is a blemish like ink on a swan; but prose
without poetry becomes too often as drab and lifeless as a Sunday
in London.'
9. Her father had for it the indifferent affection of a man whose
active life had been passed elsewhere.
10. 'I'm not so childishly frivolous as you seem to imagine,' he
said with dignity.'On the contrary', she answered,'you are too adultly
serious.'
11. She was a faded white rabbit of a woman.
12. … and I felt the weight of you on my shoulders, and the
whispering silver of your dryness sounded close at my ears
(D. Levertov).
13. Such has been his first dip into the dark abysses of existence
(J. Galsworthy).
14. In the wine from that cellar was written the history of the
forty odd years since he had come to the Park Lane house with his
young bride, and of the many generations of friends and acquaintan-
ces who had passed into the unknown… (J. Galsworthy).
15. The next speaker was a tall gloomy man, Sir Something
Somebody (J. B. Priestley).


106
V. Analyze the passages given below and their translations
paying particular attention to ways of rendering puns. Define
types of pun used by L. Carroll:

1. '…there's a large mustard mine
near here. And the moral of that is'
– 'The more there is of mine, the
less there's of yours.'
А) 'Десь тут поблизу мінери на-
трапили на великі поклади гірчиці.
А мораль з цього така: 'Поклади
більше собі – менше лишиться
іншим.'
Б) 'Из нее (горчицы) делают мины
и закладывают при подкопах. А
мораль отсюда такова: хорошая
мина при плохой игре – самое гла-
вное!'

2. '… we went to school in the
sea. The master was an old Turtle
– we used to call him Tor-
toise…'Why did you call him
Tortoise, if he wasn't one?' Alice
asked. 'We called him Tortoise
because he taught us,' said the
Mock Turtle angrily, 'really you
are very dull.'
А) '… ходили ми до школи в море.
Вчителем у нас був старий вуса-
тий Кит. Справжній Кашалот! Ми
його ще прозивали Зубром.'
'Як це так – і Кашалот і Зубр вод-
ночас? ' не могла збагнути Аліса.
'Не водночас!' обурилася Черепа-
ха. 'Кашалотом він був, коли ка-
шалотив нас, а Зубром ми його
прозивали тоді, коли він приму-
шував нас зубрити! Яка ти справді
нетямуща!'
Б) '… мы ходили в школу на дне
моря. Учителем у нас был старик
Черепаха. Мы звали его Спрути-
ком.'
'Зачем же вы звали его Спрути-
ком,' спросила Алиса, 'если на са-
мом деле он был Черепахой?'
'Мы звали его Спрутиком потому
что он всегда ходил с прутиком,'
ответил сердито Черепаха Квази.
'Ты не очень то догадлива!'

107
3. '…And how many hours a day
did you do lessons?' said Alice, in
a hurry to change the subject.'Ten
hours the first day', said the Mock
Turtle, 'nine the next and so on.
'That's the reason they are called
lessons,' the Gryphon remarked,
'because they lessen from day to
day.'
А) – А скільки у вас на день було
уроків? – запитала Аліса, аби
швидше змінити тему розмови.
– Скільки ж – першого дня десять
уроків, сказала Черепаха, – насту-
пного – дев'ять, потім вісім
і так далі.
– Який смішний розклад! - вигук-
нула Аліса . – Інакше не виходило
пояснив Грифон. – У нас учителі
викладалися за один урок. Викла-
деться зовсім і більше вже не при-
йде. Тому, до речі, й називають їх
викладачами.
Б) – А долго у вас шли занятия? –
спросила Алиса, торопясь переве-
сти разговор. – Это зависело от
нас, – отвечал Черепаха Квази. –
Как все займем, так и кончим. –
Займем? – удивилась Алиса. – За-
нятия, почему так называются? –
пояснил Грифон. – Потому что на
занятиях мы у нашего учителя ум
занимаем. А как все займем и ни-
чего ему не оставим, тут же и кон-
чим. В таких случаях говорят:
'Ему ума не занимать'… Поняла?

4. 'Take some more tea', the
March Hair said to Alice, very
earnestly. 'I've had nothing yet,'
Alice replied in an offended
tone, 'so I can't take more.' You
mean, you can't take less,' said
the Hatter, 'It's very easy to take
more than nothing.'
А) –Чому ти не п'єш більше
чаю? – цілком серйозно запитав
Заєць Алісу.
– Більше? – образилась Аліса. –
Я тут взагалі ще нічого не пила!
– Дуже легко, – зауважив Капе-
люшник, – випити більше ніж
нічого. Ти спробуй випити менше.



108
Б) – Выпей еще чаю, – сказал
Мартовский Заяц, наклоняясь
к Алисе.
– Еще? – переспросила Алиса с
обидой. – Больше чая она не
желает, – произнес Мартовский
Заяц в пространство.
– Ты, верно, хочешь сказать, что
меньше чаю, она не желает: го-
раздо легче выпить больше, а не
меньше, чем ничего, – сказал
Болванщик.

5. 'I dare say you never spoke
to Time!' Perhaps not, 'Alice
cautiously replied:' but I know I
have to beat time when I learn
music. 'Ah! That accounts for
it,' said the Hatter. 'He won't
stand beating. Now, if you only
kept on good terms with him,
he'd do almost anything you
liked with the clock.'
– Ти ж, мабуть, із Часом ніколи
і словом не перекинулася!
– Здається, ні… – обережно від-
повіла Аліса. – Знаю лише, що
інколи не правильно його вжи-
ваю, коли пишу завдання з мови.
– Ага! Тоді все ясно! – сказав
Капелюшник. – З Часом треба
поводитися правильно! Бач, якби
ти з ним дружила, він робив би з
годинником усе, що захочеш.

109
Uni t f our

VERBAL AND NON-VERBAL
COMMUNICATION



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. In communication, do people get more information from words
or non-verbal signals? Do you rely more on verbal or non-verbal
information? Why?
2. Is the message sent always the same as the message received?
Explain your reasoning.
3. Do you communicate only when you consciously choose to?
4. How well do you understand the body language? Show a few
gestures and explain their meanings.
5. Kinesics is the study of non-verbal communication. For which
careers is kinesics expertise particularly vital?
6. Can you spot a liar? What are the telltale signs of lying?
7. How close do you stand to your interlocutor? Have you ever
noticed that this distance affects your communication?

Spe e c h Pat t e r ns


… the last thing the girl wanted to do was go
to Florida with the family


The last thing I would want to do is make you upset.
The last thing we need to do is spend money on destruction,
death, and war.
The last thing you can do at the interview is criticize your former
employer.
The last thing he should have done was let her move into
his house.


110

Once the truthful baseline is determined, the kinesic expert
will note any deviations from it when the subject
is asked questions to which he or she might
have reason to answer falsely.


Once the grapes are pressed, the juice is put in barrels.
Once you get to know everyone, you'll be happy here.
Once we were through the gates, she went off and left me on my own.
Once Mary was there, it would require a tremendous effort of will
to get her back to London.


'Hey, what do you think about
it being somebody in school with you?'
'School? No way.'


You woke up at 6? No way!
She said that to you? No way!


I'll bet you have to be pretty careful.


I'll bet he is sitting at home now laughing his head off.
I bet the train will be late.


However talented the interrogator,
sometimes subjects simply would not tell what they knew.



However hard the road, he wouldn't turn off it.
However strong the temptation, she wouldn't eat chocolate cakes.
However beautiful the strategy, you should occasionally look at
the results (Winston Churchill).
Questions for the referendum can be phrased in a way that
influences the choice of voters, and however careful the wording,
they may exclude certain options that might actually be very popular.


111
Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian. Which pattern allows optional copula verb omission?
Add the omitted copula verbs. Which two patterns exclude the
use of the Future tense in the subordinate clause?

II. Come up with three sentences of your own for each
speech pattern.

III. Paraphrase using the speech patterns:

1. When you get home from a long day of work, you do not want
to worry about what to make for dinner. 2. She didn't really need to
buy such a mansion with the economic downturn looming. 3. The
child didn't want to sit still at all. 4. He doesn't need to quarrel with
his supervisor. 5. Remember that you won't be able to change the
contract after you have signed it. 6. As soon as you have learned
good grammar, you can leave it to nature. 7. As soon as we were in
the car, Mary suggested going to a small town nearby. 8. Can you
trace the call? Unfortunately, after you put down the receiver that
wipes the call. 9. They have won? I can't believe it. 10. I'm sure she
won't come today. 11. No matter how cold the weather, they wouldn't
stay at home. 12. No matter how intelligent the mayors are, they can't
come up with an ultimate solution to the traffic problem. 13. Though
the music was beautiful, the listeners remained indifferent. 14. No
matter how scary the experience, it might provide us with an answer.

IV. Complete the sentences using the speech patterns:

1. The last thing the weary mountain climbers wanted to do was
_________. 2. Once you let yourself be persuaded into buying,
___________________. 3. _________________ No way! 4. I'll bet
___________________. 5. However ______________________, he
wouldn't ______________________.


112
V. Translate the sentences using the speech patterns:

1. В той час відома казкарка аж ніяк не очікувала, що буде
писати дитячі книжки. 2. Яким би обережним не був водій, на
цій вибоїстій дорозі він може пошкодити вихлопну трубу.
3. Впевнена, це буде найкраща корпоративна вечірка цього року.
4. Щойно здадуть будинок, вам потрібно буде сплатити повну
вартість квартири. 5. Йому аж ніяк не було потреби виправдову-
ватися. 6. Джейн шахрайка? Маячня. 7. Яким би дотепним не був
жарт, вона не сміялася. 8. А коли ви прочитаєте цю книжку, вона
буде стояти на поличці та припадати пилюкою? Чи ще колись пе-
речитаєте її? 9. Впевнена, прибутки будуть шестизначні. 10. Це
вона спекла цей витвір кулінарного мистецтва? Ніколи не повірю.


VI. Make up and act out a dialogue using the speech
patterns.


Te x t

ROADSIDE CROSSES

(excerpt )

BY JEFFERY DEAVER

Jeffery Deaver (1950–) is an American
mystery / crime writer. A former journalist,
folksinger and attorney, Deaver is a number-
one bestselling author. His novels have
appeared on bestseller lists around the world,
including The New York Times, The Times of
London, The Sydney Morning Herald and
The Los Angeles Times. His books are sold in
150 countries and translated into 35 languages.
The author of twenty-seven novels, two
collections of short stories and a nonfiction
law book, he's received or been shortlisted for
a number of awards around the world.

113
One of his popular series features Kathryn Dance, an agent with
the California Bureau of Investigation. She's an expert at kinesics –
body language – and more broadly in interrogation and interviewing
witnesses and suspects.
Roadside Crosses was published in 2009. The peninsula is rocked
when a killer begins to leave roadside crosses beside local highways
… not as memorials of past accidents, but as an announcement of his
intention to kill. And to kill in a particularly horrific and efficient
way. He leaves his first victim, a seventeen-year-old girl, trapped in
the truck of her own car with the high tide coming onto the beach to
drown her. But the girl has miraculously survived. Kathryn Dance
comes to the hospital to talk to the girl.
To put the girl at ease, Dance made small talk: asking about
whether she was in summer school, if she'd thought about what
college she wanted to attend, her family, sports.'You have any vaca-
tions plans?'
'We do now,' she said. 'After this. My mom and sister and me are
going to visit my grandmother in Florida next week.' There was
exasperation in her voice and Dance could tell that the last thing the
girl wanted to do was go to Florida with the family.
'Tammy, you can imagine, we really want to find whoever did
this to you.'
'Asshole.'
Dance lifted an agreeing eyebrow. 'Tell me what happened.'
Tammy explained about being at a club and leaving just after
midnight. She was in the parking lot when somebody came up from
behind, taped her mouth, hands and feet, threw her in the trunk and
then drove to the beach.
'He just left me there to, like, drown.' The girl's eyes were hollow.
Dance, empathetic by nature – a gift from her mother – could feel the
horror herself, a hurting tickle down her spine.
'Did you know the attacker?'
The girl shook her head. 'But I know what happened.'
'What's that?'
'Gangs.'
'He was in a gang?'

114
'Yeah, everybody knows about it. To get into a gang, you have to
kill somebody. And if you're in a Latino gang you have to kill a
white girl. Those're the rules.'
'You think the perp
1
was Latino?'
'Yeah, I'm sure he was. I didn't see his face but got a look at his
hand. It was darker, you know. Not black. But he definitely wasn't a
white guy.'
'How big was he?'
'Not tall. About five-six. But really, really strong. Oh, something
else. I think last night I said it was just one guy. But I remembered
this morning. There were two of them.'
'You saw two of them?'
'More, I could feel somebody else nearby, you know how that
happens?'
'Could it have been a woman?'
'Oh, yeah, maybe. I don't know. Like I was saying, I was pretty
freaked out.'
'Did anybody touch you?'
'No, not that way. Just to put tape on me and throw me in the
trunk.' Her eyes flashed with anger.
'Do you remember anything about the drive?'
'No, I was too scared. I think I heard some clanks or something,
some noise from inside the car.'
'Not the trunk?'
'No. Like metal or something, I thought. He put it in the car after he
got me in the trunk. I saw this movie, one of the Saw
2
movies. And
I thought maybe he was going to use whatever it was to torture me.'
The bike, Dance was thinking, recalling the tread marks at the
beach. He'd brought a bicycle with him for his escape. She suggested
this, but Tammy said that wasn't it; there was no way to get a bike
in the backseat. She added gravely.'And it didn't sound like a bike.'
'Okay, Tammy.' Dance adjusted her glasses and kept looking at
the girl, who glanced at the flowers and cards and stuffed animals.
The girl added,'Look at everything people gave me. That bear there,
isn't he the best?'
'He's cute, yep… So you're thinking it was some Latino kids in
a gang.'

115
'Yeah. But… well, you know, like now, it's kind of over with.'
'Over with?'
'I mean, I didn't get killed. Just a little wet.' A laugh as she
avoided Dance's eyes. 'They're definitely freaking. It's all over the
news. I'll bet they're gone. I mean, maybe even left town.'
It was certainly true that gangs had initiation rites. And some in-
volved murder. But killings were rarely outside the race or ethnicity
of the gang and were most often directed at rival gang members or
informants. Besides, what had happened to Tammy was too elaborate.
Dance knew from running gang crimes that they were business first;
time is money and the less spent on extracurricular activities the better.
Dance had already decided that Tammy didn't think her attacker was
a Latino gangbanger at all. Nor did she believe there were two of them.
In fact, Tammy knew more about the perp than she was letting on.
It was time to get to the truth.
The process of kinesic
3
analysis in interviewing and interrogation
is first to establish a baseline – a catalog of behaviors that subjects
exhibit when telling the truth: Where do they put their hands, where
do they look and how often, do they swallow or clear their throats
often, do they lace their speech with 'Uhm,' do they tap their feet, do
they slouch or sit forward, do they hesitate before answering?
Once the truthful baseline is determined, the kinesic expert will
note any deviations from it when the subject is asked questions to
which he or she might have reason to answer falsely. When most
people lie, they feel stress and anxiety and try to relieve those un-
pleasant sensations with gestures or speech patterns that differ from
the baseline. One of Dance's favorite quotes came from a man who
predated the coining of the term 'kinesics' by a hundred years:
Charles Darwin, who said, 'Repressed emotion almost always comes
to the surface in some form of body motion.'
When the subject of the attacker's identity had arisen, Dance
observed that the girl's body language changed from her baseline:
She shifted her hips uneasily and a foot bobbed. Arms and hands are
fairly easy for liars to control but we're much less aware of the rest of
our body, especially toes and feet.
Dance also noted other changes: in the pitch of the girl's voice,
fingers flipping her hair and 'blocking gestures,' touching her mouth

116
and nose. Tammy also offered unnecessary digressions, she rambled
and she made overgeneralized statements ('Everybody knows about
it'), typical of someone who's lying.
Convinced that the girl was withholding information, Kathryn
Dance now slipped into her analytic mode. Her approach to getting a
subject to be honest consisted of four parts. First, she asked: What's
the subject's role in the incident? Here, Tammy was a victim and a
witness only, Dance concluded. She wasn't a participant – either
involved in another crime or staging her own abduction.
Second, what's the motive to lie? The answer, it was pretty clear,
was that the poor girl was terrified of reprisal. This was common,
and made Dance's job easier than if Tammy's motive were to cover
up her own criminal behavior.
The third question: What's the subject's general personality type?
This determination would suggest what approach Dance should
adopt in pursuing the interrogation – should she, for instance, be ag-
gressive or gentle; work toward problem solving or offer emotional
support; behave in a friendly manner or detached? Dance categorized
her subjects according to attributes in the Myers-Briggs personality
type indicator
4
, which assesses whether someone is an extravert or
introvert, thinking or feeling, sensing or intuitive.
The distinction between extravert and introvert is about attitude.
Does the subject act first and then assess the results (an extravert), or
reflect before acting (introvert)? Information gathering is carried out
either by trusting the five senses and verifying data (sensing) or rely-
ing on hunches (intuitive). Decision making occurs by either
objective, logical analysis (thinking) or by making choices based on
empathy (feeling).
Although Tammy was pretty, athletic and apparently a popular girl,
her insecurities – and, Dance had learned, an unstable home life – had
made her an introvert, and one who was intuitive and feeling. This
meant Dance couldn't use a blunt approach with the girl. Tammy
would simply stonewall – and be traumatized by harsh questioning.
Finally, the fourth question an interrogator must ask is: What kind
of liar's personality does the subject have?


117
There are several types. Manipulators, or 'High Machiavellians'
(after the Italian political philosopher who, literally, wrote the book
on ruthlessness), see absolutely nothing wrong with lying; they use
deceit as a tool to achieve their goals in love, business, politics or
crime and are very, very good at deception. Other types include
social liars, who lie to entertain; adaptors, insecure people who lie to
make positive impressions; and actors, who lie for control.
Dance decided Tammy was a combination of adaptor and actor.
Her insecurities would make her lie to boost her fragile ego, and she
would lie to get her way.
Once a kinesic analyst answers these four questions, the rest of
the process is straightforward: She continues questioning the subject,
noting carefully those queries that elicit stress reactions – indicators
of deception. Then she keeps returning to those questions, and
related ones, probing further, closing in on the lie, and noting how
the subject is handling the increasing levels of stress. Is she angry, in
denial, depressed or trying to bargain her way out of the situation?
Each of these states requires different tools to force or trick or en-
courage the subject to finally tell the truth.
This is what Dance did now, sitting forward a bit to put herself in
a close but not invasive 'proxemic zone'
5
– about three feet away
from Tammy. This would make her uneasy, but not overly threat-
ened. Dance kept a faint smile on her face and decided not to ex-
change her gray-rimmed glasses for her black frames – her 'predator
specs' – which she wore to intimidate High Mach subjects.
'That's very helpful, Tammy, everything you've said. I really
appreciate your cooperation.'
The girl smiled. But she also glanced at the door. Dance read: guilt.
'And one question I had. That clanking you heard? See, we didn't
find any other car wheel tread marks either. So we're real curious
how he got away. Let's go back to the bicycle. I know you didn't
think that was the sound in the car, the clanking, but any way it could
have been, you think?'
'A bicycle?'
Repeating a question is often a sign of deception. The subject is
trying to buy time to consider the implications of an answer and to
make up something credible.

118
'No, it couldn't. How could he get it inside?' Tammy's denial was
too fast and too adamant. She'd considered a bicycle too but didn't
want to admit the possibility, for some reason.
Dance lifted an eyebrow. 'Oh, I don't know. One of my neighbors
has a Camry. It's a pretty big car.'
The girl blinked; she was surprised, it seemed, that Dance knew
the make of her car. That the agent had done her homework was
making Tammy uneasy. She looked at the window. Subconsciously,
she was seeking a route of escape from the unpleasant anxiety.
Dance was on to something. She felt her own pulse tap harder.
'Maybe. I don't know,' Tammy said.
'So, he could've had a bike. That might mean he was somebody
your age, a little younger. Adults ride bikes, sure, but you see
teenagers with them more. Hey, what do you think about it being
somebody in school with you?'
'School? No way. Nobody I know would do something like that.'
'Anybody ever threaten you? Have any fights with anybody at
Stevenson?'
'I mean, Brianna Crenshaw was pissed when I beat her for
cheerleader. But she started going out with Davey Wilcox. Who I
had a crush on. So it kind of evened out.' A choked laugh.
Dance smiled too.
'No, it was this gang guy. I'm sure of it.' Her eyes grew wide.'Wait,
I remember now. He made a call. Probably to the gang leader. I could
hear him open his phone and he said, 'Ella esta en el coche.'
She's in the car, Dance translated to herself. She asked Tammy,
'You know what that means?'
'Something like 'I've got her in the car.'
'You're studying Spanish?'
'Yeah.' This was all very breathless and told in a voice with a
higher pitch than normal. Her eyes locked onto Dance's but her hand
flicked her hair away and paused to scratch her lip.
The Spanish quotation was a complete lie.
'What I'm thinking,' Dance began reasonably, 'is that he was just
pretending to be a gangbanger. To cover up his identity. That means
there was another reason to attack you.'
'Like, why?'

119
'That's what I'm hoping you can help me with. You get any look
at him at all?'
'Not really. He was behind me the whole time. And it was really,
really dark in the parking lot. They ought to put lights in. I think I'm
going to sue the club. My father's a lawyer in San Mateo.'
The angry posturing was meant to deflect Dance's questioning;
Tammy had seen something.
'Maybe as he came up toward you, you saw a reflection in the
windows.'
The girl was shaking her head no. But Dance persisted. 'Just a
glimpse. Think back. It's always cold at night here. He wouldn't've
been in shirtsleeves. Was he wearing a jacket? A leather one, cloth?
A sweater? Maybe a sweatshirt. A hoodie?'
Tammy said no to all of them, but some no's were different from
others.
Dance then noticed the girl's eyes zip to a bouquet of flowers on
the table. Beside it the get-well card read: Yo, girl, get your a
**
out of
there soon! Love J, P, and the Beasty Girl.
Kathryn Dance looked at herself as a journeyman law enforcer
who succeeded largely because of doing her homework and not tak-
ing no for an answer. Occasionally, though, her mind did a curious
jump. She'd pack in the facts and impressions and suddenly there'd
be an unexpected leap – a deduction or conclusion that seemed to
arise as if by magic.
A to B to X…
This happened now, seeing Tammy look at the flowers, eyes troubled.
The agent took a chance.
'See, Tammy, we know that whoever attacked you also left a
roadside cross-as a message of some sort.'
The girl's eyes grew wide.
Gotcha, Dance thought. She does know about the cross.
She continued her improvised script, 'And messages like that are
always sent by people who know the victims.'
'I… I heard him speaking Spanish.'
Dance knew this was a lie, but she'd learned that with subjects
who had a personality type like Tammy's, she needed to leave them
an escape route, or they'd shut down completely. She said agreeably,
'Oh, I'm sure you did. But I think he was trying to cover up his iden-
tity. He wanted to fool you.'

120
Tammy was miserable, the poor thing.
Who terrified her so much?
'First of all, Tammy, let me reassure you that we'll protect you.
Whoever did this won't get near you again. I'm going to have a
policeman stay outside your door here. And we'll have one at your
house too until we catch the person who did this.'
Relief in her eyes.
'Here's a thought: What about a stalker? You're very beautiful. I'll
bet you have to be pretty careful.'
A smile – very cautious, but pleased nonetheless at the compliment.
'Anybody been hassling you?'
The young patient hesitated.
We're close. We're really close.
But Tammy backed away.' No.'
Dance did too. 'Have you had any problems with people in your
family?' This was a possibility. She'd checked. Her parents were di-
vorced – after a tough courtroom battle – and her older brother lived
away from home. An uncle had a domestic abuse charge.
But Tammy's eyes made it clear that relatives probably weren't
behind the attack.
Dance continued to fish. 'You have any trouble with anybody
you've been e-mailing? Maybe somebody you know online, through
Facebook or MySpace? That happens a lot nowadays.'
'No, really. I'm not online that much.' She was flicking fingernail
against fingernail, the equivalent of wringing hands.
'I'm sorry to push, Tammy. It's just so important to make sure this
doesn't happen again.'
Then Dance saw something that struck her like a slap. In the girl's
eyes was a recognition response – a faint lifting of the brows and
lids. It meant that Tammy was afraid that this would happen again –
but, since she'd have her police guard, the implication was that the
attacker was a threat to others too.
The girl swallowed. She was clearly in the denial phase of stress
reaction, which meant she was hunkered down, defenses raised high.
'It was somebody I didn't know. I swear to God.'

121
A deception flag: 'I swear.' The deity reference too. It was as if
she were shouting, I'm lying! I want to tell the truth but I'm afraid.
Dance said, 'Okay, Tammy. I believe you.'
'Look, I'm really, really tired. I think maybe I don't want to say
anything else until my mom gets here.'
Dance smiled. 'Of course, Tammy.' She rose and handed the girl
one of her business cards. 'If you could think about it a bit more and
let us know anything that occurs to you.'
'I'm sorry I'm, like, not all that helpful.' Eyes down. Contrite.
Dance could see that the girl had used pouting and insincere self-
deprecation in the past. The technique, mixed with a bit of flirt,
would work with boys and her father; women wouldn't let her get
away with it.
Still, Dance played to her. 'No, no, you've been very helpful.
Gosh, honey, look at all you've been through. Get some rest. And put
on some sitcoms.' A nod at the TV. 'They're good for the soul.'
Walking out the door, Dance reflected: another few hours and she
might have gotten the girl to tell the truth, though she wasn't sure;
Tammy was clearly terrified. Besides, however talented the interro-
gator, sometimes subjects simply would not tell what they knew.
Not that it mattered. Kathryn Dance believed she'd learned all the
information she needed.

Comme nt ar y

1. a perp – a perpetrator – a person who has committed a crime.
2. Saw is a 2004 Australian-American horror film. Saw II is its
sequel released in 2005. Some critics dismissed the film as being
revolting over the explicit gore and torture scenes.
3. kinesic – relating to kinesics, the interpretation of body
language such as facial expressions and gestures. The term kinesics
was first used in 1952 by Ray Birdwhistell, an anthropologist who
used the methods and concepts of descriptive linguistics to argue that
all movements of the body have meaning and the non-verbal form of
language, or paralanguage, has a grammar that can be analyzed in
similar terms to the verbal form.

122
4. Myers-Briggs personality type indicator is a psychometric
questionnaire designed to measure psychological preferences in how
people perceive the world and make decisions (introvert – extravert, etc).
5. proxemic zone – space surrounding an individual that defines that
individual's preferred distance from others. There are four types of
proxemic zones: intimate, personal, social, public. With Americans a
three-feet distance belongs to the personal proxemic zone. This is the
distance that Americans stand from others at friendly gatherings.
Proxemics – is the study of humankind's perception and use of space.

Es s e nt i al Voc abul ar y
Vocabulary Notes

1. trunk n [count.] (1) the thick central woody stem of a tree:
a tree trunk; (2) the main part of the body not including your head,
arms, or legs: trunk muscles; (3) a large box made of wood or metal,
in which clothes, books etc are packed for travel: He threw the books
in the trunk and closed the lid. (4) (American English) the covered
space at the back of the car used for carrying things in: Put your suit-
case in the trunk. = (British English) boot; (5) an elephant's long
nose; (6) [plural] a piece of clothing like shorts, worn by men for
swimming: swimming trunks.
2. tickle v [transitive] (1) to touch sb's body lightly to make them
laugh: Her little brother screamed with laughter as she tickled him.
(2) to excite, to please or to amuse: The idea of going to the party
tickled her. (3) [transitive and intransitive] to have a tingling or
prickling sensation: His nose started to tickle. The tag on the sweater
tickled her neck.
tickle your fancy if sth tickles your fancy, you like it and want to
have it: Does anything on the menu tickle your fancy?
tickle n [singular] (1) a feeling in throat that makes you want to
cough: I've got a tickle in my throat. (2) give sb a tickle to touch sb's
body gently to make them laugh.
ticklish adj (1) if someone is ticklish they quickly feel uncomfort-
able when sb lightly touches their body to make them laugh: ticklish
on your feet; (2) [usually before a noun] a ticklish situation or

123
problem is difficult and must be dealt with carefully, especially be-
cause you may upset people: That leaves me with a ticklish job of
explaining to Jane that she is not invited. (3) [usually before a noun]
a ticklish cough is in your throat rather than in your chest.
3. freak v [intransitive] informal (1) to become suddenly angry or
afraid, especially so that you cannot control your behaviour: When
John heard the news, he just freaked. (2) to behave irrationally or
unconventionally under the influence of drugs.
freak out phr v informal to become very anxious, upset or afraid:
When the plane started to shake, she freaked out. freak sb out to
make sb anxious, upset or afraid: Their plans freaked me out.
freak n [count.] (1) someone who is considered strange: He had
a rash on his face, and he felt like a freak; (2) something with very
unusual features that make them very different from other things of the
same type: a freak beast; (3) informal someone who is particularly
interested in some activity: a health / computer / fitness freak.
a freak of nature (1) an unusual, unexpected natural phenome-
non: A freak of nature produced the midsummer snow.(2) an animal
or a plant that is born or growth with abnormal physical features: The
calf is a freak, it has two tails.
a control freak a person who attempts to dictate how everything
around them is done.
freak adj extremely unusual and unexpected: a freak hailstorm in
summer; a freak accident; a freak result.
freakish adj extremely unusual and unexpected, especially in an
unpleasant way: When you're a child you always imagine that your
own bodily imperfections are somehow freakish.
4. elaborate adj (1) containing a lot of small parts and details put
together in a complicated way: You want a plain blouse to go with
that skirt – nothing too elaborate. (2) planned or carried out with
great care: to take elaborate precautions.
elaborately adv: an elaborately decorated cake.
elaborate v [transitive and intransitive] to work out in detail, to
give more information about sth: to elaborate a theory; I'll be glad to
elaborate if you want to hear. + on / upon to elaborate on the rea-
sons for the decision.
elaboration n.

124
5. lace v [transitive and intransitive] (1) to fasten sth by pulling a
string through special holes and tying it: a dress that laces in the back;
also lace up: Lace up our shoes or you'll trip over them. (2) to add a
dash of alcohol or a drug to a drink, sometimes secretly: coffee laced
with whisky; They laced the guard's coffee with a sedative. (3) (written)
to weave or twist things together: She laced her fingers together.
lace sth with sth phr v (1) to include sth all through sth you write
or say: They lace their speech with 'Uhm.' (2) (written) to add sth to
impart pungency, savour, or zest: conversation laced with sarcasm.
lace n (1) [uncount.] a fine fabric made with patterns of many
small holes: a lace collar, lace curtains; (2) [count.] a piece of string
used for tying shoes or two edges of a garment together: Your laces
are undone.
lacework n [uncountable] lace or something that looks like lace:
a little shop selling embroidery, lacework, and inlaid wood.
lace-up n [countable, usually plural] (British English) a shoe that is
fastened with a lace: a pair of lace-ups. lace-up adj: black lace-up shoes.
6. tread n (1) [count. and uncount.] the pattern of raised lines on
a tyre which prevents a vehicle from sliding on the road: The tread
on the tyre is worn. (2) the part of the sole of a shoe that rests on the
ground; (3) [count.] the horizontal part of a step on which you put
you foot; (4) (literary) the sound someone makes when they walk:
I heard his tread in the hall.
tread (trod, trodden) v (1) [intransitive, always + prep / adv]
(British English) to put your foot on or in sth when you are walking:
Sorry, did I tread on your foot?
(2) [transitive and intransitive, always + prep / adv] (literary) to
walk: They slowly trod back to the camp. (3) [transitive] (British
English) to press or crush sth into the floor or ground when you
walk: Don't tread mud into the carpet. (4) tread grapes to crush
grapes with feet to produce wine.
tread the boards (humorous) to work as an actor: Many an
international star trod the boards here.
tread carefully / warily / cautiously to be very careful of what
you say or do in a difficult situation: The Government had to tread
warily in responding to the economic and social policy proposals.

125
tread on sacred / dangerous ground to do sth that is likely to
cause a problem or upset other people: Don't raise the issue! You will
tread on dangerous ground.
tread on someone's toes to offend someone by encroaching on
their area of responsibility: I don't know the rules here, don't want to
tread on anyone's toes.
tread water (treaded, treaded) (1) to stay upright in deep water
by moving your legs as if you were riding a bicycle: You'd better try
to tread water. There's a boat coming to pick us up. (2) not to make
progress because you have to wait for sth else first: He treaded water
in his career.
Fools rush in where angels fear to tread (spoken) used for
saying that people who are not sensible do things without thinking
carefully about what may happen as a result.
treadmill n (1) [count.] a piece of exercise equipment that has a
large belt around a set of wheels, that you can walk or run on while
staying in the same place: Have him run on the treadmill for 20 min-
utes. (2) [singular] life or work that seems boring because you have
to do the same things: It's a treadmill that is hard to get off.
(3) [count.] a wide wheel turned by the weight of people climbing on
steps around its edge, used in the past to provide power for machines
or, more usually, as a punishment for prisoners.
7. ramble v [intransitive] (1) to talk or write in a confused way for
a long time: She's getting old and she is rambling a bit. (2) (British
English) [always + prp / adv] to go on a walk in the countryside for
pleasure: I love to ramble through the fields and lanes in this part of
the country. (3) (especially of a plant) to go in different directions: An
old clematis rambles over the garden wall.
ramble on phr v (British English) to talk or write for a long time
in a way that other people find boring: An old man kept rambling on
about the war.
ramble n [count.] (1) a walk in the countryside for pleasure: Let's
go for a ramble one weekend. (2) a speech or piece of writing that is
long and confusing: In a twenty-page ramble, he explains motives
behind his actions.


126
rambler n [count.] (1) someone who talks for a long time in
a confusing way; (2) someone who goes for walks for enjoyment;
(3) a plant, especially a rose, that grows in all directions.
rambling adj (1) a rambling building has a lot of different parts
and covers a large area: a rambling farm; (2) a rambling speech or
piece of writing is long and confusing: a rambling letter.
ramblings [plural] talk or writing that goes on for a long time and is
boring, confusing, or annoying: He refused to listen to their ramblings.
8. bob v (1) [intransitive] to move up and down especially on the
surface of water: In the harbour, the boats bobbed gently up and
down on the water. (2) [intransitive, always + prep / adv] to move
quickly in a particular direction: Suddenly a head bobbed up from
behind the bushes. (3) to move your head down quickly as a way of
showing respect, greeting someone, or agreeing with someone: When
he spoke to the girl, she bobbed her head. (4) [transitive] to cut
someone's, especially a woman's, hair so that it hangs to the level of
their chin and is the same length all round their head: The hair-
dresser neatly bobbed her hair.
bob n [count.] (1) a hairstyle; (2) a quick movement of the head,
body to show respect, greeting, agreement etc: She acknowledged me
with a quick bob of her head.
bits and bobs small things of different types: I put all the bits and
bobs I can't find a home for in this drawer.
9. stalk v (1) [intransitive, always + prep / adv] to walk in a proud
and angry way, with long steps: +out / off / away He shook his head
in disgust and stalked off. (2) [transitive] to hunt a person or an ani-
mal by following them without being seen: A cat stalked a bird in the
garden. Rapists stalk their victims at night. (3) [transitive] to follow
and watch someone in a threatening way, because of an extremely
strong interest in them: She was stalked by an obsessed fan.
(4) [transitive] (literary) if sth unpleasant stalks the place, it affects
the people there: In 1665, plague stalked the streets of London.
stalker n [count.] someone who follows and watches another
person in a way that is annoying and threatening: Several well-known
women have been troubled by stalkers recently.

127
stalking n [uncount.] the crime of following and watching
someone over a period of time in a way that is annoying and
threatening: a stalking victim.
stalking horse n [count.] if a group of politicians use someone
who has no chance of winning as a stalking horse, they make that
person compete for a position in order to divide the opposition or to
take attention away from another person who they really want to win.
10. zip v (1) [transitive] to close or open something that has
a zip: to zip a jacket; zip sth shut / open: to zip the bag shut;
(2) [intransitive, always + prep / adv] (informal) to go somewhere or
to do sth quickly: Dance noticed the girl's eyes zip to a bouquet of
flowers on the table. (3) [transitive] to compress a computer
document so that it fills less space and can be stored easily or sent by
email more quickly: to zip a file.
zip it / your lip (American English, informal) used for rudely
telling someone not to say anything: You'd better zip your lip or
you'll be in trouble.
zip up phr v to fasten sth using a zip: to zip up a suitcase; zip sb
up: Could you zip me up (fasten my dress), please? I can't reach.
zip n [count.] (1) (British English) two lines of small metal
or plastic pieces that slide together to close or open a piece of
clothing = (American English) zipper: The zip on my skirt is broken.
do up / undo a zip. (2) [uncount.] (informal) energy, speed,
or enthusiasm: His car goes with a bit more zip than mine.
(3) [singular] (American English, informal) nothing at all or zero:
We beat them 10 to zip.
zip code n [count.] (American English) a group of numbers or
letters and numbers at the end of an address to help the post office
find the exact area = (British English) postcode.
zip file n [count] a computer file that has been made smaller so
that it is easier to store or move.

Wor d Combi nat i ons and Phr as e s

to put sb at ease to have a crush on sb
to make small talk to even out
to let on to be in shirtsleeves
to clear one's throat to take a chance
to be on to sth to wring hands
to beat sb / sth for sth to hunker down


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Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the examples
into Ukrainian.

II. The British National Corpus (BNC) is a 100 million word
collection of samples of written and spoken language from a wide
range of sources, designed to represent a wide cross-section of
current British English, both spoken and written. You can get
access to it at http://www.natcorp.ox.ac.uk/ Search the corpus for
each vocabulary item. Select three hits illustrating the way the word
collocates and translate them into Ukrainian. Identify the source
text they come from, its style and dating.

III. Consult a dictionary, transcribe the following words
and practice their pronunciation:

elaborate, adamant, predator, deviation, stalker, hassle, deity, self-
deprecation.

IV. Explain the meaning of the words and phrases in bold
type in the context. Translate the sentences into Ukrainian:

1. The elephant's trunk is sensitive enough to pick up a single
blade of grass, yet strong enough to rip the branches off a tree. 2. An
oak tree can suffer trunk damage from a number of sources: acci-
dents, attacks from deer or other animals, and severe weather.
3. Achieve beautiful tone, spine health, flexibility and joint range of
motion in your trunk with leg raise exercises. 4. The multitude of
little cushions and shawls was packed carefully into an old ball dress
trunk with a high-domed lid and E. B. painted on it, in white. 5. Af-
ter all, a dog or a cat will come for the rub and tickle it so obviously
enjoys. 6. Parents feed their babies, cuddle them, change their nap-
pies, bath them, tickle them and generally communicate through
bodily involvement. 7. Here are a couple of anecdotes that might
tickle your fancy. 8. Making the guest list can be a ticklish issue.
9. She has never been a DIY freak. 10. The torrential rains which
flooded homes and roads were a one-in-500 years freak, according

129
to weather experts. 11. You can read plenty of freakish recipes in
cookery books. 12. Control freaks are difficult to live with, to work
with, and to socialize with; at work, they may worry about failure; in
relationships, they may worry about not having their needs met. To
keep this anxiety from overwhelming them, they try to control the
people or things around them. 13. The speaker expects continued
economic growth but he did not elaborate. 14. British wedding-
goers, particularly the mothers of the bride and groom, try to outdo
each other for the most stylish or elaborate hat. 15. Her skirt swirled
around her legs in a froth of black lace as she stalked across the
room. 16. The script is laced with expletives. 17. Her friend laced
her up tight to show off her neat waist. 18. The pub has always had
to tread a difficult tightrope in reconciling its social function, as a
'house' for the public, with its commercial function as a retail shop.
19. The new sole may have a slightly different tread pattern or width
but the shoe remains essentially the same. 20. Christine followed her
eagerly, laughing as she showed her friend how to body-surf on the
smaller waves, and then how to dive and tread water waiting for a
really big wave. 21. The Royal Shakespeare Company is paying a
first visit to Durham City but not to tread the boards. 22. What
muscles do treadmills work? 23. 'Fools rush in where angels fear
to tread' is a well-known quotation from Alexander Pope's Essay on
Criticism. The fools that Pope targeted were the literary critics of the
day. 24. I think the most important thing is to try and find that gap in
the market that is not well trodden by a lot of other people – to find
something which you can do which is different from all the rest of
them. 25. BBC's planned expansion of its local online video services
trod on the toes of commercial radio stations already broadcasting
and investing in local news and content. 26. This isn't a political or
geographical question, and I'm not going to ramble on about
environmental issues. 27. Walking: A paradise for keen walkers with
350 km of marked paths to ramble along at your leisure. 28. The
rambler roses in the garden beyond grew along chains which dipped
up and down and swung in the wind between six foot high posts, and
a row of strangely shaped lumps of yew, grown hugely out of
proportion, ran from the north corner of the house. 29. Their huge
brood lives with Mia in her big, rambling apartment, littered with

130
toys and overflowing with friends. 30. The Halloween game of
bobbing apples – catching apples in a tub of water with your mouth –
probably originated as an ancient harvest rite, possibly again in
honour of the Roman goddess Pomona. 31. A man turned into
a baby, who bobbed his head and wept. 32. Fear stalked her sleep,
because however far she could drive her anxieties from her mind
by activity in the daytime, she had to relax control when she sought
sleep. 33. Cyberstalking is now more common than physical
harassment, according to new figures due to be released next week,
with many victims finding themselves pursued by complete strangers
online. 34. The sea was calm, the sky was blue and with the sun beat-
ing on the tent it was almost too warm to zip up my sleeping-bag.
35. Swallows zipped back and forth across the lake.


V. Paraphrase using the essential vocabulary items:

1. Despite this, a pilot survey indicated that 10 % of drivers still
forget to lock all doors, shut all windows or lock the boot. 2. If you
don't feel comfortable when someone lightly touches your feet, per-
haps you'd better give reflexology a miss. 3. Many of these texts can
be read as detailed commentaries on the nature of writing and
reading. 4. That would make Frodo's name odd and unusual in
hobbit-nomenclature. 5. A novice designer will act carefully,
checking each idea by testing, analysis or precedence. 6. We let him
talk for a long time about this and that while we prepared dinner.
7. In the late nineteenth century, the pastime of hiking through open
countryside had been restricted to those who not only had time at
their disposal but also the financial capability to travel into rural
areas. 8. The Prince is also very keen on deer hunting, another pull to
keep him in the Highlands for as long as he can manage. 9. He added
some poison to the wine. 10. All I needed to do was pack my small
personal things.


VI. Fill in the gaps with missing prepositions or adverbs:

1. Billy trod ____ a big puddle. 2. Some cake crumbs had been
trodden ____ the carpet. 3. Be careful not to tread ____ flowers.
4. We went ____ a ramble over the moors. 5. An old cigarette packet

131
bobbed ____ in the current. 6. Mrs. Brown bobbed ____ the room
gathering up her things. 7. The boat bobbed gently ____ and ____ on
the water. 8. Most people are ticklish ____ sides. 9. Her short
haircut freaked him ____. 10. Yvonne turned and stalked ____ in
disgust. 11. She just zipped ____ the first two books. 12. He
rambled ____ for hours.

VII. The verb to ramble has a few more or less synonymous
verbs meaning 'to talk for a long time in a way that people
find boring or annoying'. Identify the main differences in meaning
and fill in the gaps with the most appropriate verb or word com-
bination in the correct form:

to ramble – to talk too long in a confused way, so that you keep
changing the subject and forget what you have already said;
to waffle (British English) – to talk for a long time without
making your meaning clear and without really saying anything useful
or important;
to rabbit on (British English, informal) – to talk for a long time
about sth in a stupid and boring way;
to harp on – to keep mentioning sth in a way that other people
find annoying;
to labour the point – to express the same idea again and again
with the intention of making it clear, but with the result that people
get bored.

1. I wish he wouldn't keep _____ about the heat – we can't change
the weather. 2. A good lecturer won't _____ and will identify the
essential points for the audience. 3. The trouble is once he started on
the subject, he is inclined to _____. 4. George just _____ , boring
everyone to death with his silly nonsense. 5. If the students aren't
listening it's probably because the teacher _____ too much.

VIII. Paraphrase using a suitable word combination or phrase:

1. She had a strong feeling of love for her mathematics teacher.
2. They talked about New York, a mutual acquaintance, beer and
other unimportant things. 3. The differences in their income should
become not so noticeable over time. 4. The opera singer has coughed
a bit and is waiting for the curtain. 5. I did my best to make him feel
confident and relaxed. 6. Jack became a school president because he

132
did better than me. 7. How did she plan the surprise party without
telling her husband? 8. In the morning, there was a slight chill in the
air, and he didn't feel comfortable in his shirt without a jacket.
9. When Socrates asked his disciples questions, he had something on
his mind. He wanted to make them think and find the answer them-
selves rather than listen to his. 10. He was sobbing and twisting his
hands by the grave. 11. The rope might break, but we have to risk.
12. After the recession, people started to hesitate more before making
a big commitment – buying a home or a car, starting a new business,
making loans. Almost everybody is waiting through in their shelter.


IX. Fill in the gaps using the suitable word combinations
and phrases:

1. While many businessmen _______ after the lean years of the
Second World War and the Great Depression before it, Taylor and
company correctly reckoned it was the dawn of an era of prosperity
and growth. 2. She _______ and wept. 3. When everybody had set-
tled down, the chairman _______ and declared the meeting open.
4. The meeting was informal; all the officials were in _______.
5. I suspect he knows more than he is _______. 6. I don't enjoy
parties where I have to _______ to complete strangers. 7. He ______
on a relatively new young actor.


X. Translate into English using the essential vocabulary:

1. В багажнику митники виявили антикварні речі: ювелірні
прикраси та дві табакерки з вигадливими візерунками. 2. Схиб-
лена на фітнесі, дівчина здавалося днювала і ночувала в трена-
жерному залі, виснажувала себе на біговій доріжці та робила
понад 100 віджимань на день. 3. За народними віруваннями, ко-
ли цвіте жито, русалки виходять з води і гуляють по полях та
лісах. Вони полюють на молодих парубків та дівчат і можуть
залоскотати їх до смерті. 4. Хлопчик намалював людину з квад-
ратним тулубом, великою головою, схожою на картоплину та
маленькими ніжками. 5. Таку роботу можна без образи порівня-
ти з товченням води в ступі. 6. Він біг так швидко, що в нього
розв'язалася шнурівка на черевику. 7. Вертоліт знизився і блис-
кавично промчав над соснами. 8. Все що їй потрібно, це людина,

133
яка була б здатна годинами вислуховувати її плутані розповіді
про минуле та вести дружню розмову про погоду та спільних
знайомих. 9. З-за паркану несподівано з'явилося веснянкувате
обличчя. 10. Гадаю, ви не відчули іронії, якою пронизаний весь
текст роману. 11. З чим ви пов'язуєте ці дивацтва погоди?
12. Зловмисник діяв обережно, часом перечікував, часом ри-
зикував і грабував черговий банк. 13. Помилка працівника роз-
дратувала системного адміністратора. Ще минулого тижня він
детально пояснював, як працює програма. 14. Я от теж думав
розпочати тут готельний бізнес. Мало не перебив ваш хліб.
15. В'юнкі троянди прикрашали тераси відомих висячих садів
Семіраміди. 16. В старих, покинутих будинках завжди відчува-
ється страх. 17. Яким би розумним він не був, він не зможе пе-
ремогти тебе й стати лідером партії. 18. Шкода, що ви ніяк не
хочете розповісти нам правду. Ми могли б захистити вас від
людини, яка переслідує вас вже три роки. 19. Не знаю, куди кла-
сти усі ці дрібниці. 20. Ви бачили, як він додавав віскі до кави?
21. Закрий сумку, інакше залишишся без гаманця. 22. Її тішила
пропозиція поїхати працювати до Аргентини. Вона ж схиблена
на танго. 23. Головна відмінність футбольних бутсів від звичай-
ного взуття – шипи на підошві. 24. Обережно, якщо втоптати ці
крихти, на світлому килимі залишиться пляма, жоден засіб не
зможе зробити його бездоганно чистим. 25. Щойно вона знай-
шла гачок, заходилася плести мереживо для комірця.


Exerci ses t o t he Text

I. Prepare a victim statement as if you were the police
officer taking it from Tammy. Look for the sample statement
on the Internet.

II. Imagine you are Kathryn Dance. Prepare a short report
to the chief of Investigations Division on the results of your
meeting with Tammy in the hospital.

III. Act out the dialogue between Kathryn Dance and Tammy.
Remember to send appropriate nonverbal signals.

IV. Retell the text as if you were a) Tammy; b) Kathryn Dance.

134
V. Give a character sketch of a) Tammy; b) Kathryn Dance.

VI. Pick out from the text all the nonverbal cues Tammy gave.
Identify their meanings: deception, defense, etc. Which verbal signs
of deceit are mentioned in the text. Analyse the nonverbal and
verbal statements given by Tammy.

VII. On the basis of the text we can compile several semantic
fields. Which of them would you make?

VIII. Discuss and analyse the text:

1. What do you know about the author? Learn more about Jeffery
Deaver by browsing his official site http://www.jefferydeaver.com/index.html
2. Comment on the title of the novel.
3. Where and when does the action take place? Which time
indicators are there in the text?
4. What is Tammy's family background? What is her lifestyle?
What are the distinctive features of Tammy's speech (gap-fillers, etc)?
5. What are the distinctive features of Kathryn's speech a) when
she talks to Tammy; b) in represented speech? How does Kathryn's
speech characterise her personality?
6. Elliptical sentences create a sense of immediacy. Pick up
elliptical sentences. Who mostly uses elliptical sentences? Are there
any elliptical sentences in represented speech?
7. How does the choice of words contribute to the functional
colouring (technical, colloquial) of the different parts of the passage?
8. What are the distinctive lexical and syntactical features of the
technical (use of lengthy sentences with subordinate clauses, use of
passive, extensive use of terminology, etc) and the colloquial
(combination of neutral and low colloquial vocabulary, including
vulgar and taboo words, extensive use of words of general meaning
(do, get, go), interjections, gap-fillers, simple short sentences, ellipti-
cal sentences, etc) parts?
9. Why does Jeffery Deaver elaborate on the technique and
methods of kinesic analysis though it is a work of fiction not a scien-
tific book?

135
10. Has the writer managed to spark your interest? Would you
like to know the ending?

IX. Think of your own ending for the Roadside Crosses.

X. Write an essay of 250–300 words on one of the topics:

Gestures speak louder than words.
People don't read books to get to the middle. They read to get to
the end.
A crime story is a mind game.
Why I wouldn't read a detective story.


S E C T I O N B

TOPICAL VOCABULARY

(Body Language)

A gesture can be abrupt, careless,
defiant, dismissive, dramatic, expansive,
expressive, extravagant, flamboyant,
impatient, imperious, irritable, helpless,
obscene, placatory, rude, sweeping,
theatrical, threatening, vague.
Head: to nod, shake, lift, drop, hang,
throw back, tilt, clutch one's head; to
flick the head to toss the hair back.
Neck: to scratch one's neck; a pain-in-
the-neck gesture.
Face: a face lights up, brightens,
clouds, crumples, drops, falls, contorts, twists, flushes, goes red,
remains blank / impassive.
Forehead: to hit, rub, slap, wrinkle one's forehead.
Eyes: eyes dilate, fly open, grow wide, blaze, glitter, twinkle,
shift, roll, wander; to avert one's eyes, to look sb straight in the eye,
to meet sb's eye, to rub one's eye(s).
Nose: to wrinkle one's nose.
Lips: lips curl, pout, tremble; to bite / chew one's lip; to purse
one's lips; to moisten one's lips.

136
Hands: to clasp one's hands behind one's head; to clench one's hands
in one's lap to hide their trembling; to beat one's hand on sth in
frustration; to rub, to wring, to spread, to throw up one's hands; a closed
hand resting on the cheek with the index finger pointing upwards.
Finger: to point a finger, to draw a finger across one's throat, to hold
up a finger to one's lips, to wag one's finger; to tap / drum one's fingers
on sth, to snap one's fingers, to crook a finger; fingers in the mouth.
Palm: open / exposed palms, hidden palms; palm command ges-
tures: the palm-up position, the palm-down position, the palm-
closed-finger-pointed position; one palm gripping the other hand be-
hind the back.
Fist: to clench, shake, bang one's fist.
Arms: hold out / stretch out, to cross / fold one's arms; a partial arm
cross (one arm swings across the body to hold or touch the other arm).
Legs: to cross one's legs; to lean back on one leg and push the
other forward to point at the person one finds interesting; the top of
one foot locks around the other leg.
Feet: to tap one's feet; to thrust the foot in and out of the shoe.


I. Why can non-verbal communication be a cross-cultural
challenge? Give examples to support your point. Read the
text and consider what the misuse of gestures may result in:

In the 1990s George H. W. Bush tried to signal 'peace' during a visit
to Australia by giving a large crowd the time-honoured two-fingered
salute. Though he didn't know at the time, he was actually telling the
whole crowd 'to get stuffed' – and all because he made the seemingly
innocuous error that his palm was facing inwards instead of outwards.
The age-old 'V sign' comes in two
formats: one with the palm faced
outwards, and one with the palm
inwards. In the US the two hand signals
mean the same thing – 'victory', as
popularised by Dwight Eisenhower and
Richard Nixon, or 'peace and love',
which seemed to become the primary
meaning after anti-Vietnam protesters
used it during the 60s.

137
However, if the outside of your hand is facing your target, you're
giving somebody a long-established insult in Great Britain and many
English-speaking countries
such as Australia, Ireland
and New Zealand. Winston
Churchill popularised the
victory sign during World
War II.
While Western culture
has become used to the
thumbs-up as a positive,
informal signal, generally
indicating a job well done
(probably stemming from World War II pilots using the signal to
communicate that they were'good to go' with ground crews), there
are cultures where a thumbs-up may land you in trouble. In most of
Latin America and West Africa, as well as Greece and the south of
Italy, the thumbs-up basically means the same as the middle finger:
'sit on it and swivel.' Also, it's generally not recommended to use the
thumbs-up around the Middle East as it's pretty much the biggest
insult out there.
Mainly used by scuba divers to mean 'OK' (to prevent ambiguity
with the thumbs-up sign, which means 'ascend'), this hand gesture is
generally called 'A-OK', and in America and the UK is often used to
tell somebody that they've made a great meal, as talking with your
mouth would just be impolite. Essentially the meaning comes out as
'great', or 'absolutely fine.'
Not so, however, in a few countries in Europe, where it has the
numerical interpretation – a 'zero'. In some Mediterranean countries
it is an orifice signal, often used to infer that a man is gay.


II. Choose a country and compile a short cultural guide
for tourists focusing on communication rules: basic courtesies, hand
gestures, handshake, rude or hostile signs, spacing, etc.

138
III. Read an excerpt from Fernando Poyatos' book

on how
perceptual aspects of verbal and nonverbal textual elements affect
culturally the original text and its translations. Sensations and
images evoked by the writer's text are recreated by readers of
different periods and cultures causing an inevitable pluralization of
characters and environments. It is translators who could assist their
readers in textual decoding:

What most readers do not realize is that their experience of an
original text of, say, a novel, and that of a translated text of the same
novel, are quite different on more accounts than they usually imag-
ine. And that is so because they are facing not only an interlinguistic
translation, but, in many respects, an intercultural one as well, since
we are reading that text as members of a specific culture which is, in
greater or lesser degree, different from that in the book's.
It is obvious that in a narrative piece the mutual inherence and
interrelationships of the components of the triple structure of speech,
language-paralanguage-kinesics, constitute for the translator the
more sensitive aspect of his or her craft. In fact, they can see, not
without dismay, that many nuances of meaning in the characters'
interactive exchanges depend in the source text on paralinguistics,
kinesics and parakinesic qualifiers. Even the more basic features of
the characters' voices and face and body movements may depend at
times on how their creator describes their behaviors, as well as on the
specific words they are described with.
Therefore, we should again wonder how much of those speech
and interaction components is inevitably lost, and how just as inevi-
tably we as foreign readers will hear and see in our imagination not
only the words and movements of our own language, but our
attitudinal paralinguistic and kinesic cultural features as well.
Take, for instance, speech markers, something that culturally,
socially and individually characterizes our speech. Although they can
be at times more conspicuously kinesic, they are first of all paralin-
guistic, as conscious or unconscious behaviors which punctuate and
emphasize the acoustic and grammatical succession of words and
phrases, according to their location and relevance in the speech

*
Poyatos, Fernando. Textual Translation and Live Translation. The total
experience of nonverbal communication in literature, theater and cinema.
Amsterdam / Philadelphia: John Benjamins Publishing Company, 2008.

139
stream, and coincide with written punctuation symbols (grammatical
and attitudinal themselves). Although they can be said to constitute
the audible-visual essence of each language, and are present in the
reader's silent or audible oralization of the characters' speech, it is
only the native reader of the original text – or someone extremely
familiar with that language, not necessarily the best speaker of it –
that may accurately 'hear' and 'see' that written speech. Otherwise,
that aspect of language will be simply wanting, and the reader will
appreciate only what is said; which, as important as it may be, is not
how it is said, that is, how it sounds and looks in real life as it con-
veys the precise meaning of words.
Of those language markers, so very characteristically 'native' in
each language, we should mention punctuation markers, which, if
observed (i.e. heard and seen) in a normal-speed or frame-by-frame
analysis of a videotaped conversation, we see how they correlate
with punctuation symbols, after all invented in an attempt to repre-
sent or evoke the reality of speech.
However, would the foreign reader of the original text fully grasp
the whole meaning of these devices? The translator may be facing
some of those inevitable untranslatables, for it may happen, for in-
stance, that, even if italicization is left as it is, it would merely
suggest emphasis, always closer to the original, but not exactly the
native emphasis, even slightly modified by the different geographic
areas of the same language, as represented here:
'It is a new little photograph of me. Would you like it?'/ 'Would I!'
(Hardy)
'Who? You're a friend of who? (Salinger)
'But I INSIST upon their being got in!' cried he [...] looking
perfectly ferocious. (Brontë)
it means that the foreign reader of a translated narrative in which
the characters interact in conversation or by themselves, will have to
imagine, as they do with paralanguage, their paralinguistic-kinesic
constructs, in which the characteristics of both systems are mutually
inherent, so evident to the source language-and-culture native reader.
But to users of nonverbal systems, at variance in different degrees
with respect to their own, those characteristics are lost most of the
time, for that specific combination may not exist at all in their target
linguistic-cultural system. It may happen that the lost element is, for

140
instance, a parakinesic quality like intensity or speed; or a very visual
and rather cultural-specific labialization when saying or 'moving'
certain words that require that labialization (i.e. typical lip pucker-
ing) in themselves, as when we say, in a purring sort of baby-talk,
'Why-y-y-y, look at that poor baby!,' which only a culturally fluent
foreign reader could imagine correctly in a female character saying
just that with her head tilted, as in:
'the little dear' [Jimmy, a little boy] came the nurse's voice low
and purry and reassuring, 'he's been sitting up worrying all night and
he never bothered us once'. (Dos Passos)
It is not often that a foreign reader of a translation – nor the
translator! – wonders about the degree of paralinguistic differences,
yet there are definitely specific attitudinal uses of primary qualities
that do not sound the same at all in the two languages, as in 'Tom–
oh–Tom,' the 'cheery call to supper,' and the typical 'singing' and
'singing back':
Just then Sally called out sweetly. 'Tom – oh – Tom – wouldn't
your visitors like a bite to eat?' (Grey)
All hands pulled and hauled the wagon over the obstacle; and hard
upon the incident came Mrs. Hudnall's cheery call to supper. (Grey)
their customary morning farewell, she singing, 'Good‑bye John,
don't stay long,' he singing back, 'I'll be back in a week or two'. (Agee)

IV. Take on the challenge and translate all the examples from
belles-lettres style texts into Ukrainian. Discuss the best ways to
render punctuation markers, parakinesic and paralinguistic
features. How would a Ukrainian reader 'hear and see' the
fragments? How would the sensations and images of the original text
and the translation be different? Is there a way to cope with these
untranslatables? Think of some Ukrainian sound-denoting verbs
that may present a difficulty in Ukrainian – English translation.

V. Project work. Choose one of the topics and explore:

Gestures and postures in a work of fiction.
Hands in a work of fiction.
Gaze in a work of fiction.
Facial expressions in a work of fiction.
Sound-denoting verbs in a work of fiction.

141
VI. Consider the significance of body language and manner
of speech description in literary works. Analyse the way these
nonverbal and verbal elements have been rendered in Ukrainian
translations of these works.


VII. How well can you interpret gestures? Match the gestures
with the emotions they express:

to rub hands in surprise
to throw up hands in surprise
nose wrinkles in surprise
to lift an eyebrow in disapproval
mouth drops open in fury
eyes fly open in satisfaction
eyes bulge in a sulk
to purse lips in contempt
to pout lips with distaste
lips curl in despair

VIII. Which part of the body do you think is the most
eloquent? Which gestures do you group-mates often make a)
when they make a report; b) when they discuss something; c)
when they listen to the lecturer or someone making a report;
d) when they give an excuse?

IX. In his book Body Language. How to read others'
thoughts by their gestures Allan Pease deciphers meanings of
gestures. Read a section on a folded arms gesture and answer
the questions:

Hiding behind a barrier is a normal human response that we learn
at an early age to protect ourselves. As children, we hid behind solid
objects such as tables, chairs, furniture and mother's skirts whenever

142
we found ourselves in a threatening situation. As we grew older, this
hiding behaviour became more sophisticated and by the age of about
six, when it was unacceptable behaviour to hide behind solid objects,
we learned to fold our arms tightly across our chests whenever a
threatening situation arose. During our teens, we learned to make this
crossed-arms gesture a little less obvious by relaxing our arms a little
and combining the gesture with crossed legs.
As we grow older, we develop the arm crossing gesture to the
point where it has become less obvious to others. By folding one or
both arms across the chest, a barrier is formed that is, in essence, at
attempt to block out the impending threat or undesirable circum-
stances. One thing is certain; when a person has a nervous, negative
or defensive attitude, he will fold his arms firmly on his chest, a
strong signal that he feels threatened.
Research conducted into the folded arm position in the United
States has shown some interesting results. A group of students was
asked to attend a series of lectures and each student was instructed to
keep his legs uncrossed, arms unfolded and to take a casual, relaxed
sitting position. At the end of the lectures each student was tested on
his retention and knowledge of the subject matter and his attitude
toward the lecturer was recorded. A second group of students was
put through the same process, but these students were instructed to
keep their arms tightly folded across their chests throughout the lec-
tures. The results showed that the group with the folded arms had
learned and retained 38 per cent less than the group who kept its
arms unfolded. The second group also had a more critical opinion of
the lectures and of the lecturer.
These tests reveal that, when the listener folds his arms, not only
has he more negative thoughts about the speaker, but he is also
paying less attention to what is being said. It is for this reason that
training centres should have chairs with arms to allow the attendees
to leave their arms uncrossed.
Many people claim that they habitually take the arms folded posi-
tion because it is comfortable. Any gesture will feel comfortable when
you have the corresponding attitude; that is, if you have a negative,
defensive or nervous attitude, the folded arms position will feel good.

143
Remember that in non-verbal communication, the meaning of the
message is also in the receiver, not only the sender. You may feel
'comfortable' with your arms crossed or your back and neck stiffened,
but studies have shown that the reception of these gestures is negative.

Que s t i ons :

1. What does a folded arms gesture display?
2. Do you often sit with your arms folded in class?
3. Do you ever watch TV with your arms folded? Do you like
what you see on the screen then? Do you ever watch a comedy you
really enjoy with your arms crossed?
4. Do you feel comfortable if you cross your arms at the moment?
5. Do you feel comfortable talking to someone who sits or stands
with their arms folded?

X. Arrange a sort of 'briefing.' Let a volunteer act as a guinea
pig and answer the group's questions about their personal likes
and dislikes, etc. The group observes the body language, analyses
verbal statements. How congruent are the two?

XI. Vary the task. Let a volunteer be interviewed by one
person. Try different tones: friendly, aggressive, mocking, etc.
Analyse the body language of the interviewee and the
interviewer. What is behind it? N.B. The interviewees are not to
control their gestures. They should be as natural as possible.

XII. Another excerpt from Alan Pease's book focuses on a
technique that helps influence other people:

The next time you attend a social function or go to a place where
people meet and interact, take note of the number of people who have
adopted the identical gestures and posture of the person with whom
they are talking. This 'carbon copying' is a means by which one person
tells the other that he is in agreement with his ideas and attitudes. By
this method, one is non-verbally saying to the other, 'As you can see,
I think the same as you, so I will copy your posture and gestures.'

144
This unconscious mimicry is quite interesting to observe. Two
men are standing at the hotel bar. They are mirroring each other's
gestures and it is reasonable to assume that they are discussing a
topic upon which they have the same thoughts and feelings. If one
man uncrosses his arms and legs or stands on the other foot, the other
will follow. If one puts his hand in his pocket, the other will copy
and this mimicry will continue for as long as the two men are in
agreement. This copying also occurs among good friends or people
at the same status level and it is common to see married couples
walk, stand, sit and move in identical ways. On the contrary people
who are strangers studiously avoid holding mutual positions. The
significance of carbon copying can be one of the most important
non-verbal lessons we can learn, for this is one way that others tell us
that they agree with us or like us. It is also a way for us to tell others
that we like them, by simply copying their gestures.
If an employer wishes to develop an immediate rapport and create
a relaxed atmosphere with an employee, he need only copy the
employee's posture to achieve this end. Similarly, an up-and-coming
employee may be seen copying his boss's gestures in an attempt to
show agreement. Using this knowledge, it is possible to influence a
face-to-face encounter by copying the positive gestures and postures
of the other person. This has the effect of putting the other person in
a receptive and relaxed frame of mind, as he can 'see' that you un-
derstand his point of view.
When I was selling insurance I found this a very effective technique
for a 'cold' prospective customer. I deliberately copied each movement
the prospective customer made until I felt I had established a strong
enough rapport to allow the presentation to proceed. Invariably, if the
prospect began copying my gestures, a sale would result.
However, before copying the other person's gestures when
negotiating, it is vital that your relationship with that person be taken
into consideration. Let's say, for example, that the junior clerk of a
large corporation has asked for a pay rise and is called into the
manager's office. As he walks in, the manager asks him to sit down
and then assumes a superiority T-cross gesture and a leg lock while he
leans back in his chair to show the clerk his superior, dominant and
competitive attitude. What would happen if the clerk then copied the
manager's dominant posture while discussing his potential salary rise?

145
Even if the clerk's verbal communication were on the subordinate
level, the manager would feel intimidated and even insulted by the
clerk's non-verbal behaviour and the clerk's job could be in jeopardy.
This manoeuvre is a highly effective method of disarming 'superior'
types who try to take the control. Accountants, lawyers and
management personnel are known for assuming these postures in the
presence of people they consider inferior. By taking the same posture
you may effectively disconcert them and force them to change their
position, allowing you to take the control.


XIII. Find the words in the paragraph to match the
definitions below:

a) danger, risk of being lost or spoilt;
b) likely to become successful or popular;
c) friendly agreement and understanding between people;
d) to make someone feel slightly confused or embarrassed;
e) an occasion when you meet someone.


XIV. Find words and word combinations that express
the idea of 'imitating'.


XV. Apply the technique described in Exercise IX. Try and
persuade your group-mate and then your professor into doing
something you would like them to do. How would you vary the
technique depending on the status of the person. If you have
no idea what you can talk the person into, attempt at selling a
pen of yours to them.


S E C T I O N C

HOW TO WRITE A PRÉCIS,
A SUMMARY, A SYNOPSIS AND A CAPSULE

Words are like leaves; and where they most abound,
Much fruit of sense beneath is rarely found.
Alexander Pope

146
P r é c i s
The précis is a type of summarizing that insists on an exact
reproduction of the logic, organization, and emphasis of the original
texts. It is of particular use in situations in which you want to retain
the relative order, proportions, and relationships of the original parts
of a text in much shorter form.


Key st eps i n préci s wri t i ng:
• read the passage several times for a full understanding;
• underline key points;
• prepare a sketch restating each paragraph in one or two
sentences and combining paragraphs in case they are short;
• compare the sketch with the original text making sure that you
retain the precise order of the original points and you have not left
out any points;
• write your précis with the help of the sketch without referring to
the original text;
• check your précis against the original to be sure that it is exact
and retains the order, proportions, and relationships of the original;
• if your précis is too long, revise it until you have reduced it to
the proper length.


Keep t hi s i n mi nd:
• A précis is usually one-quarter to one-third the length of the
original passage.
• A précis is written entirely in the words of the person writing it,
not in the words of the original passage. Only those original key
words you find indispensable may be used.
• Do not use phrases such as 'the writer says', 'I think', and the like.
• Do not add any opinions and ideas of yours.
• Avoid lengthy sentences containing many clauses, but do not
use disjointed sentences either.
• It is best to write a précis in the same tense as the original.
• Pieces of conversation should be changed into the indirect speech.
• If the passage is in poetry, express its ideas in prose.

147
I. Read the paragraph below and an acceptable précis of it.
See how the sample complies with the requirements for a
précis. Suggest improvements to the wording of the précis if
you consider them necessary:

Paragraph Précis

The first thing that strikes the critical
minority, as it looks at the whole cultural
picture, is that ours is a nation of new-
rich people, well washed, all dressed up,
rather pathetically unsure just what it is
washed and dressed up for; a nation
convinced that a multitude of material
goods, standardized, furiously and ex-
pensively advertised by appeals to greed
and vanity, will in themselves make life
worth the living. Because we are new-
rich, we overvalue possessions. Almost
any individual who makes a great deal
of money very rapidly supposes that
mere possession of wealth is evidence of
worth. He also is apt to imagine that
with his means he can buy happiness.
These mistakes usually seem folly to
the old-rich, to one who was born to
wealth, whose father and mother were
bred with it. Such a one knows that
merely because he or his friends have
it, it is no sign that they are worth it,
but quite commonly the contrary.
He has learned through experience that
money is not in itself very valuable
stuff. Happiness, which is what all men
desire, cannot be purchased; it is an
illusive something not for sale.


Critics of American culture
see us as a new-rich people
who, because we are new-
rich, think that material
goods make life worth living.
We think that money is an
indication of worth and that
wealth brings happiness. The
old-rich know better. Born to
property, they do not believe
that just because they have it,
they are worth it. They know
that happiness cannot be
bought. The new-rich,
however, make the mistake
of believing possessions
indicate the worth of their
owner. (80 words)

148
Закінчення табл.
Paragraph Précis

The old-rich know these things well
enough, but the new-rich rarely discover
them until they have grown accustomed
to possessions. So it seems to be with
our society. We go in, almost without
question and in all classes, for the sordid
nonsense of supposing that externalities
possessed ennoble the owners, that a full
fist invariable indicates a fine spirit.
(254 words)




II. In class, write a draft précis of the excerpt from 'I Can Read
You Like a Book' by Gregory Hartley and Maryann Karinch.
Exchange the précis with your group-mates, proofread and edit
each other's piece of writing:

To learn to read body language, you should use a piecemeal ap-
proach in the beginning, and then move to a holistic evaluation.
Many pieces of body language are an amalgamation of small signs
and movements, both voluntary and involuntary. In learning to read
body language, therefore, you have to build up from the segments in
order to make sense of the whole picture. Jointly and separately,
eyebrows, eyes, mouth, skin tone, limbs, fingers, and toes can con-
vey emotions. Think of these bits of body language as the words in a
sentence: It makes a lot of sense if you know all the words, but
you're only guessing if you have every other word.
To get good at reading body language, open your eyes and ears.
Turn off your biased, over-analytical brain and observe the way a
child observes. A toddler sees objects and actions in a more stand-
alone way than adults, who go to extraordinary means to make con-
nections. He has no preexisting framework to overlay his observa-
tions onto, so he's a much better collector of pure body language than
older, well-socialized people. (183 words).

149
III. At home, write a précis: а) of the poem If … by
Rudyard Kipling; в) of a short article or article passage from
your field of study.

S u mma r y
A summary restates only the author's main ideas, omitting all the
examples and evidence used in supporting and illustrating those
points. The function of a summary is to represent the scope and em-
phasis of a relatively large amount of material in an efficient and
concise form. In both the précis and summary, the author's meaning
and opinion are retained. However, in the case of the summary,
examples and illustrative elements of the passage are omitted.

Key st eps i n summary wri t i ng:
• skim the text and divide it into sections;
• read the text for a full understanding;
• underline topic sentences and key facts;
• write down the main idea of each section in one well-developed
sentence;
• review the sentences you wrote; from them, you should be able
to create a thesis statement that clearly communicates what the entire
text was trying to achieve;
• start writing your draft summary with the overview of the
passage which includes the author's name and the title of the text;
proceed with the thesis statement; your other sentences can make up
the body;
• add some transition words (then, however, also, moreover) that
help with the overall structure and flow of the summary;
• revise and shorten if need be.

Keep t hi s i n mi nd:
• A summary should be presented in the words of the person
writing it with the exception of technical terms. Do not try to
paraphrase specialized vocabulary and technical terms.
• A summary is written in the Present Tense.
• A summary should offer a balanced coverage of the original.
(There is a tendency to devote more coverage to the earlier parts of
the source text.)

150
• The number of paragraphs in a summary depends on the length
of the source text.
• Each body paragraph should start with a topic sentence and
focus on a separate main idea and just the most important details
from the article.
• A summary should present the source material in a neutral
fashion. Do not include your own comments or evaluation.

Language focus:
• Summaries normally begin with a sentence containing two
elements: the source and the main idea:
In Tomoko Inaba's article'Is Translation a Rewriting of an
Original Text?' (main idea)
According to Peter Hodges in his article'Linguistic Approach to
Translation Theory' (main idea)
Peter Trudgill's 1995 paper on sociolinguistics discusses
(main topic)
Author Ronald Macaulay in his book'The Social Art: Language
and Its Uses' states / claims / argues/ maintains / suggests that
(main idea)
• In a longer summary, the source author's name is traditionally
mentioned at the beginning, the middle, and the end of the summary.
In a short summary, it would be rather awkward to mention the author
so frequently, and the text would not flow well if each sentence began
with the author's name. When you mention the author in the middle or
end of the summary, be sure to use the surname only. To remind of the
author's name you may use the following patterns:
(author's surname) goes on to say that …
(author's surname) further argues that …
(author's surname) also states/maintains/argues that …
(author's surname) also believes that …
(author's surname) concludes that …
In the second half of the paper, (author's surname) presents …
• A wide range of reporting verbs used in summary writing reveal
the summary writer's personal attitude toward the source material.
These evaluative verbs should be used sparingly in summaries.


151
I. Identify which of the verbs below seem to be objective
and which tend to be evaluative?

Affirm, allege, argue, assert, assume, believe, claim, consider,
contend, describe, discuss, examine, explain, imply, inform,
maintain, present, presume, reveal, state.

II. Read two summaries: one of a short story and the other of an
article. How do the two summaries follow the guidelines for sum-
mary writing?

A.In the short story 'The Secret Life of Walter Mitty,' author James
Thurber humorously presents a character who fantasizes about himself
as a hero enduring incredibly challenging circumstances. In his real
life, Walter Mitty lives an ordinary, plain life; he is a husband under
the control of an overbearing, critical wife. Thurber uses lively
dialogue to give readers an understanding of Mitty's character. The
story takes place over a period of about twenty minutes; during this
brief time, Mitty drives his wife to the hairdresser and runs errands
that his wife has given him while he waits for her. In between his
worrying that he is not doing what she wants him to do, he daydreams
about himself as a great surgeon, brilliant repair technician, expert
marksman, and brave military captain. This story shows that fantasy is
often a good alternative to reality.
B. Emek Ergun in the article 'Bridging Across Feminist
Translation and Sociolinguistics' explores the ways in which feminist
sociolinguistic studies and feminist translation studies can inform
and empower each other in terms of theory, practice, and research.
While the discussion of the theoretical intersection between the two
fields focuses on the feminist critiques of sexist language from the
larger perspective of language philosophy, the second part on how
the fields intersect with each other on a pragmatic level is more
specific and focuses on the critique of the so-called 'generic'
masculine nouns and pronouns, illustrated through multiple
examples. The third part argues that both fields would benefit from a
research-based cooperation and discusses on what kinds of topics
such a co-supportive relationship can be built. By presenting an

152
overview of the theoretical, practical, and empirical interconnections
between the two fields, Ergun aims not only to expand related
scholars' interdisciplinary understandings of gender dynamics with
regard to language and translation, but also to provide them with a
springboard to initiate cross-disciplinary dialogues.


III. Write a summary of of the poem If … by Rudyard
Kipling; of the short article or article passage you have chosen
for précis writing. Compare and discuss the techniques you used
for writing the précis and the summary.

Sy nops i s

A synopsis is a condensed version of a text, e.g. of a book, play,
film, television show or a research paper. It is like a miniature ver-
sion of the text because it should include all the important aspects of
this text in sequence.
If it is a research paper synopsis, it should clearly state the
contribution of the author to the field of study.
The synopsis is typically written by authors to pitch their
manuscripts to publishers.

Key steps in synopsis writing:

If this is a book or a film:
• start with a hook (a gripping introduction);
• construct the body of your synopsis covering the high points of
the story in chronological order and introducing the main characters
and the main conflicts, all woven together in the narrative;
• use three or four paragraphs to write the crisis and resolution of
the story;
• revise your synopsis until each sentence is polished to the point
of perfection.

Keep this in mind:

• The synopsis should read much like a mini-novel, with a full
plot and enough characters to convey different aspects of the story,
but you should withhold enough detail to save suspense.

153
• The synopsis is written in the same tone and style of writing the
book is written in.
• Write your narrative using the third person and present tense.
The present tense conveys an immediacy and relevance to the story.
Even if the story is written in the past tense, and even if it is non-
fiction, the synopsis should be written in the present tense.

Language focus:
• A well-written synopsis should feature strong, active writing.
Choosing precise, strong nouns and verbs makes it unnecessary to
add layers of descriptive adjectives and adverbs that lengthen sen-
tences and comprehension time.
• Strong verbs are verbs that call up vivid mental images.
Sentences with weak verbs do not hold the reader's attention as well:
cf.: The fire was hot. It had many flames. The flames made the
grass black.
The flames licked at the grass, scorching and blackening it.
• Usually, effective writing uses the active voice and shuns the
passive.

I. Read an excerpt from a synopsis of the novel 'Gone with the
Wind.' Discuss the choice of verbs and nouns:

It is the spring of 1861. Scarlett O'Hara, a pretty Southern belle,
lives on Tara, a large plantation in Georgia. She concerns herself
only with her numerous suitors and her desire to marry Ashley
Wilkes. One day she hears that Ashley is engaged to Melanie Hamil-
ton, his frail, plain cousin from Atlanta. At a barbecue at the Wilkes
plantation the next day, Scarlett confesses her feelings to Ashley. He
tells her that he does love her but that he is marrying Melanie
because she is similar to him, whereas he and Scarlett are very differ-
ent. Scarlett slaps Ashley and he leaves the room. Suddenly Scarlett
realizes that she is not alone. Rhett Butler, a scandalous but dashing
adventurer, has been watching the whole scene, and he compliments
Scarlett on being unladylike.
The Civil War begins. Charles Hamilton, Melanie's timid, dull
brother, proposes to Scarlett. She spitefully agrees to marry him,
hoping to hurt Ashley. Over the course of two months, Scarlett and

154
Charles marry, Charles joins the army and dies of the measles, and
Scarlett learns that she is pregnant. After Scarlett gives birth to a son,
Wade, she becomes bored and unhappy. She makes a long trip to
Atlanta to stay with Melanie and Melanie's aunt, Pittypat. The busy
city agrees with Scarlett's temperament, and she begins to see a great
deal of Rhett. Rhett infuriates Scarlett with his bluntness and
mockery, but he also encourages her to flout the severely restrictive
social requirements for mourning Southern widows. As the war
progresses, food and clothing run scarce in Atlanta. Scarlett and
Melanie fear for Ashley's safety. After the bloody battle of
Gettysburg, Ashley is captured and sent to prison, and the Yankee
army begins bearing down on Atlanta. Scarlett desperately wants to
return home to Tara, but she has promised Ashley she will stay with
the pregnant Melanie, who could give birth at any time.

II. Write a synopsis of a chapter from your home-reading
book.

Ca p s u l e

A capsule is an extremely brief condensation of a written work. It is
not a shorter version of a synopsis or an abstract. It is a reader's / editor's
take on the paper, their impression of its import and implications.

Keep this in mind:
• Aim for 90–100 words;
• Avoid generalities;
• The main sections of the capsule can be:
1) what is already known about the topic;
2) what questions this study addresses;
3) the main point of the paper;
4) how the research results can be applied.
Wri t e a capsul e of an art i cl e from your fi el d of st udy.

155
PART TWO



SOCIAL ASPECT
OF COMMUNICATION





Uni t one

ETHNICITY
OF INTERLOCUTORS




S E C T I O N А

PRE-READING ACTIVITIES


To start thinking about the topic, discuss the following
questions, drawing on your experience:

1. Which role does the ethnic background of a person play in the
process of communication?
2. Could ethnic differences prove to be insurmountable obstacles
to reaching understanding? Why?
3. What are the reasons of potential conflicts? How can the
speakers avoid them?
4. Do the differences lie only in the verbal aspect of
communication or do they concern the non-verbal aspect too?
5. How do the globalization and the Internet help to alleviate the
ethnic-bound culture shock?
6. Which skills must a translator possess to ensure the optimal
outcome of the communication if the collocutors have different
ethnic backgrounds?

156
Te x t

HOW DOES THE ETHNIC
BACKGROUND
OF THE SPEAKERS
INFLUENCE
THEIR COMMUNICATION?

Our environment isn't just the
air we breathe or the food we eat;
a big part of our environment is
culture. Culture is made up of the
common things that members of a
community learn from family,
friends, media, literature, and
even strangers. These are the
things that influence how they
look, act, and communicate.
Often, we don't even know we're
learning these things because they
become second-nature to us – for
instance, the way you shake hands with someone when meeting
them, when you eat your meals each day, the kind of things you find
funny, or how you view religion.
When a person is forced to communicate with representatives of a
foreign country, people of a different ethnic background or, what's
more, translate for them, he/she often enters a culture that is different
from his/her own. Sometimes these cultures may be even
contradictory. What might be perfectly normal in one culture – for
instance, spending hours eating a meal with your family – might be
unusual in a culture that values a more fast-paced lifestyle.
Another instance of the most recurrent ethnic-bound culture shock
is a lack of awareness why hearing words alone is not sufficient to
discern meaning. Sometimes silence communicates far more than
speech. Such things as touching, eye contact, and other kinds of 'body
language' need to be observed and correctly interpreted because
nonverbal communication carries important clues about the message

157
the individual is trying to convey. Unlike the European people, Asians
consider it rude to meet gazes too long (longer than a second).
However, it is just the opposite in some Western countries. So when a
Westerner meets an Asian, the Asian thinks the Westerner is rude,
while the Westerner thinks the Asian is sneaky.
People may misinterpret the motives of their collocutors with a
different ethnic background. For example, one group may assume
that they are simply exchanging information about what they believe,
but the other believes that they are negotiating a change in behavior.
This is most likely to arise when the parties are not completely hon-
est with each other from the outset. Individuals may wish to protect
their privacy, corporations may be concerned about industrial
espionage, and politicians may be bound by requirements of
secrecy in the national interest. Nevertheless, clarifying the purpose
of the interaction is essential to eliminating confusion, particularly if
vested interests are involved.
Friction may also arise between two persons when one or both
have little knowledge of the other's background. For example, in
Paris, when out for a morning walk you say 'Bonjour!' to everyone
you pass and get a cheery 'Bonjour!' in return. Do that in New York
and people will scurry away from you. Greeting people with a warm
handshake is both friendly and polite in Western cultures. Some of
them even hug the strangers if they feel especially friendly towards
someone they just met or even kiss their cheeks. However, Eastern
people consider such an obvious display of affection as taboo.
It is widely held that cultural psychology offers means by which
people of different ethnic background may interact without
prejudice. With the advent of the Internet, an even more important
purpose may arise: allowing whole cultures to interact while
retaining their ethnic identity.
Experience makes it easier to cope with the difficulties of ethnic-
bound culture shock. Some common strategies used to make the
transition easier are: learning about the country and its culture
through reading, studying the language or attending cultural classes.
This way, the country and its people become more familiar, one is
more aware of differences and better prepared to deal with them.

158
If the translator doesn't want to get entangled in cultural
misunderstanding, he/she needs to be open-minded about the culture
of people he/she communicates with and accept its unfamiliar aspects.
People from different ethnic backgrounds encode and decode
messages differently, increasing the chances of misunderstanding, so
the safety-first consequence of recognizing cultural differences
should be to assume that everyone's thoughts and actions are not just
like ours.

Comment ary

1. Fast-paced lifestyle. Quickly changing lifestyle that
accumulates all the recent tendencies and trends. Бурхливе, стрімке
життя.
2. From the outset. Throughout, from the very beginning. З са-
мого початку. e.g. I felt from the outset that Lisa was the wrong one
for the job. From the outset, I felt unwelcome in the group.
3. To be bound by requirements of secrecy. To be obliged to
retain confidentiality (about high-ranking public officials, diplomats
etc.). Давати обіцянку про нерозголошення інформації.
4. Vested interests. A personal or biased interest, often financial,
in something. Шкурний інтерес, особиста зацікавленість. e.g.
Margaret has vested interests in wanting her father to sell the family
firm. She has shares in it and would make a large profit. Bob has a
vested interest in keeping the village traffic-free. He has a summer
home there.
5. With the advent of. Upon the coming or arrival, especially of
something extremely important. З появою. e.g. with the advent of the
computer.
6. Safety-first consequence. Here it means the consequence of a
behavior aimed at avoiding unnecessary risks so that you stay safe.
Найбезпечніший наслідок.

Word Combi nat i ons and Phrases

recurrent culture shock (expenses, illness etc.)
to discern the meaning

159
to discern someone or something from something (else)
to discern between someone or something and someone or something
the sneaky Asian
to scurry away from
with the advent of the Internet
Advent calendar (wreath, etc.)
to get entangled in smth.


I. Paraphrase the highlighted expressions containing words
from the comments. Translate the sentences:

1. John Grisham has always been able to hook his readers with
believable characters and fast-paced adventure, but in his latest
novel, that formula breaks down late as he gets a bit preachy about
his subject. 2. Designed specifically for fast-paced business by
PhDs in Organizational Psychology, this simple yet dynamic project
tracking tool enables managers to create and monitor the tasks and
collaborative discussions that get the job done in the shortest possible
time. 3. New look: Gaylord looking for fast-paced identity. Under
the helm of new coach Frank Hamilla, the Gaylord girls basketball
team is looking to establish a new identity this season as a rough-
and-tumble, fast-paced team. 4. The world's climate negotiations in
Cancun were faced with deadlock at their outset yesterday after
Japan insisted it would not agree to renewing the Kyoto Protocol, the
current treaty under which rich countries are cutting their emissions
of greenhouse gases. 5. Cholera broke out in Haiti on 19 October,
and from the outset doctors feared they could not contain it. 6. For-
eign Office Spokesman Abdul Basit said on Thursday that Pakistan's
classified information had never been leaked. Pakistani officials are
bound by strict requirements of secrecy. 7. Property developers
and other vested interests are falling over themselves to convince
Australia's baby boomers that borrowing through a self-managed su-
per fund is the answer to their retirement savings shortfall. 8. This
country's leaders are watching the conflagration between North Ko-
rea and South Korea with a vested interest in keeping the

160
peace.9. New West Ham United defence coach Wally Downes has
lifted the lid on his safety-first approach, which appears to have
kick-started the club's mini-revival.


II. Practice using words from the Thematic vocabulary by
inserting them into the sentences. Translate the sentences:

1. After reading that an … candle caused a fire in a church, Bob
Green said on TS11 'I'm really pleased to read that no one was hurt
in this incident, but I think the church needs to be very careful when
it comes to health and safety.' 2. Were you looking for a way to find
out who called? Here's a … way to do it. 3. … miscarriage increases
a woman's chance of having a heart attack fivefold in later life, indi-
cates research published online in the journal Heart. 4. What's the
best way to really know someone? Is it to uncover their daily wor-
ries, hassles or fears? To … what traits they most hide from others,
and perhaps even from themselves. 5. … Barack Obama visits Af-
ghanistan to say 'hi' to the troops. 6. In the first ten months of the
year, the shortfall between … revenue and total expenditure of Cen-
tral Government amounted to €339.5 million, an increase of
€11.5 million, the National Statistics Office (NSO) said on Friday.
7. … is the season in which the attention of the Church focuses most
naturally on the Blessed Virgin Mary. 8. Winged cherubs … towards
a kneeling goddess who gathers them in her embrace in a tender
scene drawn almost four centuries ago but rarely seen since.
9. Ashish Goyal is Wall Street's real-life super-hero. According to a
profile of him, Goyal is blind, he 'can only … light and shadows.'
10. If you enjoyed Thanksgiving and then headed out early for Black
Friday, perhaps your Christmas or holiday shopping is finished and
you can sit back and watch everyone else … around. 11. These stills
are the … backstage shots from the last ever video shot by Michael
Jackson, for his 2003 single One More Chance. 12. With the lighting
of the first candle on the wreath tomorrow, Christians begin…, the
four weeks of preparation leading to Christmas. 'The word means
arrival,' explains the Rev. Richard Knight, pastor of Trinitarian
Congregational Church in North Andover.

161
III. Translate the following text into English using the
following correspondences: fluctuating and vague, consciously
or subconsciously, supercilious and arrogant, indolent, heavy
drinkers, elbow-bender, ultimate complacency, cardinal (deadly)
sins, excusable peccadilloes.


Кожен народ має певні стереотипні
уявлення не лише про 'інших'
(передусім про сусідів), а й про
самого себе. Цей автостереотип (self-
image) ніколи не буває точним хоча
б тому, що 'реальний' образ народу –
це теж певна абстракція, доволі
невизначена і мінлива. Але він не
буває також абсолютно хибним хоча
б тому, що справляє зворотний вплив на поведінку, на 'реальний'
образ народу, котрий свідомо чи підсвідомо достосовується до
свого уявного self-image.
Як правило, автостереотип кожного народу у поміркованих
дозах поєднує позитивні і негативні риси, зрозуміло, з перева-
жанням позитивних. Європейці можуть вважати американців
пихатими й зарозумілими, тимчасом як подібні риси у себе тра-
ктують як гордість і почуття гідності; українці вважають росіян
неробами й брехунами, тимчасом як себе просто повільними,
вайлуватими і хитруватими; англійці називають ірландців гір-
кими п'яницями, себе – просто любителями випити тощо.
У здорової нації позитивні риси ніколи не абсолютизуються
й не доводяться до беззастережної самозакоханості, але й нега-
тивні ніколи не поширюються на 'смертні гріхи', обмежуючись
лише дрібними і загалом вибачливими 'грішками.' Словом, ав-
тостереотип має як правило, напівсерйозний-напівгуморис-
тичний характер

(from http://makhniy.blogspot.com)


162
IV. Translate the following text into English using the
following correspondences: Office for National Statistics (ONS),
Muslim Council of Britain, religious denominations.


Минулого року найбільш популярним іменем для новонаро-
джених у британській столиці стало ім'я Мухаммед, пише газета
The Daily Telegraph.
За даними міністерства статистики, Мухаммед випередив
за популярністю навіть такі традиційні для країни чоловічі
імена, як Джек, Томас і Деніел. За рік Мухаммедами назвали
1.828 дітей, які народилися у Лондоні, тоді як Деніелами –
лише 844.
Подібну ситуацію можна зафіксувати й за межами сто-
лиці. У багатьох британських графствах Мухаммед пере-
буває якщо не на першому місці, то в трійці найбільш попу-
лярних імен.
За словами представника ісламської ради Сполученого
Королівства Муртази Шиблі, батьки вибирають це ім'я з
любові до пророка Мухаммеда.'Називаючи його іменем дітей,
вони вірять, що воно принесе їм щастя і достаток', – зазначає
Шиблі.
Видання зауважує, що Лондон – не перша європейська сто-
лиця, де арабське ім'я стало найбільш популярним. Британців
вже випередили мешканці Брюсселя, Амстердама, Копенгаге-
на й Осло, де хлопчиків називають Мухаммедами найчастіше.
Всього, за даними експертів, у світі проживає 15 мільйонів
Мухаммедів, що робить це ім'я найпопулярнішим на планеті.
Зазначимо, мусульманське населення Великобританії зрос-
тає вдесятеро швидше від інших груп. При цьому кількість
християн у країні за останні чотири роки зменшилася більш
ніж на два мільйони, і зараз складає 42.6 мільйона осіб.

(from http://ua.korrespondent.net/world/
969304-u-londoni-novonarodzhenih-najchastishe-
nazivayut-muhammedom)

163
Exerci ses t o t he Text

I. Answer the following questions after reading the text:

1. How is the culture brought to our life? What happens when a
person is forced to enter a different culture?
2. What are the instances of the most recurrent ethnic-bound
culture shock provided by the text?
3. How do you interpret the statement 'Sometimes silence
communicates far more than speech'?
4. What are the reasons of the deliberate misunderstandings?
Do they differ from casual frictions caused by different ethnic
background of the parties involved?
5. How does the spreading of the Internet influence the commu-
nication?
6. What are the requirements posed before the interpreter working
with people of different ethnic background?

II. Make up dialogues demonstrating how people react to
exotic names: a) in the workplace, b) in the romantic context,
c) while being introduced to a stranger in the street.

III. Read the following quotes. Comment on their pertinence,
illustrating your point with real-life situations. Translate them
into Ukrainian, providing a translation commentary.

If you talk to a man in a language he understands, that goes to his
head. If you talk to a man in his own language, that goes to his heart.
– Booker T.Washington.
One of the glories of New York is its ethnic food, and only
McDonald's and Burger King equalize us all. – John Corry.
You need to speak English or French. Frenglish is not a language.
– From the movie D.E.B.S. (2004).
Americans who travel abroad for the first time are often shocked
to discover that, despite all the progress that has been made in the
last 30 years, many foreign people still speak in foreign languages.
– Dave Barry.

164
Time. Time. What is time? Swiss manufacture it. French hoard it.
Italians squander it. Americans say it is money. Hindus say it does
not exist. Do you know what I say? I say time is a crook. – From the
movie Beat the Devil (1953).
I'd like to French pastry myself to death, right now. – From the
movie Manhattan Murder Mystery (1993).

thinkexist.com/quotations/language



IV. Panel discussion. Imagine
that you are representatives
of various ethnic groups.
Speak on the stereotypes
associated with each of the
groups; suggest your versions
of self-images, fortes and
weaknesses, excusable pec-
cadilloes, etc.

V. Read the following facts about the strange rituals and
traditions existing in certain countries. Translate them into
Ukrainian.

1. Seeing a couple kissing in public would seldom raise an
eyebrow today, but in the Puritan New England of the 1690s, such a
harmless act would have sent the man and woman to the stocks and
public humiliation. On the other hand, kissing a woman in public
might still get a man jailed or fined in many of the Islamic nations in
the Middle East.
2. Spaniards and Spanish-speakers have a reputation for being
warm and outgoing. The fact that Spaniards stand close to each other
in conversation and kiss each other upon greeting supports this
cultural assumption. Yet the Spanish language provides a critical
clue to the contrary. Spanish always places an 'a' ['to' or 'at'] before a
person's name when used as a direct object. In Spanish, I cannot
know Cecilia. I can know 'a' Cecilia. I cannot hug my neighbor. I can
hug 'a' my neighbor. What does this tell us?

165
3. An Indonesian will never hand
you an object with his left hand.
He/she passes an object to another
person using the right hand palm up
with the left hand always supporting
the right hand at the wrist. This has a
traditional meaning, as it harks back
to the times when two enemies met.
With the left hand supporting the
right wrist it is clear there is no
concealed weapon.
4. In Thailand it is a grave insult to walk into a person's house with
shoes on. Shoes are discarded at the front door. Also in Thailand it is
considered rude to cross your legs in company and to point your toes at
another person. The feet, as the lowest part of the body, are given the
lowest esteem and pointing a toe is demeaning to the person at whom the
foot is pointed.
(from www.unexplainedstuff.com/Superstitions-Strange-Customs,
www.essortment.com/culture-society-customs-around-world).


VI. Imagine the following situations and make up dialogues to
illustrate how to circumnavigate the ethic-bound culture shock.

a) In Algeria, an American lady-tourist is meeting her husband in
the street. She kisses him on the cheek and notices uncomfortable
glances from the indigenous passersby. Some of the older people are
outraged.
b) You came as an exchange student to Spain. All of the members
of your host family are waiting in line to greet you with kisses. How-
ever, you are showing signs of an impending cold.
c) A British diplomat passes a gift to a head of the Indonesian
delegation using his right hand. The parcel slips out and he barely
has time to grasp it with his left hand.
d) A young tourist has been invited to a dinner in Thailand. She
likes one of the guests, and sits down at his side, flirtatiously cross-
ing her legs. Books on body language also tell her that toes of your
feet should always point in the direction of an attractive man as it
shows your preferences.

166
VII. Role play.

Choose 5 students who will represent Presidents and Prime
Ministers attending the international conference 'The territory of a
dialogue.' All of them face particular ethnic-bound stumbling blocks.
Among them are: a) a smoldering conflict between two ethnic
groups, b) two languages competing for an official status, c) several
religious denominations with completely different customs and tradi-
tions affecting the life of the country, d) necessity to develop the
national identity and gain respect of the international community, e)
imminent secession of a region on the grounds of ethnic self-
identification. Students make improvised speeches outlining existing
problems and suggesting their solutions. The rest of the group act as
the journalists asking questions.


VIII. Comment on a passage from The Girl Who Played With
Fire by Stieg Larsson. Pay attention to the following points:

a) What was a presumable reason for questioning which resulted
in a delay of the flight?
b) Can we guess the character's reaction to the event? How did the
author manage to convey it?
c) Does the last sentence contain an irony? What is it based on?
d) Have you heard of a notion 'racial profiling'? How is it
connected to an ethnic-bound culture shock?
e) Can we speak of an ethnic profiling in
the modern world? How is it manifested?
What are the ways to fight it?
Lisbeth Salander landed at Stockholm's
Arlanda Airport at noon. In addition to
flying time, she had spent nine hours at
Grantley Adams Airport on Barbados.
British Airways had refused to let the
aircraft take off until a passenger with a
vaguely Arabic name had been taken away
for questioning and a possible terrorist threat
had been snuffed out.

167
S E C T I O N В

I. Before reading an excerpt from Our kind of traitor by
JOHN LE CARRÉ look through the preface. Comment on the
issues the text may cover, suggest some possible patterns of the
protagonists' communication, the imminent problems this
communication may result in. After reading the text say which of
your predictions turned out to be true.

In the wake of the collapse of Lehman
Brothers and with Britain on the brink of
economic ruin, a young English couple takes a
tennis vacation in Antigua. There they meet
Dima, a Russian who styles himself the
world's number one money launderer.






Te x t 1

FROM OUR KIND OF TRAITOR

BY JOHN LE CARRÉ

David John Moore Cornwell (born
19 October 1931), who writes under the name
John le Carré, is an author of espionage
novels. During the 1950s and the 1960s,
Cornwell worked for MI5 and MI6, and began
writing novels under the pseudonym 'John le
Carré.' In 2008, The Times ranked le Carré
22nd on its list of 'The 50 greatest British
writers since 1945.'

Dima's inquisition of Perry between
games continued unabated:

168
'You some big scientist? Blow the goddam world up, same way
you serve?' he asked, helping himself to a gulp of iced water.
'Absolutely not.'
'Apparatchik?'
The guessing game had gone on long enough:'Actually, I teach,'
Perry said, peeling a banana.
'Teach like you teach students? Like a professor, you teach?'
'Correct. I teach students. But I'm not a professor.'
'Where?'
'Currently at Oxford.'
'Oxford University?'
'Got it.'
'What you teach?'
'English literature,' Perry replied, not particularly wishing, at
that moment, to explain to a total stranger that his future was up
for grabs.
But Dima's pleasure knew no bounds:
'Listen. You know Jack London? Number-one English writer?'
'Not personally.' It was a joke, but Dima didn't share it.
'You like the guy?'
'Admire him.'
'Charlotte Brontë? You like her too?'
'Very much.'
'Somerset Maugham?'
'Less, I'm afraid.'
'I got books by all those guys! Like hundreds! In Russian! Big
bookshelves!'
'Great.'
'You read Dostoyevky? Lermontov? Tolstoy?
'Of course.'
'I got them all. All number-one guys. I got Pasternak. Know
something? Pasternak wrote about my home town. Called it Yuriatin.
That's Perm. Crazy fucker called it Yuriatin. I dunno why. Writers
do that. All crazy. See my daughter up there? That's Natasha, don't
give a shit about tennis, love books. Hey, Natasha! Say hello to the
Professor here!.'

169
After a delay to show that she is being intruded upon, Natasha
distractedly raises her head and draws aside her hair long enough to
allow Perry to be astonished by her beauty before she returns to her
leatherbound tome.
'Embarrassed', Dime explained.'Don't wanna hear me yelling at
her. See that book she reading? Turgenev. Number one Russian guy.
I buy it. She wanna book, I buy. OK, Professor. You serve.'

***

Form that moment on, I was Professor. I told him again and again
I wasn't one, he wouldn't listen, so I gave up. Within a couple of
days, half the hotel was calling me Professor. Which is pretty bloody
odd when you've decided you're not even a don any more.

Comment ary

1. Lehman Brothers. Lehman Brothers Holdings Inc. (pronounced
/´li:mən/) was a global financial services firm which declared
bankruptcy in 2008. The firm's worldwide headquarters were in New
York City, with regional headquarters in London and Tokyo, as well
as offices located throughout the world. Інвестиційний банк 'Леман
Бразерс.'
2. To continue unabated. To proceed without losing any original
force or violence. Не вщухати.
3. To be up for grabs. In total chaos. У руїнах, вщент розоре-
ний. e.g. This is a madhouse. The whole place is up for grabs.
4. To know no bounds. If an emotion or quality knows no
bounds, it is not limited. Не знати меж. e.g. Tom's loyalty to the
company knows no bounds.
5. A don. Chiefly British. A head, tutor, or fellow at a college of
Oxford or Cambridge; a college or university professor. Викладач у
Оксфорді, Кембриджі.

II. After reading the text answer the following questions:

1) How can you characterize the manner of Dima's communication?
How is it different from Perry's?

170
2) What proves that Perry is reticent and unwilling to take part in
the conversation?
3) Who are Perry's favorite English authors? Whom he doesn't
like? What proves it?
4) Explain the joke Perry makes. Why doesn't Dima share it?

III. How would you characterize the style of protagonists'
communication. Choose among the following descriptions:
neutral, slang-ridden, educated, logical, emotional, matter-of-fact,
precise, woolly, polite, rude.

IV. Find in the text the sentences containing information on the
following subjects:

a) the names of English writers Dima considers to be number-ones;
b) Dima's home town;
c) the name of a town in Pasternak's novel;
d) the author whose book Natasha is reading.

V. Study the meaning of the highlighted words and
expressions using Comments and translate the following
sentences into Ukrainian:

1. A Manhattan bankruptcy court judge ruled that Bank of
America's seizure of $500 million deposits held by Lehman
Brothers shortly ahead of the latter's bankruptcy was unauthorized.
2. Former Lehman Brothers Holdings Inc. President Joe Gregory
has put back on the market his Bridgehampton manse for $25 million
23 % lower than his original $32.5 million asking price in summer
2008. 3. Four mass shootings have left 48 dead in a week across
Mexico, signaling an unabated pace for drug-related violence in the
country's four-year drug wars, which has claimed more than
28.000 lives overall. 4. As the Opposition onslaught on Prime
Minister continued unabated, and speculation raged on about his
stepping down, a senior Congress functionary, categorically ruling
out the possibility of his quitting, said the party was fully backing
him. 5. We as a country pretty much match the spectacle of Nero,
entertaining himself musically as Rome burned about him: we poke

171
around, arguing this way and that, as the warming remains
unabated. 6. A unique Shropshire-made teddy bear is up for grabs
next week to raise cash for Help For Heroes. 7. Despite every elected
statewide post up for grabs in New York for the first time in
decades, most of the 13.4 million people eligible to vote stayed home
on Election Day, a study by George Mason University found.
8. When the market crashed, the whole office was up for grabs.
9. 'Damage to public property is a pittance compared to cuts people
are going to experience', a Cambridge don says referring to student
protests over tuition fee increases. 10. In his internationally
renowned novel, Don Segundo Sombra, Ricardo Guiraldes captured
the tradition and spirit of the gaucho, a beloved symbol of Argentine
national identity. 11. Wolfgang Amadeus Mozart's opera 'Don
Giovanni,' once described by French composer Charles Gounod as 'a
work without blemish, of uninterrupted perfection,' returned to the
Bolshoi Theater at the end of October in its first new production
there since 1950. 12. The seven-year program has grown in leaps and
bounds in its history. 13. Creativity knows no bounds in Dubai
according to the flood of nominations being received for the
inaugural Sign and Graphic Imaging (SGI) Awards. 14. Mario Ba-
lotelli's popularity is so out of bounds in Italy he even has a neolo-
gism named after him. They call it 'Generation Balotelli', a term to
describe the Italian-born children of immigrants who have been com-
ing to Italy over the past twenty years.


VI. Translate the following sentences containing words
from the Comments into English:

1. Під час навчання в Оксфорді Том побоювався всіх викла-
дачів. 2. Коли мій чоловік приніс квитки на оперу 'Донжуан'
Моцарта, моя радість не знала меж. 3. За умов економічної кри-
зи майбутнє країни виглядає похмурим. 4. Я чула, що дім прода-
ється. 5. Незважаючи на відгуки критиків, популярність співач-
ки не вщухала. 6. Деякі фінансові аналітики стверджують, що
банкрутство 'Леман Бразерс' – лише комерційний хід. 7. У око-
лицях буря вщухла, а вдалині шаленів смерч.

172
VII. Read the following passages from Our kind of traitor
by JOHN LE CARRÉ in which the author focuses on
mistakes typically made while translating into English. What
improvements or corrections would you suggest? Translate the
passages into Ukrainian:

The Arena Multi Global Trading Conglomerate of Nicosia,
Cyprus, its website informed her in bad, blotchy English, was a
consulting company specializing in providing help for active traders.
Its head office was in Moscow. It had representatives in Toronto,
Rome, Berne, Karachi, Frankfurt, Budapest, Prague, Tel Aviv and
Nicosia. None, however, in Antigua. And no brass-plate bank. Or
none mentioned.
'Arena Multi Global prides itself on confidentiality and
entreprenurial flare at all levels. It offers top-class oportunities and
private banking facilities'. Note:this web page is currently under
reconstruction. Further information available on application to
Moscow office.

VIII. Find Ukrainian correspondences for the following
expressions:

blotchy English, brass-plate bank, entrepreneurial flair, information
available on application

IX. Read the following information about the negotiation tac-
tics of various cultures. Say whether you agree, support your
opinion with examples of your previous experience. Pay attention
to the following points:

а) Which verbal and non-verbal tactics the researchers singled out?
b) Why did they pay especial attention to the use of words 'no'
and 'you'?
c) Which cultures prove to be the most aggressive in their nego-
tiation tactics?
Which of them prove to be the most polite? Neutral?

173
d) How do you understand the notion
of 'self-disclosure'? Which cultures
resorted to it most often? Least often?
Japan. Consistent with most
descriptions of Japanese negotiation
behavior, their style of interaction is
among the least aggressive (or most
polite). Threats, commands, and
warnings appear to be de-emphasized in
favor of the more positive promises,
recommendations, and commitments.
Particularly indicative of their polite conversational style was their
infrequent use of 'no' and 'you' and facial gazing, as well as more
frequent silent periods.
Korea. Korean negotiators used considerably more commands
than did the Japanese. Koreans used the word 'no' and interrupted
more than three times as frequently as the Japanese. Moreover, no
silent periods occurred between Korean negotiators.
China. The behaviors of the negotiators from China were most
remarkable in the emphasis on asking questions (34 percent). Indeed,
70 percent of the statements made by the Chinese negotiators were
classified as information-exchange tactics.
Russia. The Russians' style was quite different from that of any
other European group, and, indeed, was quite similar in many
respects to the style of the Japanese. They used 'no' and 'you' infre-
quently and used the most silent periods of any group. Only the
Japanese did less facial gazing, and only the Chinese asked a greater
percentage of questions.
Germany. The behaviors of the Germans are difficult to
characterize. However, the Germans were exceptional in the high
percentage of self-disclosures (47 percent) and the low percentage of
questions (11 percent).
United Kingdom. The behaviors of the British negotiators
were remarkably similar to those of the Americans in all respects.
British people believe that most British negotiators have a strong
sense of the right way to negotiate and the wrong. Protocol is of
great importance. However, the 'right way to negotiate' may be a

174
completely different concept for people from different cultures.
Some cultures may consider the British negotiation style as
extremely cold and arrogant.
Spain.'Diga' is perhaps a good metaphor for the Spanish approach
to negotiations. When you make a phone call in Madrid, the usual
greeting on the other end is not hola ('hello') but is, instead, diga
('speak'). It is not surprising, then, that the Spaniards in the
videotaped negotiations likewise used the highest percentage of
commands (17 percent) of any of the groups and gave comparatively
little information (self-disclosures, only 34 percent). Moreover, they
interrupted one another more frequently than any other group, and
they used the terms 'no' and 'you' very frequently.
France. The style of the French negotiators was perhaps the most
aggressive of all the groups. In particular, they used the highest
percentage of threats and warnings (together, 8 percent). They also
used interruptions, facial gazing, and 'no' and 'you' very frequently
compared with the other groups, and one of the French negotiators
touched his partner on the arm during the simulation.
United States. Like the Germans and the British, the Americans
fell in the middle of most continua. They did interrupt one another
less frequently than all the others, but that was their sole distinction
(from http://en.wikipedia.org/wiki/Negotiation)


XI. Panel discussion.

Describe the negotiation tactics characteristic of the Ukrainian
culture. In which situations do we seem aggressive and intrusive? In
which are we hesitating and meek? Illustrate your point of view with
examples.

XII. Role play.

A Ukrainian student has won a scholarship in a prestigious British
public school. He/she is brimming with joy. However, his/her
relations with fellow students are far from radiant. The British view
his/her ambitiousness as a threat, which is why his/her attempts at
making some kind of social contact fail quite miserably. Should

175
he/she drop her shark's practices and forget about the cherished plan
to enter a flagship university or should he/she listen to his/her killer
instinct and keep his/her communication to a minimum? Play out
both scenarios in the form of dialogues.



Te x t 2

FROM TWELVE ANGRY MEN
BY REGINALD ROSE

I. The following excerpts are taken from a courtroom drama,
which was incidentally used as a springboard for a movie 12 by
Nikita Mikhalkov.

The drama depicts a jury forced to
reconsider its nearly unanimous decision
by the single dissenter who sows a seed of
reasonable doubt. The case at hand
pertains to whether a young man mur-
dered his own father. The jury is further
instructed that a guilty verdict will be
accompanied by a mandatory death sen-
tence. These twelve then move to the jury
room, where they begin to become
acquainted with the personalities of their peers.

It contains a lot of examples of compromise, cooperation and
confrontation techniques. Act out the dialogue, characterize the
communicative style of your character. While making observations,
refer to the guidelines of Exercise 10.

FOREMAN: Nine... ten ... eleven... That's eleven for guilty. Okay.
Not guilty? (JUROR NO. 8's hand is raised.) One. Right. Okay.
Eleven to one, guilty. Now we know where we are.
JUROR NO. 3: (sarcastically) Somebody's in left field. (To NO. 8)
You think he's not guilty?
JUROR NO. 8: (quietly). I don't know.

176
JUROR NO. 3: I never saw a guiltier man in my life. You sat right
in court and heard the same thing I did. The man's a dangerous killer.
You could see it.
JUROR NO. 8: He's nineteen years old.
JUROR NO. 3: That's old enough. He knifed his own father, four
inches into the chest. An innocent little nineteen-year-old kid. They
proved it a dozen different ways. Do you want me to list them?
JUROR NO. 8: No.
JUROR NO. 10: (to NO. 8). Well, do you believe his story?
JUROR NO. 8: I don't know whether I believe it or not. Maybe I don't.
JUROR NO. 7: So what'd you vote not guilty for?
JUROR NO. 8: There were eleven votes for guilty. It's not so easy
for me to raise my hand and send a boy off to die without talking
about it first.
JUROR NO. 7: Who says it's easy for me?
JUROR NO. 8: No one.
JUROR NO. 7: What, just because I voted fast? I think the guy's
guilty. You couldn't change my mind if you talked for a hundred years.
JUROR NO. 8: I don't want to change your mind. I just want to
talk for a while. Look, this boy's been kicked around all his life. You
know, living in a slum, his mother dead since he was nine. That's not
a very good head start. He's a tough, angry kid. You know why slum
kids get that way? Because we knock 'em on the head once a day,
every day. I think maybe we owe him a few words. That's all.

II. In the excerpt below JUROR NO.11 is an emigrant. How does
his communicative style differ from the rest of the jury? Is it
aggressive, peaceful or neutral? What impression do we get of the
group's inner dynamics? How do the members support, contradict
each other? Act out the dialogue.

FOREMAN: I think that's a good point. We have a job to do. Let's
do it.
JUROR NO. 11: (with accent). If you gentlemen don't mind, I'm
going to close the window. (He gets up and does so.) (Apologeti-
cally) It was blowing on my neck.

177
***

JUROR NO. 8: Now. There's something else I'd like to point out
here. I think we proved that the old man couldn't have heard the boy
say, 'I'm going to kill you,' but supposing he really did hear it? This
phrase: how many times has each of you used it? Probably
hundreds.'If you do that once more, Junior, I'm going to murder you.
'Come on, Rocky, kill him!' We say it every day. This doesn't mean
that we're going to kill someone.
JUROR NO. 3: Wait a minute. The phrase was 'I'm going to kill
you,' and the kid screamed it out at the top of his lungs. Don't try and
tell me he didn't mean it. Anybody says a thing like that the way he
said it – they mean it.
JUROR NO. 10: And how they mean it!
JUROR NO. 8: Well let me ask you this. Do you really think the
boy would shout out a thing like that so the whole neighborhood
would hear it? I don't think so. He's much too bright for that.
JUROR NO. 10: (exploding). Bright! He's a common, ignorant
slob. He don't even speak good English!
JUROR NO. 11: (slowly). He doesn't even speak good English.

III. In the excerpt below JUROR NO. 10 employs the tactics of
persuasion. How does he try to appeal to the group: Does he try to
address their rational or emotional side? How can you prove it? Does
his tactic of persuasion work? Why? What are the details proving it?
Act out the dialogue.

JUROR NO. 10: I don't understand you people. How can you
believe this kid is innocent? Look, you know how those people lie.
I don't have to tell you. They don't know what the truth is. And
lemme tell you, they – (JUROR NO. 5 gets up from table, turns his
back to it, and goes to window.) – don't need any real big reason to
kill someone either. You know, they get drunk, and bang, someone's
lying in the gutter. Nobody's blaming them. That's how they are. You
know what I mean? Violent!
[JUROR NO. 9 gets up and does the same. He is followed by
JUROR NO. 11.]
JUROR NO. 10: Human life don't mean as much to them as it does
to us. Hey, where are you going? Look, these people are drinking

178
and fighting all the time, and if somebody gets killed, so somebody
gets killed. They don't care. Oh, sure, there are some good things
about them, too. Look, I'm the first to say that.
[JUROR NO. 8 gets up, and then NO. 2 and NO. 6 follow him to
the window.]
JUROR NO. 10: I've known a few who were pretty decent, but
that's the exception. Most of them; it's like they have no feelings.
They can do anything. What's going on here?
[The foreman gets up and goes to the windows, followed by NO.
7 and NO. 12.]
JUROR NO. 10: I'm speaking my piece, and you listen to me!
They're no good. There's not a one of 'em who's any good. We better
watch out. Take it from me. This kid on trial...

[JUROR NO. 3 sits at table toying with the knife, and NO. 4 gets
up and starts for the window. All have their backs to NO. 10.]
JUROR NO. 10: Well, don't you know about them? Listen to me!
What are you doing? I'm trying to tell you something...
[JUROR NO. 4 stands over him as he trails off. There is a dead
silence. Then NO. 4 speaks softly.]
JUROR NO. 4: I've had enough. If you open your mouth again, I'm
going to split your skull.
[JUROR NO. 4 stands mere and looks at him. No one moves or
speaks. NO. 10 looks at him, then looks down at the table.]
JUROR NO. 10: (softly). I'm only trying to tell you...
[There is a long pause as JUROR NO. 4 stares down at NO. 10.]


IV. Compose an essay on one of the following topics:


How ethnic stereotypes influence the process
of communication.
Interethnic conflicts and their underlying
causes.
The influence of globalization on international
communication: pros and cons.


179
V. Do a case study of several situations reflecting misunder-
standings caused by different ethnic background of commu-
nicators. Suggest the practical solutions for each of them.

VI. Prepare a presentation on the issue of ethnic-bound
cultural shock.

VII. Analyze the comic strip below. Say which pun it is based on.



VIII. Act out the following jokes. Analyze their content:

Which positive aspects of the national image do they represent?
Which negative aspects of the national image do they represent?
Which of these features are stereotypes?
What are the representatives of a certain nation typecast as?

1. Three Englishmen were in a bar and spotted an Irishman. So,
one of the Englishmen walked over to the Irishman, tapped him on
the shoulder, and said, 'Hey, I hear your St. Patrick was a drunken
loser.' 'Oh really, hmm, didn't know that.' Puzzled, the Englishman
walked back to his buddies.'I told him St. Patrick was a loser, and he
didn't care.' The second Englishman remarked, 'You just don't know
how to set him off…watch and learn.' So, the second Englishman
walked over to the Irishman, tapped him on the shoulder and said,
'Hey, I hear your St. Patrick was lying, cheating, idiotic, low-life
scum!' 'Oh really, hmm, didn't know that.' Shocked beyond belief, the
Englishman went back to his buddies. 'You're right. He's unshakable!'
The third Englishman remarked, 'Boys, I'll really tick him off… just

180
watch.' So the third Englishman walked over to the Irishman, tapped
him on the shoulder and said,'I hear St. Patrick was an Englishman!'
'Yeah, that's what your buddies were trying to tell me.'

2. A Texan, while visiting Toronto, found himself in the back seat
of a taxi cab on the way to his hotel. Passing by the Royal York the
Texan asked the cab driver: 'What's that building there?' 'That's the
Royal York Hotel,' replied the cabbie. 'The Royal York? How long
did it take to build that?', asked the Texan. 'About 12 years', replied
the cabbie. '12 years? We build 'em twice as high, twice as wide and
four times as long down in Texas, and we do that in six months.'
A while later the cab driver passed the Metro-Toronto Convention
Centre. 'What's that building over there?', asked the Texan. 'That's the
Metro-Toronto Convention Centre', replied the cabbie. 'Convention
Centre? How long did it take to build that?', asked the Texan. 'About
three years', replied the cabbie.' Three years? We build 'em twice as
high, three times as long and four times as wide as that down in
Texas, and it only takes us about two weeks.' Shortly thereafter the
cabbie drives past the CN Tower. 'What's that building there?', asks
the Texan, pointing at the tower. 'Danged if I know', replied the
cabbie, 'It wasn't here when I drove by yesterday.'

3. A visitor from Holland was chatting with his American friend
and was jokingly explaining about the red, white and blue in the
Netherlands flag. 'Our flag symbolizes our taxes,' he said. 'We get
red when we talk about them, white when we get our tax bill, and
blue after we pay them.' 'That's the same with us,' the American said,
'only we see stars, too.'

4. Three guys, one Irish, one English, and one Scottish, are out
walking along the beach together one day. They come across a lan-
tern and a Genie pops out of it. 'I will give you each one wish, that's
three wishes in total', says the Genie. The Scottish guy says, 'I am a
fisherman, my Dad's a fisherman, his Dad was a fisherman and my
son will be one too. I want all the oceans full of fish for all eternity.'
So, with a blink of the Genie's eye FOOM! the oceans were teaming
with fish. The Englishman was amazed, so he said, 'I want a wall
around England, protecting her, so that no one will get in for all eter-
nity.' Again, with a blink of the Genie's eye POOF! there was a huge

181
wall around England. The Irishman asks, 'I'm very curious. Please
tell me more about this wall.' The Genie explains, 'Well, it's about
150 feet high, 50 feet thick, protecting England so that nothing can
get in or out.' The Irishman says, 'Fill it up with water.'

5. An American tourist was visiting a quaint country village, and
got talking to a farmer in the local pub. 'And have you lived here all
your life, Sir?' asked the American. 'Not yet, m'dear,' said the
farmer wisely.

6. One night, God spoke to a preacher to tell him what he wanted
him to do. After God had briefed him on his mission, the minister
decided to ask him a question. 'God,' he said, 'What is heaven like?'
God replied,'Well, normally I don't tell people this, but since you are
my servant, I guess I can tell you. Heaven will be like a city. It will
have the best of everything. For example, the French will be the
chefs; the Italians will be the lovers; the English will be the po-
liceman; the Germans will be the mechanics; and the Dutch will be
the politicians!' The man looked pleased. 'What is hell like?' he
asked. 'Well,' he said with a sigh, 'the French will be the mechanics;
the Italians will be the politicians; the English will be the chefs; the
Germans will be the policemen; and the Dutch will be the lovers.'

(from www.best-funny-jokes.com)

182
Uni t t wo

STATUS OF A PERSON
IN HUMAN INTERACTION



S E C T I O N А

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following
questions, drawing on your experience.

1. How can you define 'status'? Name at least 3 main definitions
of it in English.
2. What kinds of statuses in the society can you remember?
3. A social rank of a person is her/his key to prosperity and
acknowledgment.
4. Don't judge a book by its cover. People often disguise
themselves as being different from what they really are.
5. Inferiority complex is closely linked to one's social position.
6. Being on the top of the pecking order allows anyone to act as
being superior to other members of a social group.
7. Define your own status. Think of the status you aspire for in
the future.
8. Cultural background has a direct influence on the way a person
expresses himself.

Spe e c h Pat t e r ns

It strikes me that we are rather particular.

A very anxious idea struck me yesterday.
It struck her that losing her job would be a disaster.

The person in question was a young lady…

Have you seen the house in question?
His truthfulness is now in question.

183
His companion was a person of quite another pattern.

This institution is of a familiar pattern.
The brothers are of the same pattern.

Well, I guess I will wait and see.

She'll wait and see what he will eventually do.
Mr. Bosnon was told to wait and see the results of the
negotiations.

Oh, I hope someone will always feel for me!

A caring mother always feels for her children.
I'm sure he'll feel for his wife.

I am bound to say you look wonderfully comfortable!

I'm bound to say that he is not up to the mark.
She is bound to complete the thesis, otherwise she'll get into
trouble.

Well, I suppose I am, in most respects.

In most respects, he is the most honorable person in the
institution.
What is really amazing that it stands to reason in many respects.
In some respects, the economic situation has reached its bottom.

I supposed it was quite settled!

His trouble has eventually been settled.
It was settled that we're heading for the West.
It was quite settled that all the students should take part in
the event.


184
Ex e r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with the dialogues of your own with each speech
pattern. Pay attention to their style and think of the status of a
person, who might use each speech pattern.

III. Fill in the gaps with a suitable speech pattern.

1. They had been negotiating for more than two hours before the
issue was eventually … . 2. She was convinced of having no suitable
solutions to the problem. She … … to reject all the job offers. 3. In
… …, he was an amicable man not trying to stifle his emotions.
4. The world-weary forty-somethings, who undoubtedly are those of
generation X, belong to … … … . 5. The delegates were disputing
that the project in … required much financing and effort. 6. He was
then reading books on philosophy, really thought provoking ones: a
strange idea … him on that day. He was about to flee the country.
7. The letter to his beloved one was saturated with tender lines of
rhyme: The sun and the Earth belong to you sole / All the heavenly
creatures coming to your home / No place for my humble one, that is
true! / You know, I'll always … … you. 8. It was … – we have to
land a job to survive. 9. In some …, the start-up showed traces of
that of a promising one. 10. The brand new BMW belongs to … ...
with its V8 engine and fantastic torque.

IV. Translate the following sentenced from Ukrainian into
English using speech patterns.

1. Шлях наш заблукав хвилястими схилами Карпат. Падала
темрява. Ми з друзями вирішили зачекати і зрозуміти, що відбу-
деться завтра, щоб остаточно не збитися зі маршруту. 2. Вона
обов'язково має доповісти директору про виконання завдання.
3. Було спільно вирішено, що всі видатки на утримання примі-
щення будуть перераховані на рахунок приватної особи.
4. Чолов'яга виглядав в усіх відношеннях схильним до компро-
місу, хоча всі вважали його людиною іншого штибу. 5. Майте

185
співчуття до тих, хто його не має до себе. 6. В результаті довгих
та виснажливих міркувань мені спала на думку чудова ідея.
Сподіваюсь, її всі підтримають. 7. В певному сенсі, нова модель
Мерседеса не відповідає вимогам середнього українця, точніше,
середнього мандрівника українськими шляхами. 8. Цей тип при-
строю належить до іншого покоління, до іншого принципу ро-
боти та переробки даних. 9. Досліджуваний об'єкт відповідає
нашому баченню перспективності цього наукового напрямку.
10. Щирість його намірів викликає занепокоєння. Він не з'явився
на засідання комісії, що розглядала його долю.

V. Give synonyms to the following expressions consulting a
dictionary and the speech patterns. Memorize them.

be fixed,
in some way,
be sympathetic to,
to some extent,
have obligations to,
have discrepancy,
daunt upon,
put off the decision,
be suspicious,
be resolved,
belong to a different background,
wanted,
procrastinate,
be supposed to.


Te x t

FROM THE PORTRAIT OF A LADY

BY HENRY JAMES

Henry James – an American-born writer,
well-known as a representative of the 19-th
century literary realism. He was born on
April 15, 1843 in New York City. He spent
20 years of his life travelling from the USA to
Europe, studying with tutors in Paris, London,

186
Geneva Bologna and Bonn. Henry James is one of the key figures of the
Trans-Atlantic literature. His main characters are Americans who live in
Europe, mainly in England. James explores this clash of personalities
and cultures, in stories of personal relationships in which power is
exercised well or badly. His main novels and short-stories: Daisy Miller,
The Portrait of a Lady, The Europeans, The Bostonians, The Wing of
the Dove and The Ambassadors, totally – 112 short stories, 23 novels
and 33 novellas. In 1915, a year before he passed away, he had become
a British subject.

The old gentleman at the tea-table, who had come from America
thirty years before, had brought with him, at the top of his baggage,
his American physiognomy; and he had not only brought it with him,
but he had kept it in the best order, so that, if necessary, he might
have taken it back to his own country with perfect confidence. At
present, obviously, nevertheless, he was not likely to displace
himself; his journeys were over, and he was taking the rest that
precedes the great rest. He had a narrow, clean-shaven face, with
features evenly distributed and an expression of placid acuteness. It
was evidently a face in which the range of representation was not
large, so that the air of contented shrewdness was all the more of a
merit. It seemed to tell that he had been successful in life, yet it
seemed to tell also that his success had not been exclusive and
invidious, but had had much of the inoffensiveness of failure. He had
certainly had a great experience of men, but there was an almost
rustic simplicity in the faint smile that played upon his lean, spacious
cheek and lighted up his humorous eye as he at last slowly and
carefully deposited his big tea-cup upon the table. He was neatly
dressed, in well-brushed black; but a shawl was folded upon his
knees, and his feet were encased in thick, embroidered slippers.
A beautiful collie dog lay upon the grass near his chair, watching the
master's face almost as tenderly as the master took in the still more
magisterial physiognomy of the house; and a little bristling, bustling
terrier bestowed a desultory attendance upon the other gentlemen.
One of these was a remarkably well-made man of five-and-thirty,
with a face as English as that of the old gentleman I have just
sketched was something else; a noticeably handsome face, fresh-
coloured, fair, and frank, with firm, straight features, a lively grey

187
eye, and the rich adornment of a chestnut beard. This person had a
certain fortunate, brilliant exceptional look – the air of a happy
temperament fertilized by a high civilization – which would have
made almost any observer envy him at a venture. He was booted and
spurred, as if he had dismounted from a long ride; he wore a white
hat, which looked too large for him; he held his two hands behind
him, and in one of them – a large, white, well-shaped fist – was
crumpled a pair of soiled dog-skin gloves.
His companion, measuring the length of the lawn beside him, was
a person of quite another pattern, who, although he might have
excited grave curiosity, would not, like the other, have provoked you
to wish yourself, almost blindly, in his place. Tall, lean, loosely and
feebly put together, he had an ugly, sickly, witty, charming face –
furnished, but by no means decorated, with a straggling moustache
and whisker. He looked clever and ill – a combination by no means
felicitous; and he wore a brown velvet jacket. He carried his hands in
his pockets, and there was something in the way he did it that
showed the habit was inveterate. His gait had a shambling,
wandering quality; he was not very firm on his legs. As I have said,
whenever he passed the old man in the chair, he rested his eyes upon
him; and at this moment, with their faces brought into relation, you
would easily have seen that they were father and son.
The father caught his son's eye at last, and gave him a mild,
responsive smile.
'I am getting on very well,' he said.
'Have you drunk you tea?' asked the son.
'Yes, and enjoyed it.'
'Shall I give you some more?'
The old man considered, placidly.
'Well, I guess I will wait and see.'
He had, in speaking, the American tone.
'Are you cold?' his son inquired.
The father slowly rubbed his legs.
'Well, I don't know. I can't tell till I feel.'
'Perhaps someone might feel for you,' said the younger man,
laughing.

188
'Oh, I hope someone will always feel for me! Don't you feel for
me, Lord Warburton?'
'Oh yes, immensely,' said the gentleman addressed as Lord
Warburton, promptly. 'I am bound to say you look wonderfully
comfortable.'
'Well, I suppose I am, in most respects.' And the old man looked
down at his green shawl, and smoothed it over his knees. 'The fact is,
I have been comfortable so many years that I suppose I have got so
used to it I don't know it.'
'Yes, that's the bore of comfort,' said Lord Warburton. 'We only
know when we are uncomfortable.'
'It strikes me that we are rather particular,' said his companion.
'Oh yes, there is no doubt we're particular,' Lord Warburton
murmured.
And then the three men remained silent a while; the two younger
ones standing looking down at the other, who presently asked for
more tea.
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
– – – – – – – – – – – – – – – -
WHILE this exchange of pleasantries took place between the two,
Ralph Touchett wandered away a little, with his usual slouching gait,
his hands in his pockets, and his little rowdyish terrier at his heels.
His face was turned towards the house, but his eyes were bent,
musingly, upon the lawn; so that he had been an object of
observation to a person who had just made her appearance in the
doorway of the dwelling for some moments before he perceived her.
His attention was called to her by the conduct of his dog, who had
suddenly darted forward, with a little volley of shrill barks, in which
the note of welcome, however, was more sensible than that of
defiance. The person in question was a young lady, who seemed
immediately to interpret the greeting of the little terrier. He advanced
with great rapidity, and stood at her feet, looking up and barking
hard; whereupon, without hesitation, she stooped and caught him in
her hands, holding him face to face while he continued his joyous
demonstration. His master now had had time to follow and to see that
Bunchie's new friend was a tall girl in a black dress, who at first sight
looked pretty. She was bare-headed, as if she were staying in the

189
house – a fact which conveyed perplexity to the son of its master,
conscious of that immunity from visitors which had for some time
been rendered necessary by the latter's ill-health. Meantime the two
other gentlemen had also taken note of the new-comer.
'Dear me, who is that strange woman?' Mr. Touchett had asked.
'Perhaps it is Mrs. Touchett's niece – the independent young lady,'
Lord Warburton suggested.'I think she must be, from the way she
handles the dog.'
The collie, too, had now allowed his attention to be diverted, and
he trotted toward the young lady in the doorway, slowly setting his
tail in motion as he went.
'But where is my wife, then?' murmured the old man.
'I suppose the young lady has left her somewhere: that's a part of
the independence.'
The girl spoke to Ralph, smiling, while she still held up the
terrier.'Is this your little dog, sir?'
'He was mine a moment ago; but you have suddenly acquired a
remarkable air of property in him.'
'Couldn't we share him?' asked the girl. 'He's such a little darling.'
Ralph looked at her a moment; she was unexpectedly pretty.'You
may have him altogether,' he said.
The young lady seemed to have a great deal of confidence, both
in herself and in others; but this abrupt generosity made her blush.'I
ought to tell you that I am probably your cousin,' she murmured,
putting down the dog. 'And here's another!' she added quickly, as the
collie came up.
'Probably?' the young man exclaimed, laughing. 'I supposed it
was quite settled! Have you come with my mother?'
'Yes, half-an-hour ago.'
'And has she deposited you and departed again?'
'No, she went straight to her room; and she told me that, if I
should see you, I was to say to you that you must come to her there
at a quarter to seven.'
The young man looked at his watch.'Thank you very much; I shall
be punctual.' And then he looked at his cousin.'You are very
welcome here,' he went on.'I am delighted to see you.'

190
She was looking at everything with an eye that denoted quick
perception – at her companion, at the two dogs, at the two gentlemen
under the trees, at the beautiful scene that surrounded her.'I have
never seen anything so lovely as this place,' she said.'I have been all
over the house; it's too enchanting.'
'I am sorry you should have been here so long without our
knowing it.'
'Your mother told me that in England people arrived very quietly;
so I thought it was all right. Is one of those gentlemen your father?'
'Yes, the elder one – the one sitting down,' said Ralph.
The young girl gave a laugh.'I don't suppose it's the other. Who is
the other?'
'He is a friend of ours – Lord Warburton.'
'Oh, I hoped there would be a lord; it's just like a novel!' And then –
'O you adorable creature!' she suddenly cried, stooping down and
picking up the little terrier again.
She remained standing where they had met, making no offer to
advance or to speak to Mr. Touchett, and while she lingered in the
doorway, slim and charming, her interlocutor wondered whether she
expected the old man to come and pay her his respects. American girls
were used to a great deal of deference, and it had been intimated that
this one had a high spirit. Indeed, Ralph could see that in her face.


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. Physiognomy (n) – appearance, shape and features of people's
face.
American/British/Ukrainian physiognomy – a general way to
refer to national predominant features of someone's face.
2. hrewd (adj) = astute = quick-witted = smart – 1) ood at judging
the real state of things; 2) ell-judged and likely to be right (a shrewd
decision / idea / thought)
Shrewd (n). e.g. He was recognized as a shrewd businessman.
3. Invidious (adj) – unpleasant and unfair, likely to be jealous and
offend people. E.g.: By being unfaithful, she put herself in an invidious
position. It would be invidious to single out any one person to thank.

191
4. Desultory (adj)- done without any plan or purpose (Desultory
conversation/talk = vapid conversation/talk; Desultory plan / way /
fashion / manner). E.g.: I was wandering in a desultory fashion. The
negotiation was being held in a desultory manner.
5. Inveterate (adj) – 1) doing something without an ability to stop.
Inveterate liar/smoker/womanizer. 2) attitude or feeling that you
have had for a long time and cannot change (Inveterate fondness /
distrust / hatred / hostility).
6. Displace (v) – 1) take over the place, position, or role
of something. E.g. All papers can be displaced by electronic
database. 2) force (someone) to leave their home, typically because
of war, persecution, or natural disaster. E.g. The Crimean Tatars
were displaced from their native lands. 3. remove (someone) from
a job or position of authority. E.g. He was displaced from the
position of CEO.
7. Placid (adj) – 1) Not easily upset or excited. 2) Calm and
peaceful with little activity. E.g. The boss was placid – no one could
make him nervous. What singled him out was his being totally placid.
8. Slouch (v) – stand, move, or sit in a lazy, drooping way. E.g.
He slouched against the wall. Several students were slouching across
the room.
9. Linger (v) – 1) stay in a place longer than necessary because of
a reluctance to leave. E.g. He lingered in the room for more than two
hours before leaving. 2) (linger over) spend a long time over
something. E.g. The baby lingered over the meal for too long.
10. Muse on / over / about (v) – be absorbed in thought. E.g. He
was musing over the trouble he was facing.
Musingly (Adv.)
11. Feeble (adj) – 1) lacking physical strength, especially as a
result of age or illness. E.g. She was too feeble to leave the room.
2) not effective; not showing determination or energy (feeble
argument / excuse / joke; a feeble attempt to explain): E.g Don't be
so feeble! Tell her what you wanted!

12. Bestow (on) (v) – confer or present (an honour, right, or gift).
E.g. The position was bestowed on him as an honour. It was a title
bestowed upon him by the king.

192
Word Combi nat i ons and Phrases

narrow, clean-shaven face;
features evenly distributed;
an expression of placid acuteness;
rustic simplicity;
faint smile;
lean, spacious cheek
humorous eye;
neatly dressed;
desultory attendance;
well-made man of five-and-thirty;
a noticeably handsome face, fresh-coloured, fair, and frank, with
firm, straight features;
a lively grey eye;
the rich adornment of a chestnut beard;
fortunate, brilliant exceptional look;
tall, lean, loosely and feebly put together;
an ugly, sickly, witty, charming face;
straggling moustache and whisker;
his gait had a shambling, wandering quality;

Vocabul ary Exerci ses

I. Paraphrase the following sentences consulting the Essential
vocabulary and the text. Translate them into English.

1. wo criminals were pondering over their state of things in court.
2. The patient felt weak and unable to move – she was confined to
bed. 3. A 6-year old boy was dithering over his soup for 30 minutes
before his mother could understand that it was not tasty. 4. Chain-
smokers die earlier. 5. The head of the department was a man of high
philosophical acumen. 6. Our conversation turned into a pointless
one. 7. The people of the region were driven out by two most
dangerous catastrophes: war and ecological disaster. 8. He walked
staggering from side to side. 9. The employee found himself in an
unpleasant position after being exposed. 10. His face carried
conspicuous features of the region he was born in. 11. The duke was

193
presented with the sword in acknowledgement of his high status.
12. We expressed our high esteem to his personality. 13. What
is more important – John shirked his responsibilities deliberately.
14. Some say that women are wiser than men, although, men outstrip
women in their quick business mind.

II. Match the two columns.

1. Linger a. able to find solutions to any problems
2. Slouch b. treating people in a discriminatory way
3. Placid c. to reflect on something deeply
4. Invidious d. to confer
5. Astute e. tranquil, not stressful
6. Muse on f. having a lame gait
7. Bestow g. being reluctant to leave and move

III. Translate the following sentenced into English.

1. Дерік постійно намагався звільнити себе від тяжкої роботи,
хоча знав добре, що саме вона його врятує від безгрошів'я. 2. Не
зважаючи на ліньки та небажання рухатись, всі визнавали, що Ан-
дрій – хлопець доволі кмітливий. 3. Коли люди не бажають дійти
згоди одне з одним, їх розмова набуває рис безпредметності.
4. Паперова промисловість перебуває у занепаді, оскільки все за-
міщується електронними засобами зберігання інформації.
5. Постійне невігластво дратувало нас, тому ми вирішили з ними
більше не мати жодної справи. 6. Керівнику держави присвоїли
звання почесного професора університету. 7. Він задумливо вдив-
лявся їй у вічі, намагаючись зрозуміти її наміри. 8. Спокійне, мов
шовк, море впало нам у душу, наче вічна безмежність. 9. Вираз йо-
го обличчя є характерним для людей з таким психотипом.

IV. Fill in the gaps. Translate the sentences into Ukrainian.

1. How come such a … person can resort to such a negligence?
2. They have been … … the matter for 2 days already. No solution is
found. 3. Her legs were stiff and … unable to move. 4. Everybody
was astounded with his being … and ability to overcome stress.

194
5. Their … talk could not be broadcast via radio – nobody would
listen. 6. The Board of directors decided to… the old machinery with
contemporary ones. 7. His ... enabled him to pass quick decision on
any intricate matters. 8. Mr. Green bore a British ... . He could be
recognized all over the world. 9. No matter how things are done, but
one's ... is a good aid in finding a balanced approach to nervous
people. 10. He ... in an Apple shop, not wanting to leave. He was
about to buy a brand new iPad. 11. He could not figure out what a
salesman wanted to prove. He was speaking in a ... manner. 12. The
sea was choppy on that day. Joshua stepped on the ground. He felt
his walk was ... .

V. Give as many antonyms as possible to the words from the
Essential Vocabulary.

VI. Make up a sentence of your own with each of the topical word.

VII. Distribute the adjectives, which describe people's
character consulting the Words and Expressions.

Positive Negative Both


VIII. Give synonyms to the following words taking them
from the list above.

Well-built man, amicable pleasant face, elegant, vapid talk,
staggering, unique, simplistic, lively face, smooth, smart, slightly put
together, conspicuous face.

IX. Give antonyms to the following words.

Rustic, well-made, noticeable, clean-shaven, neat and clean,
desultory, frank, firm, feeble, exceptional, placid, narrow.

195
X. Paraphrase the following sentences making use of the
essential vocabulary and word combinations. Translate these
sentences into Ukrainian.

1. They were talking about nothing particular, just absorbing each
other's company. 2. His cloth was well-ordered, posh and tidy. 3. His
walk was staggering in a way that he barely fell down. 4. His face was
shining with a fresh smile. 5. Hopefully, you will take care of me in
the future. 6. He had a slim face, with conspicuous features. 7. The
man understood he was a chain smoker. 8. The expression of his face
always exuded optimism and life. 9. She was raging with jealousy.

XI. Complete the following sentences with one suitable word or
word combination from the text. Translate them into Ukrainian.

1. His face was turned towards the house, but his eyes were …,
…, upon the lawn. 2. She was looking at everything with an eye that
denoted … …– at her companion, at the two dogs, at the two
gentlemen under the trees, at the beautiful scene that surrounded her.
3. He carried his hands in his pockets, and there was something in
the way he did it that showed the habit was ... . 4. While this … of …
took place between the two, Ralph Touchett wandered away a little,
with his usual … …, his hands in his pockets, and his little rowdyish
terrier at his heels. 5. … …. …. that we are rather particular. 6. Oh,
I hope someone will always … … me! Don't you … … me, Lord
Warburton? 7. His companion, measuring the length of the lawn
beside him, was a … …. ….. …. , who, although he might have
excited … …. . 8. He was mine a moment ago; but you have
suddenly acquired a …. …. of property in him. 9. It was evidently a
face in which the range of representation was not large, so that the air
of … … was all the more of a… .

XII. Translate the following sentences into Ukrainian paying
special attention to the words and word combination in italics.

1. She was bare-headed, as if she were staying in the house – a
fact which conveyed perplexity to the son of its master, conscious of
that immunity from visitors which had for some time been rendered

196
necessary by the latter's ill-health. 2. His attention was called to her
by the conduct of his dog, who had suddenly darted forward, with a
little volley of shrill barks, in which the note of welcome, however,
was more sensible than that of defiance. 3. This person had a certain
fortunate, brilliant exceptional look – the air of a happy
temperament fertilized by a high civilization – which would have
made almost any observer envy him at a venture. 4. He had certainly
had a great experience of men, but there was an almost rustic
simplicity in the faint smile that played upon his lean, spacious cheek
and lighted up his humorous eye as he at last slowly and carefully
deposited his big tea-cup upon the table. 5. His face was turned
towards the house, but his eyes were bent, musingly, upon the lawn;
so that he had been an object of observation to a person who had just
made her appearance in the doorway of the dwelling for some
moments before he perceived her. 6. He was neatly dressed, in well-
brushed black; but a shawl was folded upon his knees, and his feet
were encased in thick, embroidered slippers. 7. One of these was a
remarkably well-made man of five-and-thirty, with a face as English
as that of the old gentleman I have just sketched was something else.

XIII. Make up dialogues of your own on the following
scenarios:

1. You're having a tea ceremony with an Englishman.
2. You're hosting a delegation from England.
3. You're invited to an exalted party.
4. You're a boss. You're having a serious talk to your employee.
5. You're an employee. You're going to have a serious talk with
your boss.


Exe r c i s e s t o t he t e xt

I. Answer the questions given below after reading the text.

1. How would describe the conversation atmosphere at the table?
2. What is the social status of the interlocutors?
3. What are the relations between the interlocutors?

197
4. What is the style of the conversation?
5. Can you name any stylistic singularities in a lady's speech?
What is her social status?
6. How would you define a cultural setting of the story.
7. Do the interlocutors belong to a different cultural background?

II. Sumarize a text in a short paragraph of 60–80 words.

III. Write a précis of the text in 20–30 words.

IV. Look through the text and choose the words and
expressions that describe people's status. in the society

V. Retell the text a) as if you were Lord Warburton b) Ralph
c) an American girl, d) Mr. Touchet. What would be the difference?
How does each character perceive a general conversation
environment?

VI. Think of the stylistic text markers that indicate a certain
social status and background.

VII. Make up dialogues making use of stylistic markers:
a) between an American and an Englishman b) between a boss and
an employer c) between an old professor and a student
d) between a businesswoman and a her husband.


S E C T I O N B

TOPICAL VOCABULARY

S t a t u s :

great, high, superior; low, inferior; equal; relative; educational,
professional, social;

198
to have / enjoy status; to achieve / acquire status; to bring / give
sb status; to accord / attach / give status; to recognize sb's status; to
benefit sb's status; to rise in status; to improve / raise status; to lower
status; to change status; to maintain status; to lose status.
High status: superior in sth, superior to sb; a feeling / sense of
superiority; dominance over sb; to challengedominance, to
undermine dominance; dominant; a position of power; power-
hungry; to show sb who's boss; bossy; to boss around; to assume /
establish / get/ take / win control; to keep / maintain control; a
supervisor; to be high up; to be at the top; to outrank / rank sb; to be
senior to sb; high-ranking.
Low status: inferior in sth, inferior to sb; a position of inferiority;
a sign of inferiority; an inferiority complex; to accept inferiority;
complete / total submission; to demand, to expect submission;
submission to sth / sb; submissive; to be subordinate to sb; to be low
down; to be at the bottom; to be at the bottom of a pile; low-ranking.

I. Keith Johnstone is a drama instructor whose teachings
and books focus on improvisational theatre. The notion of status is
central to his theories. Read the article on Keith Johnstone's ideas
and compare dictionary definitions of status with Johnstone's. Think
of a few situations in which a person may play high or low status
irrespective of their opposite social standing.

As used by Keith Johnstone status does not mean'social standing'
or'occupational prestige.' It refers to what people do, or play, akin to
dominance and submission. Thus, a waitress may play high status
(condescension) while her customer, a physician, may play low
status (awkwardness) despite their opposite social standing.
Seen in this way, human interaction is never'status-neutral'; we
are all constantly adjusting status in relation to our surroundings and
to others. Further, status transactions are territorial, involving the use
of space, gesture, posture, vocal inflection as well as verbal content.
In our experience, shifts in status regularly accompany significant
changes in interaction and that such shifts are always noticed, even
when not being acknowledged.

199
Another useful observation concerning status is that many people
are generally more comfortable playing one status position than the
other, although contexts exist in which they will play the non-
preferred position. We surmise that people assume the same status
position as they held in their families of origin and thereafter
maneuver to replicate that position in other systems. Since status is
relational it would follow that people maneuver to get others to
assume complementary status, thereby 'giving' status to others.
Status transactions are more complex than at first appears. People
are frequently unaware of the status they are playing and are even
convinced sometimes they are playing opposite to their actual status.
Johnstone refers to his own experience: 'In my own case I was
astounded to find that when I thought I was being friendly, I was
actually being hostile! If someone had said 'I like your play,' I would
have said 'Oh, it's not up to much,' perceiving myself as 'charmingly
modest.' In reality I would have been implying that my admirer had
bad taste. I experience the opposite situation when people come up,
looking friendly and supportive, and say, 'We did enjoy the end of
Act One,' leaving me to wonder what was wrong with the rest.'
Matters become still more involved when we realize that people
also attempt to conceal their status by playing opposite to the status
they are experiencing; usually this is unconvincing and invites
aggression against them.
Status games can also be played by agreement, which marks them
as playfully intended, such as when friends display familiarity by
insulting one another. Social groupings of humans and numerous
other species display status hierarchies, both inside their own group
('pecking-orders') and as a group in relation to other groups. While
these have been studied extensively, families appear to have so many
diverse and subtle ways of maintaining hierarchy that are not readily
apparent to non-members, even non-members with the same class
and ethnic background as that of the family.
Status transactions can be complementary when each player acts in
conformity to the status expectations of all the others and conflictual
when a player's actions give or take status unacceptable to any of the
others. Two (or more) players can play high status in a complementary

200
fashion when they all agree on their mutual worthiness; human nature
being what it is, it is likely that this state of affairs will give way to
conflictual transactions over who is more worthy.
Another familiar principle is that the presence of an audience
mediates the interaction between two players. For example, Alex
attacks (lowers) the status of Ben in order to get the support of an
onlooker, Cort, for Alex's own (high) status. Were Ben to want Cort's
support he might engage in a conflictual transaction by lowering
Alex's status or raising his own; this will probably result in escalating
conflict between Alex and Ben, which has the effect of raising
Cort's status. Alternatively, Ben might engage in a complementary
transaction by permitting his own status to be lowered, calculating that
he will gain Cort's sympathy by posing as the victim of Alex's attack.

(Daniel J. Wiener ImprovGames: the Construct of Status)


II. Which of the behaviours communicate high and which
display low status? Fill in the table with the appropriate type of
behaviour out of the list:

anxious, laid-back, loud, unworried, indifferent, taking one's time,
slow, quick, fidgeting, still, trying hard, nonchalant, expansive,
contractive.

High status Low status


III. Identify in the dialogues below the status of each speaker
(in one of the conversations the status of the speakers is gradually
reversed). Which features of high / low status can you point out?
Read out the dialogues in pairs.

1)
– [Nervous laugh]I was so . . . er . . . grateful for your . . . er . . .
invitation.

201
– Oh, please . . . I never thought... I mean . . . I'm so . . . so proud
that you came.
– Er . . . no one invites me anywhere, actually.
– They don't?

2)
– So this is where you live, Cedric! Rather squalid!
– I'll clear a space on the bed for you, sir. I'm so sorry!
– Bit dark in here! If you could wash the windows, we might be
able to see the view.
– That. . . er . . . that is the view. It's a cement wall.
– Well, I'd have that torn down for starters . . .

3)
– Thank-you for being so quiet. I'm trying to avoid the landlord.
– Behind with the rent, old chap? Perhaps it would help if I
bought one of your paintings.
– Would you? Would you really?
– Rather an interesting view you have here . . .
– That's not the view, it's a picture.
– My goodness! But these clouds are so real I could reach out and
touch them! Oh!
– You've . . . You've smeared it!
– I, I'm so sorry.
– Idiot!

4)
– Shoes off, Paul. Can't have you trampling dog-shit everywhere.
– So this is where you live? It can't be pleasant sharing that toilet
on the landing.
– It's just a pied-a-terre.I spend most of my time abroad, actually.
– Come hunting on the estate this weekend. We've a deer park full
of animals all trained to stand sideways so you can get a good shot at
them.
– Oh, I can't stand the country. Mud everywhere.
– My dear fellow, we don't allow mud on the estate.
(from Keith Johnstone Impro for Storytellers)

202
IV. The class is to be divided into two groups: Group A is to use
long and grammatically complete sentences while the students of
Group B use fragmented sentences and are out of breath every time
they speak. Together they are planning a party, discussing the place,
the food, the music etc. Comment on how verbal and non-verbal
components influence the status of a speaker.

V. Make up a dialogue on any topic concentrating on status
transitionor status reversal, i.e. Student A starts high and ends
low, and Student B follows the opposite pattern.

VI. Try playing the wrong status. Say, you may choose a low-
status mugger and a high-status victim, or a low-status hijacker
and a high-status pilot as in the example below:

– You want me to fly where?
– I'm sorry it . . . it's either Ohio or Iowa, I get them confused.
– You've no idea how to fire that gun, have you?
– Yes I do! And I'm prepared to use it!
– If you pull the trigger a flag will pop out. They sell them in the
airport shop.
– They do?
(from Keith Johnstone Impro for Storytellers)


VII. Playing the right status, for example, may save you
the trouble of being fined.

Let us examine the non-verbal aspects of the situation in which
you have been speeding in your car and are stopped by the police. In
these circumstances, the officer may regard you as an adversary as he
approaches your vehicle, and a driver's usual reaction is to remain in
the car, wind the window down and make excuses for having
exceeded the speed limit. The nonverbal negatives of this behaviour
are: 1) The officer is forced to leave his territory (the patrol car) and

203
come across to your territory (your vehicle). 2) Assuming that you
have in fact broken the speed limit, your excuses may represent an
attack to the officer. 3) By remaining in your car, you create a barrier
between yourself and the policeman.
Considering that under these circumstances the police officer is
obviously in a superior position to you, this type of behaviour only
serves to make things go from bad to worse and your chances of
being booked are increased. Instead, try this if you are flagged down:
1) Get immediately out of your car (your territory) and go over to the
police officer's car (his territory). In this way he is not
inconvenienced by having to leave his territory. 2) Stoop your body
over so that you are smaller than he is. 3) Lower your own status by
telling the officer how foolish and irresponsible you are and raise his
status by thanking him for pointing out the your ways and telling him
that you realise how difficult his job must be with fools like you
around. 4) With your palms out, in a trembling voice, ask him not to
give you a ticket. This type of behaviour shows the police officer that
you are not a threat to him and often causes him to take the role of an
angry parent, in which case he gives you a stern warning and tells
you to be on your way – without a speeding ticket! When this
technique is used as directed, it can save you from being booked
more than 50 per cent of the time.
(from Allan Pease Body Language)

Describe the way this technique may be used by a shop
manager talking to an irate customer who is returning some
faulty goods.


VIII. One of the overt markings of power relationships in
discourse is the use of the so-called 'T' and 'V' pronoun forms
which are found in many languages – French, German, Italian,
Spanish, Ukrainian, Russian among the European languages – but
not (modern) standard English.

Some languages have two forms for the second-person pronoun
where standard English has just the one, you, and although these
forms are in origin just singular (T) and plural (V), both have come
to be used for singular reference.

204
Let us take French as an example. Its T-form (tu) and its V-form
(vous) are now both used to address a single person. At one stage, the
difference between them was one of power: tuwas used to address
subordinates, vousto address superiors, and either (depending on the
class of the speakers) could be used reciprocally between social equals.
More recently, however, there has been a shift towards a system
based upon solidarity rather than power: tuis used to address people
one is close to in some way (friends, relations, coworkers, etc.), and
vousis used when there is social 'distance'.
There is tension between the power-based and solidarity-based
systems: what happens, for instance, if you want to address a social
'superior' who you are close to (your parents, say), or a subordinate
who is socially distant (e.g. a soldier, if you happen to be an officer)?
The answer used to be that you would use vousand turespectively on
grounds of power, but now it is that you would probably use tuand
vousrespectively on grounds of solidarity.
The particular development of T/V away from the power-based
system towards the solidarity-based system seems to be in line with
long-term developments across whole ranges of institutions which
have been documented in various languages: a movement away from
the explicit marking of power relationships. For instance, this is true
in Britain for higher education, for a range of types of discourse in
social services, and now for industry – where Japanese management
techniques which eliminate surface inequalities between managers
and workers are increasingly influential. It is of course easy enough
to find unreformed practice in any of these cases, but the trend over
three decades or more is clear enough.

(from Norman Fairclough Language and Power)



Comment on t he use of тиand Виi n t he Ukrai ni an
l anguage. Whi ch pronoun do you use when addressi ng
your parent s, rel at i ves?
English does not have a T/V system, and to some extent
the sort of values which attach to ти and Ви in Ukrainian
are expressed outside the pronoun system in English – as in

205
the choice between different titles and modes of address
(the choice between Bert, Bert Smith, Mr. Smith, Smith, for
instance). Prepare reports on forms and styles of address in
British, American, as well as Ukrainian and other cultures
you are interested in.


IX. Cultural differences may lead to misunderstandings and
ineffective communication. Consider the interaction between a
supervisor from the United States and a subordinate from Greece.
In the segment, the supervisor wants the employee to participate in
decisions (a norm in the United States), while the subordinate
expects to be told what to do (a norm in Greece):

Behaviour Attribution
AMERICAN: How
long will it take you to
finish this report?
AMERICAN: I asked him to participate.
GREEK: His behavior makes no sense.
He is the boss. Why doesn't he tell me?
GREEK: I do not
know. How long
should it take?
AMERICAN: He refuses to take responsibility.
GREEK: I asked him for an order.
AMERICAN: You are
in the best position to
analyze time
requirements.
AMERICAN: I press him to take responsibility
for his own actions.
GREEK: What nonsense!
I better give him an answer.
GREEK: 10 days. AMERICAN: He lacks the ability to estimate time;
this estimate is totally inadequate.
AMERICAN: Take 15.
It is agreed you will do
it in 15 days?

AMERICAN: I offer a contract.

206
X. In fact the report needed 30 days of regular work. So the
Greek worked day and night but at the end of the 15th day, he
still needed one more day's work.

AMERICAN: Where is my report? AMERICAN: I am making sure
he fulfills his contract.
GREEK: He is asking for the
report.
GREEK: It will be ready tomorrow. (Both attribute that it is not
ready.)
AMERICAN: But we agreed
that it would be ready today.
AMERICAN: I must teach him to
fulfill a contract.
GREEK: The stupid, incompetent
boss! Not only did he give me
wrong orders, but he does not
appreciate that I did a 30-day job
in 16 days.
The Greek hands in his resignation. The American is surprised.
GREEK: I can't work for such a
man.

(from William B. Gudykunst Bridging differences)

Examine how cultural differences can influence the
process of communication between people having unequal
or equal status , say, a professor and a student; a supervisor
and a subordinate, two colleagues if:
1) establishing eye contact is expected in the white,
middle-class subculture in the United States when you are
telling the truth and being respectful whereas in the lower
class black subculture in the United States children are
taught not to make eye contact with people they respect;
2) North Americans often use first names with someone
they have just met which is puzzling to most Europeans.
Think of other possible differences in communication
patterns.

207
S E C T I O N C

INTERVIEWING AND BEING INTERVIEWED

The interview is a conversation above all, a disciplined conversation
where you're trying hard, as opposed to a rambling chat,
and a conversation where you get beyond the obvious
Geraldine Doogue (journalist, Australia)


Ty pe s of i nt e r v i e ws :
By content:
1) fact interviews usually concentrate on the Who, What, When
and Where questions and are used for print news briefs and broadcast
news stories;
2) opinion interviews emphasize the Why and How questions and
are used for longer stories;
3) human interest interviews include fact and opinion questions
but concentrate on the emotions.
By context:
1) prepared (managed);
2) spontaneous.
By style:
1) aggressive;
2) challenging;
3) friendly;
4) overawed, etc

Comment on the type of an interview you have recently
read, heard, watched.

Another type of the interview is a vox pop. Vox pops (vox populi –
voice of the people) are street surveys to canvass people's feelings
about a person's actions or a topical issue; the question asked should
be short, easily understood and open (i.e. the question should elicit
more than a yes/no response); everyone should be asked the same
question to ensure the validity of results.

208
Conduct a vox pop on the Bologna process, methods of
assessment, curriculum subjects, teacher – student
relationships (the status of each side), or the menu at the
university cafeteria, etc. Record your interview and present
the audio / video recording in class.

Keep this in mind:
Communication is an amazingly intricate maze. Say, we call a
(male) interviewer A and a (female) interviewee B. In a simple
question and answer exchange you have to take into account the
following:
• What A thinks he says.
• What A actually says.
• What B thinks she hears.
• What B actually hears.
• What B actually says in reply.
• What A thinks he hears B say.
A is interviewing B about arguments at work. B is talking about a
row at a previous job.
• B ends by saying: 'So I left.'
• B thinks she has said: 'I left work early that day.'
• A thinks he hears: 'So I quit my job.'
• A says: 'Did you regret the decision?'
• B thinks: 'What a stupid question.'
• B says: 'No.'
• A thinks B is glad she left her previous job and is happy in her
present one, which may or may not be true.
Alan Greenspan, one-time chairman of the US government's
powerful Federal Reserve Bank, is on record as telling Wall Street
economists: 'I know you believe you understand what you think I said
but I am not sure you realise that what you heard is not what I meant.'
To find your way through the complex maze, use feedback: if at
all uncertain, repeat back to your interviewee what you believe they
said. This doesn't mean you need to paraphrase every word slowly
and clearly, but rather that you recognise accuracy to be in both your
interests and that there are many factors which can cause mistakes.


209
Interviewing tips:

Before you interview anyone, you must:
• Plan. Work out in advance what you need and want to know.
Plan your questions and the topics you want to cover.
• Research. Before you meet your interviewee, try to find out as
much as you possibly can about them. Read previous interviews,
trawl the internet for information and talk to other people who have
met them. There may be little information available or you may be
very tight for time, but recognise that being prepared will give you
the edge – particularly when it comes to business, political, and
celebrity interviews.
During the interview you should:
• Listen. Once the interview has started, no matter how tempted
you are, don't talk about yourself or deviate from the purpose of the
interview. The best listeners, concentrate on their interviewees so
much that they almost become invisible. One sign of good
interviewers is that, strangely, they're forgotten.
• Use silence. It is really golden. So get into the habit of not
jumping in with another question or comment as soon as the
interviewee has finished speaking. Instead, count at least four
seconds silently to yourself. You'll be amazed how often the
interviewee carries on speaking, amplifying their last comment. For
those who are unsure how long four seconds lasts, it's about the time
you can say to yourself 'One Mississippi, two Mississippi, three
Mississippi, four Mississippi'.
• Empathise. This doesn't mean that you have to like your
interviewee, but that you think yourself into their skin and are aware
of the likely impact of your questions.
• Keep an open mind. You might not find the story you were
expecting – but then again you might find an even better one.
• Remember all the elements of the story. Where relevant, take
notes on your interviewee's appearance, expressions, the room in
which interview takes place, etc. Even a photograph or painting on
the wall may lead them to something interesting.
• At the end of the interview, consider asking: 'Is there anything
else you'd like to add?' Works better for business and first-time

210
interviewees. Bear in mind, though, that when one journalist asked
broadcaster Clive James a question along these lines he told her: 'I'm
not doing your work for you!'
• Be charming and polite – even if you disagree profoundly with
the views you're hearing. Be skeptical rather than adversarial.
• Finally, never forget that it's the interviewee who's the star.


Ty pe s of que s t i ons :

I. Closed questions.

These are questions about fact or opinion that can be answered
briefly. Closed questions are ideal for establishing essentials –
names, job titles, locations, etc.
– Did you see the accident?
– No.
– What's her middle name?
– Arabella.
Closed questions can be useful if you're very near your deadline,
because they speed up replies, but using too many can damp down
the interviewee's interest. They move into an answering, not talking,
mode. The more closed questions are asked, the shorter the answers
to any subsequent open questions will be.
Leading questions can usually be answered shortly; thus, they
can be categorised as a subsection of closed questions.
How did you react? Were you furious?
How much money went missing – more than 250,000?
Assumptive sub-category of leading questions may appear
annoying, as in:
– Did you come by bus or train?
– I walked.
But if the assumption is correct these questions work well
because they demonstrate understanding and interest.
– You love the sea.
– Yes – with a passion. What made you say that?
– That photo of the yacht on your bookcase.
Sometimes, during very tricky interviews, using an assumptive
question is one way to provoke an answer.

211
Indirect assumptive questions are useful when you need to
overcome a barrier. Best known is the classic:
How many raffle tickets would you like?
. . . instead of:
Would you like any raffle tickets?
Lastly, there's a leading question variation which demands a
Yes/No reply – when either reply could land the interviewee in
difficulties. This has been called a 'classic conflict' question and is
used most viciously on politicians, who hate to be seen or heard
squirming to avoid a straight answer.
Directive, suggestive or loaded questions are unattractive and
manipulative, not recommended, but regularly used by unfortunate
journalists who have to return with quotes to fit a pre-set formula,
slot into a known space or support a management opinion.
You're happy to feed your child Frankenstein foods, not knowing
what appalling deformities might result in years to come?
Mother Teresa [the Pope, the Prime Minister . . . ] said love was
the most important thing in the universe. Don't you agree?

II. Open questions.

These questions require more than a few words for a satisfactory
answer:
Why do you think the pony survived being struck by lightning?
Exactly what is the difference between Spanish and Moroccan
green olives?
Among variations of the open question is the echo, to be used
when you sense that the interviewee might like to say more, but that
direct probing might not draw it out. Use this sparingly, and practise
first.
They say: 'I went absolutely ballistic.'
You pause – then repeat: 'You went absolutely ballistic?'
You pause again – and ideally they add more.
Amplification questions are a sub-category of open questions,
used to elicit extra details. The task here is to get the interviewee to
supply those all-important vivid or visual examples – the 'for
instance' hooks of communication.
– As a result, the two of them had a dreadful row.

212
– Could you tell me more – for instance, were they shouting?
– Shouting? They were screaming at each other. Richard called
Andrew an upper-class prat …
Clarification questions are another sub-category. The more you
interview, the more you realise how important it is to check you've
understood what you've been told.
The approach here should be along the lines of:
So what you're saying is . . . ?
Would I be right that you think . . . ?
Beginners must get into the habit of asking clarification
questions. It is far too easy to misunderstand what is being said as a
result of mishearings, wrong constructions, different ways of
thinking, vocabulary being used differently by different age groups.

Quest i on t i ps:
1. Make your questions suit your interviewee. Consider if your
interviewee is well-defended, scared, or creative, etc.
2. Beguile not browbeat.
Brilliant writer Clive James believes that the adversarial style
is'pretty nearly useless even when you interview a real adversary. If I
had asked Ronald Reagan 'Were you a stoolie for the FBI in
Hollywood?' he would have told me nothing. I asked him 'How
serious was the Communist threat in Hollywood?' and he told me
everything, implicating himself up to the eyebrows.'
3. Make the question very simple. No criticism, no loaded words,
no added details, no named sources for the interviewee to latch on to
and attack. This approach makes it difficult for interviewees to
dodge, divert or rubbish the question.
e.g. Will you explain why you are not implementing your planned
factory expansion?
4. With a few exceptions – for example, people you are trying to
wrongfoot or trap – the best way to ask an unpleasant question is to
give fair warning. You tell your interviewee you are going to ask a
difficult/hard/rude/impertinent/offensive question and then you do.
Because they are prepared, the sting goes out of the question and
they feel more able – and more obliged – to answer.
5. Treat it lightly by implying the question is not so serious.

213
I'd like to play devil's advocate here and look at what you did
from a different angle. Then the question becomes – why did you put
your name forward, considering your track record?
6. Try separate apparently disconnected questions – a two-step
approach.
You've always been idealistic, haven't you? I know you support
animal welfare charities and would never wear fur. I'm right there,
aren't I?
You already know the answer to these two questions, so you then
follow them up with:
So why do you send your children to a fee-paying school when
you believe in equality of opportunity?
7. Don't ask what you should already know from research.
8. Don't ask the first question that leaps to your mind. It will have
leapt to every other mind, too.
9. Don't prove how stupid you are by asking smart-arse, clever-
clever questions. They infuriate interviewees (a) because they break
the important 'they’re-the-star' guideline, and (b) because you're
showing off rather than trying to gather information.
10. Above all, don't – OK, very, very rarely – ask: 'How do you feel?'
Your mother's been eaten by a crocodile, your father's been
electrocuted, and your husband's gone missing in Borneo. How do
you feel?
One way of putting it that has been known to work is to ask:
'What did that do to you?'
(abridged from Sally Adams with Wynford Hycks Interviewing
for Journalists)
If your interviewee is over-talkative as in the poem by O. Henry:

Not hi ng t o Say
'You can tell your paper,' the great man said,
'I refused an interview.
I have nothing to say on the question, sir;
Nothing to say to you.'
And then he talked till the sun went down
And the chickens went to roost;
And he seized the collar of the poor young man,

214
And never his hold he loosed.
And the sun went down and the moon came up,
And he talked till the dawn of day;
Though he said, 'On this subject mentioned by you,
I have nothing whatever to say.'
And down the reporter dropped to sleep
And flat on the floor he lay;
And the last he heard was the great man's words,
'I have nothing at all to say.'
or if time is running short, summarise what they have said, restate
it, and then you can move on.
So what you're saying is . . . Now I'd like to turn to . . .
Let's see if I've got this right . . . Perhaps we can now talk about . . .
We've covered . . . so next . . .

O. Henry describes one type of challenging interviewees.
Think of a few other types (e.g. the monosyllabic, the
evader, etc). How would you respond to the challenge if
you were the interviewer?


Ti ps f or i nt e r v i e we e s :

Dos :
1. Prepare for the interview.
2. Stay on message. Remember what you want to say to your
audiences in this interview and do it.
3. Be real. No one wants to hear from a robot that is so'on
message' that he never smiles or shows emotion. Enthusiasm is a
contagion. If you want to engage a reporter, then be passionate so
they can feel how you feel.

Don' t s:
1. Do not be defensive when asked questions. If the media is
calling to talk about your pet project, remember to show you're
passionate about it but don't come across as hurt or aggrieved if the
reporter asks you any hard questions.

215
2. Do not lose control of the interview. When the reporter asks a
question off topic, answer it briefly then say'that's a good question
but today I want to talk about…'
3. Do not become flustered and frustrated. Even if you feel you
are being asked the same question again and again or in different
ways, think of each time as another opportunity to tell your
audiences your message.
4. Do not be obtuse by speaking in jargon or a monotone.
Remember who you want to reach with your message, and if they
don't work in your field, speak in plain language.
5. Do not answer in monosyllables or say no comment. Never
ever say yes, no or no comment. You're being interviewed because
you're an expert on the subject, so show your expertise.

An i nt ervi ewi ng pl oy you may resort t o:
Ask your interviewer for their opinion. In this way you may
flatter the interviewer, get him or her on your side and so stop
probing assessments.
But remember that good interviewers deflect these immediately.
One journalist recounts how at one point her interviewee asked her if
she had any children. She has two daughters, but said she had none,
because she knew that being a pleasant woman, the interviewee
would ask about them and she didn't want to divert or break up the
flow of the interview.

Now, put t he i deas i nt o pract i ce!

216
Uni t t hr e e

GENDER ISSUES
IN COMMUNICATION



S E C T I O N А

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. Do you agree that women and men speak different languages?
2. Can you give some recent examples of your own communica-
tive failures in talking to a representative of the opposite sex?
3. What explanations of such misunderstandings can you suggest?
4. Is it easier for you to communicate with people of your own sex
or the opposite one? What does it depend upon?
5. What do you know about language and gender research?
6. Are the results of the above-mentioned research branch relevant
to translation? In what way?

Spe e c h Pat t e r ns

Why don't I ask Evelyn for another month's holiday?

Why don't you go there immediately?
Why don't I speak to him in private? It might be more effective.
Why don't you send them an official invitation?

What do you say we go tomorrow?

What do you say we spend the weekend in the country?
What do you say I phone him and tell about our plan?
What do you say we invite them to our Christmas party?

How come you didn't tell me about this arrangement?

How come I didn't know about their marriage?

217
How come she didn't warn us about his arrival?
How come they didn't deliver the cargo on time?

'I somehow think they'd want two younger specimens.'
'Like hell. We're young. At least you are.'

He promised to deal with this matter personally.
– Like hell. I don't think he is able to do it alone.
I'm sure she'll do her best to get the highest mark.
– Like hell. It's not as easy as she thinks.
He'll change his mind. – Like hell he will!

And what about our kids?
We've got to get home by reasonable hour.

What about spending our holiday in Spain?
What about their offer? Is it still valid?
What about your essay? I hope you understand that the deadline is
approaching.


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each
speech pattern.

III. Fill in the gaps with suitable speech patterns:

1. I'm sure you'll reach some agreement with him. … He is so
obstinate. 2. Hi, John. I haven't seen you for ages. … we have a cup
of coffee and chat during lunch? 3. …, Mary! You keep people
waiting. You should behave as an adult. 4. … her parents didn't
know about her plans to be become a pilot? 5. … phone her
immediately? She's been waiting for your call since early morning.
6. … your promise? Can I rely on you?

218
IV. React to the statements below by using the appropriate
speech pattern:

– I hope she won't forget about the meeting.
– I think we should help Bob and his family.
– I think we should spend more time together.
– I'm not sure they'll be able to come on Wednesday.
– Emily gave birth to a lovely girl two weeks ago.
– You know, they are emigrating to Norway.

V. Translate the sentences below from Ukrainian into English
using speech patterns:

1. Які твої плани на відпустку? Що ти скажеш, якщо ми поїдемо
на тиждень до Турції? 2. Я впевнена, що він підпише контракт з
вашою фірмою. – Дочекаєшся від нього. Він такий непередбачува-
ний. 3. А що стосовно тієї роботи яку ти мені обіцяв? 4. Як сталося,
що вона не знала про існування його сина? 5. – Почуваюся жахли-
во через розлучення з Девідом. – Тримайся! Ти ще знайдеш свою
половинку. 6. – А чому ти не зв'яжешся з Джоном? Мені здається,
у нього багато знайомих у фінансовій сфері.


Te x t

FROM MAN, WOMAN AND CHILD

BY ERICH SEGAL

Erich Wolf Segal (June 16, 1937 – January 17,
2010) was an American author, screenwriter, and
educator. He was best-known for writing the novel
Love Story (1970), a best-seller, and writing the
motion picture of the same name, which was a major
hit. Segal attended Midwood High School in
Brooklyn and traveled to Switzerland to take summer
courses. He attended Harvard College, graduating as
both the class poet and Latin salutatorian in 1958,
after which he obtained his master's degree (in 1959)
and a doctorate (in 1965) in comparative literature,
from Harvard University. Segal was a professor of Greek and Latin literature
at Harvard University, Yale University and Princeton University. He had been
a Supernumerary Fellow and subsequently an Honorary Fellow of Wolfson
College, Oxford.

219
It was nearly the end of July when Jean-Claude had arrived home
from the hospital. Sheila was due to return to work on the first Mon-
day in August. And Bob grew increasingly uncomfortable at the
prospect of having the whole brood on his hands alone. He said noth-
ing to Sheila, but as usual she did not need words to know what he
was thinking.
'Why don't I ask Evelyn for another month's holiday? Even if she
says no, she might at least let me drive to Cambridge once or twice a
week and bring work back here.' He was touched by her offer. For he
knew this might raise hackles at the office.
'But Evelyn's such a martinet. Do you think she'd put up with that
kind of arrangement?'
'She'll just have to, Bob. I'll give her an ultimatum.'
'Sheila, you're a tiger.'
'No I'm not. I'll be quaking when I actually get in the room.'
Then I'll drive you up and be your second.'
'What about the kids?'
'We can get someone. Susie Ryder, maybe. I'll take care of it.
What do you say we go tomorrow?
'So soon?' she asked, affecting panic.
'I don't want you to get cold feet. Anyway, even if you do, I'll be
there to warm them at the last minute.'
She smiled at him. He had been living for that look.
'Well?'
He had stood guard on the stone steps outside The Harvard Press
waiting for her to emerge. When she did she was beaming.
'Well? he teased, 'in what elevated language did she tell you to go
to hell?'
'I'm an idiot, do you know that?' she stated cheerfully. 'She said I
should have asked her years ago.'
'Haven't I always told you you were the best editor they had?'
'Yes, but I didn't believe you.'
'Well this ought to teach you to trust my judgment a little more.
Now let's celebrate,' he said, taking her hand. 'What would you say to
a candlelight dinner?'

220
'It's barely lunchtime.'
'We can wait. And meanwhile we'll buy sandwiches and picnic
with the college kids along the Charles.'
'And what about our kids? We've got to get home by a
reasonable hour.'
'Tomorrow morning's soon enough/ he said, 'Susie can stay
overnight.'
She looked at him with a mischievous smile.
'How come you didn't tell me about this arrangement? Are there
any other surprises in store?'
'You'll see,' he answered. And he felt a surge of joy. Joy born of
hope. She hadn't objected to any of his 'arrangements'. So far, anyway.
Almost by definition, Harvard Summer School consists of people
not otherwise associated with Harvard. Hence as they walked along
the river bank, no one in Cambridge recognized them. They were
alone in the summer crowd. They sat down on the grass, ate lunch
and watched the many pleasure boats go by.
'If I see Noah's ark,' said Bob, I'll flag it over and we'll volunteer
as passengers.'
'I somehow think they'd want two younger specmens.'
'Like hell. We're young. At least you are. Every undergraduate
we've passed today has given you the eye.'
'But still, we're not as young as Jessica and Davey.'
'What? Come on. Sheila. She's an infant! This Davey nonsense is
sheer anti-me rebellion.'
'Bob, you'd better face up to the fact that your daughter is a blush
away from womanhood.'
'Years, Sheila.Years.'
She lay back, plucked a blade of grass and began chewing it.
'Not even MIT professors can make time stop,' she said.
He looked down at her freckled face.
'I don't want to stop time,' he said with emphatic seriousness, 'I
just want to turn it back.'
The candlelight dinner was not at any restaurant. While she was
inside confronting Evelyn Unger, he had dashed to Mass Avenue and

221
bought canned Vichyssoise, frozen Chicken Divan, salad in a bag
and two bottles of very good champagne. As for the candles, there
would be plenty in the house in Lexington.
They sat cross-legged in front of the fire and talked for a long time.
At one point he asked, 'Do you remember when we first made love?'
'I try not to. I was so scared.'
'And I was so gauche. Do you think your parents ever guessed
what we were doing while we house-sat for them?'
'Probably. We both looked so utterly miserable.'
They laughed together.
'I don't know why it went so badly, Sheil. I memorized every
manual - even the Kama Sutra.'
'In English?'
'I know it didn't seem-that way,' he grinned. 'But we improved,
didn't we?'
'Yes,' she said, 'practice makes perfect.' She took another sip of
champagne.
He moved close to her.
'I've missed our practice sessions,' he said quietly.
She did not reply. He moved even closer.
'You know,' he whispered, 'you're the only woman in the world
whose soul is as beautiful as her body.'
He realized as he said it that it might sound like a phoney line to
her. In the past he'd said such things and had been certain that she
knew he meant them. Which he had. With all his heart. But now, af-
ter everything that had happened, it was possible she'd never trust a
word he said.
'I mean it, Sheila,' he whispered, brushing back her hair and
kissing her forehead.
She did not move away. He took that as a hopeful sign.
'Do you believe I'll always love you?' he asked softly.
She bent her head down. And then answered, 'I think so.'
He put his arm around her and said firmly, 'You believe it. Take it
as an article of faith. I love you more than life.'
Tears began to trickle slowly down her cheeks.


222
He looked at her and murmured, 'I know, I know. I've hurt you
so much'.
Then both of them were silent. His heart ached for her. He was
desperate to make it right again.
'Sheila, could you ever – ' He stopped. It was so difficult. 'Do you
think you might in time be able to forget the way I've hurt you?'
Silence once again. Then she looked up.
'I'll try,' she whispered, 'I can't promise more, Bob. But I'll try.'
He took her in his arms. As she leaned back she spilled her cham-
pagne glass.
'That's good luck,' he said, kissing her eyes. Her cheeks. Her lips.
At last she responded, embracing him.
'I've missed you terribly,' she said, 'I couldn't bear the .thought of
losing you. Oh Robert…'
He kissed her everywhere, releasing all the tenderness pent up so
long. And prayed that someday all the pain he knew that she still felt
would disappear.
Please God, I love her so.

Comment ary

1. Harvard University – is a private Ivy League university
located in Cambridge, Massachusetts, United States, established in
1636 by the Massachusetts legislature. Harvard is the oldest institu-
tion of higher learning in the United States and the first corporation
(officially The President and Fellows of Harvard College) chartered
in the country. Harvard's history, influence, and wealth have made it
one of the most prestigious universities in the world. Harvard was
named after its first benefactor, John Harvard.
2. Noah's ark – built by Noah, who being a good man in a bad
world was bidden do it to rescue the best of man and beast from wa-
ters of destruction.
3. MIT – The Massachusetts Institute of Technology is a private
research university located in Cambridge, Massachusetts. MIT has
five schools and one college, containing a total of 32 academic
departments, with a strong emphasis on scientific and technological
education and research. Founded in 1861 in response to the increas-

223
ing industrialization of the United States, the institute adopted the
European polytechnic university model and emphasized laboratory
instruction from an early date.
4. Vichyssoise – (pronounced vɪʃiswɑːz/ US dict: vi·shē·swäz′)
is a thick soup made of puréed leeks, onions, potatoes, cream, and
chicken stock. It is traditionally served cold, but can also be eaten
hot. The origins of vichyssoise are a subject of debate among culi-
nary historians; some call it an American invention, whereas others
observe that the origin of the soup is questionable in whether it's
genuinely French or an American creation.
5. Kama Sutra – a Hindu book that gives information about
different ways to have sex.


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. brood (noun) a group of young birds who all have the same
mother and were born at the same time a. humorous a group of
young children who all have the same mother
brood (verb) 1) to think and worry about something a lot:
+ about/over Don't sit and brood over it for weeks. 2) if a bird
broods, it sits on its eggs until young birds are born.
brooding (adj.) 1) literary making you feel as if something bad or
dangerous is about to happen 2) looking as if you are thinking and
worrying about something: the brooding expression in his dark eyes.
broody (adj.) 1) Br E wanting to have a baby: Seeing tiny babies
always makes me feel broody. 1a) wanting to lay eggs or sit on them:
a broody hen 2) thinking and worrying about something a lot: Tim
plays the role of a broody teenager.
2. martinet (noun) formal someone who is very strict.
3. elevated (adj.) formal 1) raised above the ground or higher
than surrounding area: an elevated railway/motorway 1a) at a higher
level or amount than previously or than is normal: the dangers of the
elevated blood pressure 2) more important or higher in status: an ele-
vated position in society 3) at a high level mentally or morally:
elevated notions/standards.

224
4. gauche (adj.) behaving in a rude or unsuitable way in a social
situation.
5. arrangement (noun) 1) often plural a way of organizing things
so that problems are solved or avoided: I'm staying with Sally until
my heating is fixed – it's just a temporary arrangement. make an
arrangement He husband is away, so she has to make other
childcare arrangements 1a) arrangements (plural) practical plans for
managing the details of an event involving many people: How are
the wedding arrangements coming along? 2) an agreement or plan
that you make with someone else: + with They have an arrangement
with Pepsi-Cola to share the distribution facilities. come to an
arrangement We are trying to come to an arrangement about who
should pay the legal fees. by arrangement Evening meals are
available by arrangement (= if you agree in advance). 3) a set of
things that have been arranged to look attractive: a floral
arrangement 3a) the way that things are arranged in a particular order
or pattern: the arrangement of bones in the skull. 4) a piece of music
that has been changed for a particular type of voice or instrument: He
will play his own arrangement of Handel's Water Music.
6. phoney (adj.) informal 1) not real and intended to trick people,
fake: a phoney ID card 2) someone who is phoney pretends to be
friendly, clever, kind, etc.
phoney war a period of time during which people or
governments are officially at war, but are not in fact fighting.
7. pent up (adj.) pent up emotions are strong feelings, for
example anger, that you do not express so that they gradually
become more difficult to control: pent up excitement/frustration/fear.

Wor d Combi nat i ons and Phr as es

to raise hackles
to get cold feet
to go to hell
to give smb. the eye
to be a flush away
to trust one's judgment
to be one's second
practice makes perfect


225
Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Make up sentences of your own with each item from
vocabulary notes.

III. Consult a dictionary, transcribe the following words and
practice their pronunciation:

ultimatum, quake, emerge, mischievous, rebellion, volunteer,
surge, gauche, champagne, specimen, forehead, faith.

IV. Match the phrasal verbs on the left with the correct
definitions on the right:

1. to live for
smth./smb.
a) to remove smth. by moving your hands
very quickly over a surface
2. to bring back b) to accept that a certain situation exists
3. to put up (with) c) to move or flow slowly
4. to face up to d) to consider very important
5. to brush back e) to move near to a person or place
6. to trickle down f) to cause ideas, memories, etc. be in your mind again
7. to drive up g) to accept smth./smb. unpleasant in a patient way

V. Match the words on the left with their antonyms on
the right:

1. surge a) changeable
2. elevated b) accumulate
3. phoney c) decrease
4. firm d) layabout
5. desperate e) debased
6. release f) sincere
7. martinet g) hopeful

VI. Fill in the gaps with word combinations and phrases given
after the vocabulary notes:

1. Have you noticed that Nick … Ann … at the party last night?
2. His son is … from getting a MA degree from Oxford University.
3. I think you shouldn't do it without her permission. It may … and

226
lead to your losing the job. 4. His wife is always very supportive of
him and tries … . 5. If you want to gain certain skills and do this job
perfectly well, you need to work a lot. I quite agree that … . 6. I am
at a loss. He didn't want to listen to my arguments and told me … .
7. Don't worry. Everything is well-prepared for the performance.
I don't want you … and feel distressed. 8. He was right when he gave
me that advice. I should … more.

VII. Paraphrase the following sentences using the Essential
Vocabulary of the unit:

1. She's a pedant and disciplinarian, but the results of her
department are impressive. 2. His lofty style is not always approved
by his colleagues. 3. It may sound insincere, but I do think your
performance was brilliant. 4. She burst into tears releasing all the
stress that had accumulated for the past month. 5. Don't you know
what the matter is with Stephen? He looks gloomy and depressed.
6. He was so awkward that he broke his mother's vase. 7. You can
park your car here if you agree in advance.

VIII. Translate the following sentences into Ukrainian. Pay
special attention to the words and word combinations in italics:

1. This author often uses the elevated language to bring her
message to the readers. 2. My boss is a martinet, but I respect his
professionalism. 3. When police arrested the robber, the fear pent up in
her disappeared. 4. Her kindness seemed phoney to me because I heard
rumors of her cruelty to animals. 5. The public haven't appreciated his
arrangement of this popular song. 6. At the end of the novel a broody
teenager has turned into a lovely young woman. 7. Sorry, Jane. I am
usually not as gauche as that. I just wanted to protect you.

IX. Translate into English with the help of words and word
combinations from the Essential Vocabulary:

1. Його історія здалася мені вигаданою. Він ухилився від від-
повіді на деякі мої питання. 2. Він декілька тижнів розмірковував
над тим, що сталося, але так і не знайшов цьому пояснення.

227
3. Цей фестиваль дуже популярний. Туди завжди з'їжджається
багато людей. Ви подумали, де ви будете ночувати? 4. М'яко ка-
жучи, вона не дуже граціозна. Дехто міг би навіть назвати її не-
зграбною. 5. Піднесений стиль його промови додавав урочистості
цій події. 6. Коли людина працює з важливими документами, во-
на має бути прискіпливою і дуже дисциплінованою. 7. Вдома він
намагався стримувати гнів, який накопичився за весь день.

X. Make up short situations or dialogues using Essential
Vocabulary.


Exe r c i s e s t o t he Te xt

I. Summarize the text in a short paragraph of 60–80 words.

II. Write a précis of the text in 20–30 words.

III. Pick up from the text sentences describing the characters,
their behavior and manner of speech. Give the character
sketches and speech portraits.

IV. Retell the text a) on behalf of Sheila, b) Robert, c) by-
stander.

V. Practice dialogues between Sheila and Robert.

VI. Write out from the text sentences containing the word
combinations and phrases given after the text and translate them
into Ukrainian.

VII. Answer the following questions on the text as fully as
possible:

1. What can you say about the setting of the story?

228
2. What do you know about Harvard University and American
system of higher education?
3. What have you found out about characters' family status and
professional interests after reading the text?
4. What are Sheila and Robert going to celebrate?
5. What inferences can you make about characters' relations?
6. Can you guess what happened in Sheila and Bob's lives before
the situation described in the text?
7. Do characters have a good sense of humor? What testifies
to that?
8. What did Sheila and Bob discuss during their picnic lunch?
9. What strategies does Bob use to persuade Sheila of the
sincerity of his feelings?
10. How does Sheila reacts to Bobs remarks?

VIII. Reread the text to answer the questions below on its style
and composition:

• What types of narrative do you come across in this text?
• What stylistic device does the author use in the sentence 'Sheila,
you're a tiger'? Are there any other examples of it in the text?
• What features of colloquial style have you noticed in characters'
speech?
• What is the function of the question 'Haven't I always told you
were the best editor they had?'? What type of question is it?
• What intensifiers have you found in the characters' speech? Can
you suggest their Ukrainian equivalents?
• What can you say about the syntactic stylistic device used in the
following sentences 'That's good luck,' he said, kissing her eyes. Her
cheeks. Her lips.'? Find similar examples in the text.
• Can you explain the pun used by the author in 'I don't want you
to get cold feet. Anyway, even if you do, I'll be there to warm them
up at the last minute'? What other types of pun do you know?
• What intertexual elements are used in the text? What is the
author's point in using them?
• What stylistic device is used in the sentence 'His heart ached for
her'? What is it based on?

229
IX. As a newspaper Agony Aunt columnist write an answer to
one of your readers offering strategies of coping with a certain family
problem or conflict. Use your experience and imagination.

X. Write an essay of 350 words on one of the following topics:

– Family values: past and present.
– Do women and men speak different languages?
– The art of arguing with your partner.
– What do you mean by healthy relationship?
– Women and men in interruption.

XI. Comment on the following sayings and quotations:

A woman's tongue wags like a lamb's tale.
Foxes are all tail and women are all tongue.
The North Sea will sooner be found wanting in water than a
woman be at a loss for word.
Ask him the time and he'll tell you how the watch was made (Jan
Wyman of ex-husband Ronald Reagan).
The hardest task in a girl's life is to prove to a man that his
intentions are serious (Helen Rowland).
One of the most difficult things in this world is to convince a
woman that even bargain costs money (Edgar Howe).
Don't imagine you can change a man, unless he's in nappies. (Jas-
mine Birtles).

S E C T I O N B

Language and gender research began approximately 35 years
ago with the publication of Lakoff's (1975) Language and Women's
Place. During the late 1970s and early 1980s research which has
come to be known as the power/dominance approach developed. The
culture/difference approach then emerged in the mid 1980s and early
1990s. Both approaches assume that difference between male and
female speech patterns is pre-existing. Though they differ in their
explanations as to why this is the case.
Researchers who follow the power/dominance approach argue
that the considerable economic power men have over women in
society permeates into language, resulting in male domination in
spoken interaction. Male domination in society's power structures
ensures that men's speech is always more highly valued.

230
Researchers who follow the culture/difference approach assert
that men and women speak differently due to differences that are
implemented during the socialization process. Instead of viewing
female language as something that is imposed on women from
society's patriarchal institutions, culture/difference researchers began
to celebrate female speech styles.
Critics of power/dominance and culture/difference approaches
have now turned to the view of gender as a perfomative social
construct. Instead of viewing gender as something that is rigid and
fixed, serving to perpetuate stereotypes associated with male and
female speech, the notion of perfomativity allows gender to be
viewed as something which is flexible. Males and females learn a
much more complex set of gendered meanings, and both sexes are
fully capable of using strategies associated with either masculinity or
femininity.

Topi cal Vocabul ar y

language and gender research
power/dominance approach
culture/difference approach
performative social construct
public speaking
private speaking
report talk
rapport talk
to establish connections
to match experiences
to negotiate and maintain status
to open lines of communication
to take smb. on their own terms
therapy(-ist)
assertiveness training
verbal performance
mutual acceptance


231
Te x t 1

Who talks more, then, women or men? The seemingly
contradictory evidence is reconciled by the difference between what
I call public and private speaking. More men feel comfortable
doing'public speaking,' while more women feel comfortable
doing'private' speaking. Another way of capturing these differences
is by using the terms report-talk and rapport-talk.
For most women, the language of conversation is primarily a lan-
guage of rapport: a way of establishing connections and negotiating
relationships. Emphasis is placed on displaying similarities and
matching experiences. From childhood, girls criticize peers who try to
stand out or appear better than others. People feel their closest
connections at home, or in settings where they feel at home – with one
or a few people they feel close to and comfortable with – in other
words, during private speaking. But even the most public situations
can be approached like private speaking. For most men, talk is pri-
marily a means to preserve independence and negotiate and maintain
status in a hierarchical social order. This is done by exhibiting
knowledge and skill, and by holding center stage through verbal per-
formance such as story-telling, joking, or imparting information. From
childhood, men learn to use talking as a way to get and keep attention.
So they are more comfortable speaking in larger groups made up of
people they know less well – in the broadest sense, 'public speaking.'
But even the most private situations can be approached like public
speaking, more like giving a report than establishing rapport.
What is the solution, then, if women and men are talking at cross
purposes, about gossip as about other matters? How are we to open
lines of communication? The answer is for both men and women to
try to take each other on their own terms rather than applying the
standards of one group to the behavior of the other. This is not
a'natural' thing to do, because we tend to look for a single'right' way
of doing things. Understandably, experts are as liable to do this as
anyone else.
A national audience-participation talk show featured a
psychologist answering questions about couples' relationships. A
woman in the audience voiced a complaint:'My husband talks to his

232
mother, but he won't talk to me. If I want to know how his day was, I
listen to his conversation with his mother.' The psychologist told this
woman,'He probably trusts his mother more than he trusts you.' This
comment reinforced the woman's own suspicions and worst fears.
And what the psychologist said was perfectly legitimate and
reasonable – within the framework of talk in women's friendships:
The friend to whom you talk daily, telling all the little experiences
you had, is your best friend. But how reasonable an interpretation is
it from the man's point of view? I would wager that her husband did
not think he needed to do anything special to create intimacy with his
wife, because he was with her every day. But because his mother was
alone, he humored her by telling her unimportant little things that she
seemed to want to hear. His mother's need to hear such details would
make sense to her son because she was alone and needed them as a
substitute for the real thing, like watching life from her window. He
wouldn't understand why his wife would want and need to hear such
talk. Although it is possible that this man trusts his mother more than
his wife, the evidence given does not warrant such a conclusion. This
therapist was judging the man's way of talking by women's
standards. In a sense, the values of therapy are those more typically
associated with women's ways of talking than with men's. This may
be why a study showed that among inexperienced therapists, women
do better than men. But over time, with experience, this gender
difference disappears. Eventually, perhaps, men therapists – and men
in therapy – learn to talk like women. This is all to the good.
Assertiveness training, on the other hand, teaches women to talk
more like men, and this too is to the good. Women and men would
both do well to learn strategies more typically used by members of
the other group – not to switch over entirely, but to have more
strategies at their disposal.
Habitual ways of talking are hard to change. Learning to respect
others' ways of talking may be a bit easier. Mutual acceptance will at
least prevent the pain of being told you are doing something wrong
when you are only doing things your way.

(from You Just Don't Understand by D. Tannen)



233
I. Write down from the text word combinations and
phrases related to report talk and rapport talk. Be ready to
discuss their meaning.

II. Think of cases when public situations are approached
like private speaking and private situations are approached
like public speaking.

III. Give examples of possible misunderstandings between
women and men in a relationship similar to/different from the one
given in the text.

IV. Be ready to discuss strategies leading to better
understanding between opposite sexes.

V. In pairs make up short dialogues/situations and let your
groupmates explain what strategies of coping with male/female
misunderstanding you used.


Te x t 2

The Ar t of Li s t e ni ng

As a man learns to listen and interpret a woman's feelings correctly,
communication becomes easier. As with any art, listening requires
practice. Each day when I get home, 1 will generally seek out Bonnie
and ask her about her day, thus practicing this art of listening.
If she is upset or has had a stressful day, at first I will feel that she
is saying I am somehow responsible and thus to blame. My greatest
challenge is to not take it personally, to not misunderstand her. I do
this by constantly reminding myself that we speak different languages.
As I continue to ask 'What else happened?' I find that there are many
other things bothering her. Gradually 1 start to see that I am not solely
responsible for her upset. After a while, when she begins to appreciate
me for listening, then, even if I was partially responsible for her
discomfort, she becomes very grateful, accepting, and loving.

234
Although listening is an important skill to practice, some days
a man is too sensitive or stressed to translate the intended meaning
of her phrases. At such times he should not even attempt to listen. In-
stead he could kindly say'This isn't a good time for me. Let's talk later.'
Sometimes a man doesn't realize that he can't listen until she
begins talking. If he becomes very frustrated, while listening he
should not try to continue-he'll just become increasingly upset. That
does not serve him or her. Instead, the respectful thing to say is'I
really want to hear what you are saying, but right now it is very
difficult for me to listen. I think I need some time to think about what
you have just said.'
As Bonnie and I have learned to communicate in a way that
respects our differences and understand each other's needs, our
marriage has become so much easier. 1 have witnessed this same
transformation in thousands of individuals and couples. Relationships
thrive when communication reflects a ready acceptance and respect of
people's innate differences.
When misunderstandings arise, remember that we speak different
languages; take the time necessary to translate what your partner
really means or wants to say. This definitely takes practice, but it is
well worth it.

(from Men are from Mars Women are from Venus by J. Gray)

I. Whose point of view is presented in the text? Is it related
to your or your friends' experience?

II. Be ready to discuss the qualities of a good listener. Are you a
good listener?

III. Pick from the text adjectives characterizing the emotional
state or behavior of spouses, find their Ukrainian equivalents,
define their evaluative connotations, note down whether they are
related to female or male partner or both. Use them in your own
examples.


235
IV. Find in the text verbs related to perception and analysis of
partners' actions in the process of listening. Present the step- by-
step scheme of this process suggested by the author.

V. Formulate the strategies recommended by the author for
improving communication in a relationship. Suggest your own ones
if you have any.

VI. Prepare a research presentation on one of the following
topics:

Gender issues in translation studies.
Power/dominance approach and its representatives.
Culture/difference approach and its representatives.
Women and men in gossiping.
Gender issues in classroom interaction.
Gender identity and its relevance to translation.
Gender issues in political discourse.
Gender issues in business discourse.
Gender issues in fashion discourse.
Gender issues in judicial discourse.

S E C T I O N C

REVIEW WRITING

A review is a special type of article written for publication in a
magazine, newspaper, etc, giving a brief description and evaluation
of a film, book, play, TV/radio programme, etc. It may be formal or
semi-formal in style, depending on its intended readership, and is
usually written using present tenses.
A successful review should consist of:
introduction which mentions the title, the type of book/play/film/etc,
the etting (when/where), the theme, the main characters, etc.;
main body of two or more paragraphs containing the main points
of the plot (without revealing the ending), and evaluating such fea-
tures as the acting, writing style, direction, characters, etc.;
conclusion which includes an overall assessment of the work
and/or a recommendation, usually with justification.
You may also be asked to give reasons why someone should see
the film/play or read the book, how it has influenced you, etc. Note
that the number and length of aragraphs varies depending on the topic.

236
Us e f ul Language

To begin reviews:

This well-written/informative/fascinating/thought-provoking book is ...
The film/book/play/etc is set in .../tells the story of .../is based on ...
The film/play stars .../is directed by .../is the sequel to...
Main points of plot: The plot focuses on .., The story begins ..,
The plot has an unexpected twist... The film reaches a dramatic
climax .., etc.
General comments: It is rather long/confusing/slow etc, The cast is
excellent/weak ..., The script is dull/clever .., It has a tragic/surprising
end .., etc.

Evaluating various features:

The play/film/series has a strong/star-studded/mediocre cast.
The acting is moving/powerful/excellent/weak/disappointing/
unconvincing, gripping/dramatic/fascinating/suspense-filled/fast-moving,
ar-fetched/predictable/confusіng/duIl/unіmagіnative.
The script/dialogue is touching/witty/hilarious/boring/mundane.
It is beautifully/brilliantly/sensitively written/directed.

To end reviews:

You should definitely see/read .../Don't miss it/You might enjoy ...
All in all, it is well worth seeing/reading, since ... On the whole,
I wouldn't recommend it, in view of the fact that... It is a classic of its
kind/It is sure to be a hit/best-seller...

I. Read the following excerpts and fill in the gaps using words
from the list below:

action character climax
heroine interval lines
masterpiece readable opening rehearsal plot soundtrack
stunts themes thriller


237
a. On its 1) ……… night Tom Watt's new production was a
disappointment. The poor performance in the first act may have been
due to the lack of 2) .................................. as many in the cast
seemed ill-prepared, uneasy in their roles and unsure of their
3) ................................... After the 4) ..............................., the second
half was a great improvement.

b. This star-studded, electrifying remake of an old favourite has
impressive and dangerous 1) ..........................................., spectacular
special effects and an original 2) ..................................... by one of
the hottest current rock bands. The best 3) ............................... movie
of the year. Don't miss it!

c. The novel is narrated in the first person by its 1).........................
Amelia Evans, and it is through her actions that the
2) .................................
unfolds. From the opening chapter her 3) .................................
dominates
events, right up to their dramatic 4) ..................................

d. It has all the makings of a first-class 1).....................................;
it is set in
15th-century England and the 2) ..................................... it
explores centre around the paranormal and the occult. Although it is
not quite a literary 3) ....................................., it is definitely very
4) ...................................... What is the subject of each review?

II. Read the brief reviews below. Be ready to discuss their
style. If you have read any of the books mentioned, express your
opinion on them:


Jos e ph He l l e r

Catch-22 is too long, messy and takes 100 pages to get going.
Heller's second novel, Something Happened, took even longer to
write and justified the time.

238
From its opening line ('I get the willies when I see closed doors'), it is a
supremely controlled and meticulous masterpiece, grounded in the
horror of daily living. The first time I read it I was overwhelmed.
The second time I thought it was hilarious. The third time – getting
closer to the age of the horribly honest narrator Bob Slocum – it was
terrifying. It's the book that keeps on giving.

Kaz uo I s hi gur o

Hard to say exactly which book is his most famous these days. Is
it, bafflingly, the inchoate Never Let Me Go, probably his weakest
novel? Or the reliable The Remains of the Day, a lovely book to be
sure, but really just a refinement of his first two novels? The big one,
surely, is The Unconsoled, his bold and brilliant epic of one man's
anxiety, via family expectations, dream-logic, and growing up and
growing old. It has always been a controversial novel, to be sure: one
writer recently called it 'unreadable', while another said it was'one of
the few readable English novels of the 1990s.' Still, when The
Unconsoled was featured on Late Review (as it then was) on publica-
tion in 1995, Tony Parsons called for copies of it to be burned. What
greater recommendation do you need?

Ev e l y n Waugh

In the preface to Brideshead Revisited, written 15 years after its
first publication, Waugh comments that the book was written in
the'privation' of wartime, and that'in consequence the book is infused
with a kind of gluttony, for food and wine, for the splendours of the
recent past, and for rhetorical and ornamental language which now,
with a full stomach, I find distasteful.' Quite so. Waugh's strength is
as a humorist, the blacker the better, and so A Handful of Dust must
be his best work. This is the novel which, in a pivotal scene nobody
will forget ('Oh thank God'), taught me what Isaac Babel meant when
he said that no iron can pierce the heart with the force of a full stop
put at just the right place.

239
Je ane t t e Wi nt e r s on

Heaven knows Jeanette Winterson has had her literary ups and
downs – Gut Symmetries or The PowerBook, anyone? No, didn't
think so – but she's always an interesting writer in an age when a
willingness to experiment is rarely welcomed. It's sad then that her
most famous work remains her only mildly ambitious debut, Oranges
Are Not the Only Fruit. Despite the fairytale insertions and
Winterson's revisionist application of a'spiral narrative' to it, it's a
straightforward and warm autobiographical novel. For me her finest
work – before those'difficult' but still rewarding mid-period novels –
is Sexing the Cherry. Written at the disgustingly young age of 29, it's
funny, lyrical, clever and surprising, features the massive and
memorable Dog Woman, and not incidentally, is very short.

(from The Guardian Famous for the Wrong Book by John Self)



III. Write a review of a book you have read which has
strongly influenced your views on life. Briefly describe what the
book is about and in what ways it has influenced you. Use the
vocabulary given at the beginning of the section.

IV. Complete the following collocations by filling the gaps with
suitable words from the list below. Use the words only once.
Make up sentences with these collocations:

box office, curtain, gratuitous, long- running, Oscar, rave, thunderous,
standing, theatre, TV.

1. ……………… viewers 6.......................... call
2. ……………… audience 7........................ violence
3. ……………… hit 8 ................................. applause
4. ……………… ovation 9. ……………… reviews
5. ……………… soap opera 10. …………. nominees


240
V. Complete the missing words from the review below. The
first and last letters of these words are given. Then translate the
review into Ukrainian:

Already d– – d film of the decade The Player is Altman's revenge
upon the H– – – d system that throughout his career has done
everything possible to slight, demean and undermine his eclectic
genius. Superficially it's the perfect Hollywood b– – – – r containing
equal measures of 'sex, s– – – e, nudity, violence, heart, hope and
happy endings' (the ingredients listed by one of its characters as
sufficient to ensure the s– – – s of a film) but, by taking as its subject
the Hollywood system itself, Altman turns a cynically c– – – – -l,
clichéd and amoral m– – -e into a vicious satire of a world that prizes
these qualities above all others.
The chief targets of Altman's vitriol are Hollywood disciples of
Mammon, the film f– – – – s who treat movies as m– – – – -e. Thee
Player's central c– – – – -r is Griffin Mill, a successful studio execu-
tive who in an uncontrolled outburst of violence, murders the frus-
trated writer he believes to the source of a number of threatening let-
ters he has recently received. Following Mills desperate attempt to
cover up the crime, the p– -t is remarkably conventional but, in the
hands of Altman it becomes a homage to every great movie that has
survived the maulings of the system, and a p– – –y of all the films
that system has compromised.
For his portrayal of Mill, Tim Robbins was awarded the b– –t a– – –r
award at Cannes, but his is only one of many perfect p– – – –s.
When the film c– – –y first realized what Altman intended, every
disgruntled artist with a score to settle with the s– – s wanted to
associate themselves with the movie. With just about every famous
face in Hollywood begging to be allowed to appear, Altman seized
the opportunity to create an otherwise unobtainable realism, by c– – – –g
50 or 60 of the more immediately recognizable as themselves. An
alliance of art against acumen; Julia Roberts, Bruce Willis, Cher, Jack
Lemmon, Andie MacDowell and Susan Sarandon are just a handful of
multi million dollar s– -s whose brief cameos light up the film. Not
one of these actors (whose usual fees would each exhaust the Player's

241
meagre $8 mln b– – t received a cent. Their sole reward was the
satisfaction of having been part of the biggest collective r– – – y ever
blown in the faces of the professional bastards who run Hollywood.


VI. Write a review of your favourite film.


VII. In pairs prepare a presentation promoting one of the
recent films, books or theatre performances.

VIII. Read the academic review below, note down its stylistic
peculiarities and define the branch of science it refers to. Then
translate it into Ukrainian:

For anyone interested in the science and economics of global cli-
mate change, and what we must be done to prevent it from happen-
ing, Taken by Storm is required reading. Any politician who has
failed to read this book and yet is willing to commit society's re-
sources to avert global warming, while knowing that millions of
children die each year because they lack access to clean water, has
been derelict in his or her duty to the public. In this book, Professors
Essex and McKitrick present a powerful case against the mainstream
view that currently holds sway in policy circles – that global
warming is upon us, that its consequences will be nothing short of a
global disaster, and that the poor will be the most devastated by it.
They point out that, while much good climate and economic science
has taken place over the past several decades, the science of global
warming is still in its infancy – many difficult problems remain
to be researched. However, the science that is currently available
has been interpreted by the media, environmentalists, science
bureaucracies and even some practicing scientists in a way that hides
the depth of uncertainty and exaggerates the perceived risks. The
environmentalists finally have an issue that can be used to slow or
even halt economic growth and its supposed harmful effects, while
the scientist has an issue that can be used to pry open the public
purse for research on a grand scale. All sides are simply responding

242
to economic incentives and are caught up in a game they can't break
free from. Unfortunately, as these authors demonstrate, science itself
may be the long-run loser.
Professor G. Cornelis van Kooten,
Canada Research Chair in Environmental Studies
and Climate Change, Department
of Economics, University of Victoria,
Victoria, British Columbia


IX. Find a book or a research paper related to the sphere
of your research interests and write an academic review of it.

X. Exchange your bachelor's papers with one of your
groupmates and try to write an objective review taking into
account the requirements set for such papers.

243
Uni t f our

AGE FACTOR
IN HUMAN INTERACTION



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following
questions, drawing on your experience:

1. Do you agree that age has a certain influence on our communi-
cative behavior?
2. Can you give some recent examples of your own communica-
tive successes or failures in talking to people from another age
group?
3. Which strategies have you used in such communication?
4. Do you easily find common language with people younger or
older than you? What does it depend upon?
5. What do you know about child language research?
6. What do you think about the role of age factor in translation
process?

Spe e c h Pat t e r ns

Did his behavior give you any signs that this was coming?
– Not really.

Were you surprised that they got married?
– Not really. I knew they were in love.
Does he desperately want to go to Brasilia?
– Not really. He just wants to change the environment.
Did you expect her to get a PhD from Oxford?
– Not really. I didn't think her to be that bright.

Well, no wonder my poor boy's ill. Whose filthy clothes are
these all over the place?


244
No wonder he failed at the exam. He had spent all his time in the pub,
not in the library.
She should have followed the expert's advice. No wonder she has
lost nearly all her money.
Well, no wonder it took them more than an hour to get there. The
traffic jams are quite common nowadays.

Would you like to sit down? You must be very tired.

Would you like a cup of tea? She'll come in ten minutes.
Would you like to leave him a message? He's out of office at the
moment.
Would you like her to call you back later? She's at the meeting now.

Why did you disturb him? – Believe me, Mrs. Davidson.
I never bothered him.

What have you done to my computer? – Believe me, Helen. I have
never ever touched it.
Why were you so aggressive towards him? – Believe me, darling.
I just wanted to defend you.
All this is going to cause a lot of trouble, believe me.

What's wrong with that? I've brought him up that way.

What's wrong with going there by car? We'll be free to stop
wherever we like on the way.
What's wrong with staying at her house for a few days? She'll
be on holiday. We won't disturb anyone.
What's wrong with that? I don't like to get up early myself?

Hey, look. Why don't you rest here. I can boil some coffee.

Hey, look. Why don't we discuss it in the morning.

245
I feel exhausted right now.
Hey, look. Let's meet tomorrow at 6 o'clock and finalize our plans.
Hey, look. It's unfair to accuse me of cheating.

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each
speech pattern.

III. Fill in the gaps with suitable speech patterns:

a. Why have you told him about our plans? – … He's my best
friend.

b. They shouldn't have treated her like that. … she decided to
cross them out of her will.
c. … Why don't you call him and apologize for not coming to his
wedding?
d. Did you expect her to write such a wonderful play? – … . I
thought she'd continue writing books for children.
e. Why were you so talkative? – …, darling. I just wanted to be
friendly with your relatives.
f. … a glass of water or juice? You must be thirsty after the walk
in such hot weather.

IV. React to the statements below by using the appropriate
speech pattern:

1. He'll have to submit sooner or later.
2. I can't talk to you right now.
3. It's so stuffy here. I feel dizzy.
4. Were you surprised when she emigrated to Canada?
5. She didn't have enough practice.
6. I shouldn't have spent so much money on clothes, if I were you.


246
V. Translate the sentences below from Ukrainian into
English using speech patterns:

1. Ти встав сьогодні так рано. Не хочеш трохи поспати після
обіду? 2. Послухай, а чому б нам не поїхати влітку на Мальдіви?
3. Чому ти дозволяєш йому стільки часу проводити з друзями?
– А що в цьому поганого? Я їх знаю з дитинства. 4. Немає нічого
дивного в тому, що вона не змогла забронювати квиток на цей
рейс. Зараз пік сезону відпусток. 5. Це йому так не минеться,
повір мені. Тут задіяні дуже серйозні люди. 6. Він дійсно хоче
вступати до юридичної академії? – Ні, не дуже. Але його батьки
мріють, щоб він став юристом.


Te x t
FROM THE CLASS

BY ERICH SEGAL

Erich Wolf Segal (June 16, 1937 – January 17, 2010) was an Ameri-
can author, screenwriter, and educator. He was best-known for writing
the novel Love Story (1970), a best-seller, and writing the motion
picture of the same name, which was a major hit. Segal attended
Midwood High School in Brooklyn and traveled to Switzerland to take
summer courses. He attended Harvard College, graduating as both the
class poet and Latin salutatorian in 1958, after which he obtained his
master's degree (in 1959) and a doctorate (in 1965) in comparative
literature, from Harvard University.
Segal was a professor of Greek and Latin literature at Harvard
University, Yale University and Princeton University. He had been a
Supernumerary Fellow and subsequently an Honorary Fellow of
Wolfson College, Oxford.
Although it was only the first week of November, the air at six
o'clock was glacial and as dark as any winter evening. As Jason was
dressing after squash practice, he discovered to his annoyance, that
he'd forgotten to bring a tie. He'd now have to return to Straus to get
one. Otherwise, that Irish Cerberus who stood checking necks at the
Union doorway would gleefully bounce him. Damn. Damn.

247
He trudged back across the chilly, leafless Yard, climbed the
stairs to A-32, and fumbled for his key.
The moment that he pushed the door ajar, Jason noticed
something odd. The place was dark. He glanced at D.D.'s room. No
light from there either. Maybe he was sick. Jason rapped softly and
inquired, 'Davidson, are you okay?'
There was no reply.
Then, breaking the ironclad house rules, Jason opened the door.
First he noticed the ceiling, where the electric wires had been torn
out. Then he glanced quickly at the floor. Where he saw his room-
mate in a heap, motionless – a belt around his neck.
Jason was vertiginous with fear.
Oh God, he thought, the bastard's killed himself. He knelt and
turned D.D. over. This gesture elicited the faintest semblance of a
groan. Quick, Jason, he urged himself, fighting to keep his wits, call
the cops. No. They might not come in time.
He swiftly removed the leather belt from his roommate's lacerated
throat. He then heaved him up onto his shoulders like a fireman, and
rushed as quickly as he could to Harvard Square, where he comman-
deered a taxi, ordering the driver to tear-ass to the infirmary.
'He'll be all right,' the on-duty physician assured Jason.'I don't
think Harvard sockets are wired well enough for suicide. Although,
God knows, there are some kids who actually succeed in their ingen-
ious ways. Why do you think he did it?'
'I don't know,' said Jason, still somewhat deadened from the
shock.
The young man had a bit too much invested in his grades,' Dennis
Linden pronounced. He had arrived on the scene in time to offer a
professional analysis of the young freshman's desperate action.
'Did his behavior give you any hints that this was coming?' asked
the Health Service doctor.
Jason shot a glance at Linden, who continued to pontificate,'Not
really. You can never figure out which egg is going to crack. I mean,
the freshman year's so fraught with pressure.'
As the two doctors continued chatting, Jason fixed his gaze on
his shoes.

248
Ten minutes later, Jason and the proctor walked together out of
the infirmary. It was only then that he realized that he had no coat.
Or gloves. Or anything. Panic had inured him to the cold. Now he
was shivering.
'You need a lift, Jason?' Linden asked.
'No, thanks,' he answered sullenly.
'Come on, Gilbert, you'll freeze to death walking back like that.'
'Okay,' he relented.
During the short ride up Mount Auburn Street, the proctor tried to
justify himself.
'Look,' he rationalized,'this is what Harvard's all about– it's sink
or swim.'
'Yeah,' Jason mumbled half-aloud,'but you're supposed to be the
lifeguard.'
At the next red light he climbed out of Linden's car and slammed
the door.
His anger again made him oblivious to the bitter cold.
He walked on toward the Square. At Elsie's he consumed two
Roast-Beef Specials to replace the dinner he had missed, then went
over to Cronin's, cruising by the wooden booths to find a friendly
face so he could sit down and get drunk.
Jason was awakened rudely the next morning by a rapping on the
door that made his headache even worse. It was only when he started
groggily toward it that he noticed he was still in last night's clothing.
Anyway, his soul felt wrinkled. So they matched.
He opened the door.
A stocky, middle-aged woman, wearing a green floppy hat, was
planted solidly outside.
'What did you do to him?' she demanded.
'Oh,' Jason said quietly,'you must be David's mother.'
'A real genius you are,' she muttered.'I'm here to get his clothes.'
'Please,' Jason said, immediately ushering her in.
'It's freezing on that landing, if you didn't notice,' she remarked
while entering the suite and glancing hawk-eyed into every corner.
'Foo, it's a real pigsty. Who cleans up this place?'
'A student porter vacuums once a week and swabs the John,'
said Jason.

249
'Well, no wonder my poor boy's ill. Whose filthy clothes are these
all over everywhere? They carry germs, you know.'!
'They're David's,' Jason answered softly.
'So how come you threw my David's clothes all over everywhere?
Is that your rich boy's idea of a little fun?'
'Mrs. Davidson,' Jason said patiently,'he dropped them there
himself.' After which he quickly added,'Would you |like to sit down?
You must be very tired.'
'Tired? I'm exhausted. Do you know what that night train
is like – especially for a woman my age? Anyway, I'll stand while
you explain why it's not your fault.'
Jason sighed.'Look, Mrs. Davidson, I don't know what they've
told you down at the infirmary.'
'They said that he was very sick and has to be transferred to some
god-awful . . . hospital,' she paused, and then she gasped,'a mental
hospital.'
'I'm really sorry,' Jason answered gently,'but the pressure here can
be ferocious. To get grades, I mean.'
'My David always got good grades. He studied day and night.
Now suddenly he leaves my house and comes to live with you and he
collapses like he had no yeast. Why did you disturb him?'
'Believe me, Mrs. Davidson,' Jason insisted, 'I never bothered
him. He –' Jason worked up the courage to complete his sentence' –
sort of brought it on himself.' Mrs. Davidson slowly absorbed this
allegation.
'How?' she asked.
'For reasons that I simply cannot fathom, he just felt he had to be
the best. I mean, the very best.'
'What's wrong with that? I brought him up that way.'
Jason felt a surge of retrospective pity for his erstwhile roommate.
Obviously his mother rode him like a racehorse in a never-ending
homestretch. He wouldn't have to be Humpty Dumpty to crack under
that kind of strain.
Then suddenly, without warning, she flopped onto their couch
and began to sob.
'What did I do? Didn't I sacrifice my life for him? This isn't fair.'
Jason touched her tentatively on the shoulder.'Look, Mrs. Davidson,
if David's going to a hospital he'll need his clothes. Why don't I
help you pack?'

250
She gazed up at him with a look of helplessness.'Thank you,
young man. I'm sorry that I yelled, but I'm a bit upset, and I've been
on the train all night.'
She opened her purse, took out a handkerchief already moist, and
dabbed her eyes.
'Hey, look,' Jason said softly.'Why don't you rest here? I can boil
some coffee. Meanwhile, I'll pack his stuff, go get my car, and drive
you to ... wherever David is.'
'A place called Massachusetts Mental Health, in Waltham,' she
replied, choking on nearly every syllable.
In the bedroom, Jason grabbed a suitcase and tossed in garments
he thought would be appropriate. Instinct told him that the hospital
would not require ties and jackets.'What about his books?' his mother
called out.'I don't think he'll need his school stuff right away, but I'll
hold on to it and bring him what he wants.'You're very kind,' she said
again. And blew her nose. One suitcase packed, Jason cast a quick
eye around the room to see if he'd missed anything essential. At that
moment he caught sight of something lying on top of the desk. Even
as he reached out, he had ominous forebodings of what it would be.
Yes, he was right. It was the bluebook from D.D.'s Chem. 20 mid-
term. And his roommate's nightmare had turned out to be prophecy.
He had received a mere B-minus. As casually as possible, he folded
the exam and stuffed it in his back pocket.'Wait here, Mrs. Davidson.
My car's a few blocks away. I'll run and get it.'
'I must be keeping you from your classes,' she said meekly.
'That's okay,' he answered.'I'm just happy I can do something for
David. I mean– he's a real nice guy.'
Mrs. Davidson looked into Jason Gilbert's eyes and murmured,
'You know, your parents should be extremely proud.'
'Thank you,' Jason Gilbert whispered. And ran off, a dull ache in
his heart.

Comment ary

1. Straus Hall - is one of the undergraduate dormitories housing
first-year students at Harvard University. It is located in Harvard
Yard. Three Harvard brothers built Straus Hall to commemorate their
parents, Isidor Straus and Ida Straus, who died on the Titanic.

251
2. Cerberus - Cerberus ( /sɜrbərəs/), or Kerberos, [ kerberos])
in Greek and Roman mythology, is a multi-headed hound (usually
three-headed) which guards the gates of the Underworld, to prevent
those who have crossed the river Styx from ever escaping. Cerberus
featured in many works of ancient Greek and Roman literature and in
works of both ancient and modern art and architecture, although, the
depiction and background surrounding Cerberus often differed across
various works by different authors of the era.
3. Freshman, Am E – a student in their first year at university, in
Br E – fresher.
4. Proctor is an administrator or graduate student who lives in the
dorm and acts as a resource for personal, residential, social,
academic, and other issues. In some cases, the Proctor will also be a
student's Freshman Adviser. Each Proctor oversees an entryway of
approximately 20–40 students. Along with their fellow Proctors, they
are also responsible for dorm-wide social programming.
5. Humpty-Dumpty - is the character from a nursery rhyme that
is made from an egg and breaks when he falls off a wall. It is used
for talking about situations in which something has broken or been
taken apart and cannot be put back together. It is also an unkind way
of referring to a fat person.
6. Bluebook – in Am E sheets of paper folded in half and
fastened together to form a book that students use for writing in
when taking examinations. It often has a blue colour.

Es s e nt i al Voc abul ar y

Vocabulary Notes

1. glacial (adj.) 1. extremely cold: a glacial wind 2. showing that
you are angry or unfriendly: She gave him a glacial look. 3. ex-
tremely slow: The plot moves at a glacial pace. 4. created by glaciers
millions of years ago: a glacial lake.
2. gleeful (adj.) happy and excited, often because of someone
else's bad luck: She gave a gleeful chuckle. – gleefully (adv.)
3. fumble (verb) 1. to try to hold, move or find something using
your hands in a way that is not skilful or graceful: + for She fumbled
for her keys in her bag. + with Robert began to fumble with his but-

252
tons. + around/about He fumbled around in the dark looking for
some matches. 1a. to drop a ball: Smith fumbled at the goal line. 2. to
say something in a way that is not skilful or effective: a fumbled ex-
planation fumble for words He stood there fumbling for words.
4. elicit (verb) formal 1. to make someone react in that way: The
question elicited a positive response from 60 % of voters. 2. to man-
age to get information from someone: Their research has elicited
very little so far.
5. lacerate (verb) formal to make a deep cut in someone's flesh
lacerating (adj.) 1. capable of upsetting someone or hurting their
feelings very much: lacerating criticism 2. capable of cutting or
damaging someone's flesh
laceration (noun) a deep cut in someone's skin: She had
lacerations to her skin and back.
6. groggy (adj.) feeling tired, weak, or confused, especially
because you are ill or have not had enough sleep – groggily (adv.)
7. ferocious (adj.) violent and able to cause serious damage or
injury: flooding caused by last night's ferocious storm a. severe or
strong: The plan met with ferocious criticism. – ferociously (adv.),
ferociousness (noun)

8. allegation (noun) [often plural] a statement that someone has
done something wrong or illegal even though this has not been
proved: deny allegations (= say they are not true) She denied the
latest allegations. + of allegations of fraud and corruption + that
There were allegations that the film encouraged violence make alle-
gations against/about sb I gather you've been making allegations
against your neighbor.
allege (verb) to say that something is true or that someone has
done something wrong or illegal even though this has not been
proved: + that The defence alleges that Jones was beaten up while in
police custody. be alleged to have done sth. He is alleged to have
ordered the murder of a US citizen.
allegedly (adv.) if someone allegedly does something, another
person says they have done it, even though this has not been proved:
The second incident allegedly occurred in the spring of 1992.

253
Word combinations and Phrases:

to be vertiginous with
to be fraught with
to inure smb. to sth.
to make smb. oblivious to sth.
to swab the john
to have no yeast
to dab one's eyes
ominous forebodings
to keep one's wits
to hold on to sth.


Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.


II. Make up sentences of your own with each item from
vocabulary notes.


III. Consult a dictionary, transcribe the following words and
practice their pronunciation: ajar, ironclad, heave, commandeer,
ingenious, cruise, suite, pigsty, germ, fathom.


IV. Match the words on the left with their antonyms on
the right:

1. oblivious a) to catch a ball
2. glacial b) trite
3. peaceful c) attentive
4. fumble d) lacerate
5. lively e) very quick
6. ingenious f) ferocious
7. stitch g) groggy

254
V. Match the phrasal verbs on the left with the correct
definition on the right:

1) to trudge back a) to make an activity or process begin
2) to heave up b) to move or travel towards smb. or sth.
3) to figure out c) to develop a particular feeling
4) to go over d) to walk somewhere with slow heavy steps
5) to usher in e) to stretch your arm to try to hold or touch sth.
6) to work up f) to push, pull or lift a heavy object
7) to reach out g) to understand something


VI. Fill in the gaps with word combinations and phrases
given after the vocabulary notes:

1. He was absolutely exhausted after twelve hour flight. He
looked as if he … in him.
2. Working in the fields … his body to heat and cold.
3. After taking the first place in world championship, he was …
with happiness.
4. During his army service he had to do different jobs, … in
particular.
5. This expedition … with danger. I don't advise you to join it.
6. The shock of losing his sister … him … to the outside world.
7. The unemployment rate is rather high now. You should …
this job.
8. She tried to stop crying and … with a handkerchief.
9. In emergency don't panic and … about you. That's the only
way to get out of it.
10. He had some … on the eve of the disaster, so he urged his
family to leave the place.

VII. Paraphrase the following sentences using the Essential
Vocabulary of the unit:

1. Cold wind and rain spoiled their outing to the Lake District.
2. His speech was a failure. He couldn't find proper words and persuade
people to vote for his proposal. 3. They say that the robbery occurred
when they were out of the city, but it hasn't been proved yet. 4. Several

255
villages were razed to the ground by severe tornado. 5. Their article
evoked controversial response in society. 6. The police found the body
of a young man with several cuts to his chest and hands in a deserted
garage. 7. If you continue to spread rumors that our firm is cheating
clients, we'll take you to court. 8. I saw a happy expression on her face
when she got to know that her ex-boyfriend lost his job. 9. He felt weak
after spending three weeks in hospital.

VIII. Translate the following sentences into Ukrainian. Pay
special attention to the words and word combinations in italics:

1. His fumbling with the papers betrayed his nervousness. 2. She
is alleged to have kidnapped their child. 3. They spent their holiday
in the mountains and enjoyed the marvelous view of several glacial
lakes. 4. She smiled gleefully at the news of his defeat in the last
round. 5. Their initiative elicited unanimous support of other EU
members. 6. The defendant denied all the allegations of the plaintiff.
7. He was shocked by ferociousness of his brother's criticism.
8. After the end of her night shift, she walked groggily to her car, got
inside and started the engine. 9. The police officer survived the
attack of the criminal, but his forearm was lacerated. 10. She alleged
that her brother-in-law had forged her signature on the cheque.

IX. Translate into English with the help of words and word
combinations from the Essential Vocabulary:

1. Його пропозиція наштовхнулась на сувору критику. 2. Він
впустив м'яча у вирішальний момент гри. 3. Після кількох без-
сонних ночей він ледве тримався на ногах. 4. Вона висловила
своє невдоволення його поведінкою холодно поглянувши на
нього. 5. В її словах відчувалося злорадство з приводу того, що
він спізнився на літак. 6. Журналістам вдалося добитися відпо-
віді місцевої влади на це болюче питання. 7. На тілі жертви ви-
явили чисельні різані рани. 8. Він стверджує, що його сусід ні-
бито пошкодив його автівку.

X. Make up short situations or dialogues using Essential
Vocabulary.

256
Exe r c i s e s on t he Te xt

I. Summarize the text in a short paragraph of 60–80 words.

I. Write a précis of the text in 20–30 words.

II. Pick up from the text sentences describing the characters,
their behavior and manner of speech. Give the character sketches
and speech portraits.

III. Retell the text a) on behalf of Mrs. Davidson, b) Jason
Gilbert, c) bystander.

IV. Practice dialogues between Mrs. Davidson and Jason
Gilbert.

V. Write out from the text sentences containing the word
combinations and phrases given after the text and translate them
into Ukrainian.

VII. Answer the following questions on the text as fully as
possible:

1. What did you come to know about Jason Gilbert?
2. Why did he have to return to his dormitory?
3. What happened to his roommate?
4. What did Jason do to help his roommate?
5. What did the on-duty doctor and Denis Linden talk about in
the hospital?
6. Why was Jason angry at the proctor's behavior?
7. How did Jason try to relax after the shocking accident?
8. Who woke Jason up the next morning?
9. How did Davidson's mother behave herself? Give your expla-
nations of her behavior.
10. What can you say about Jason's strategy of conducting
conversation with Davidson's mother?
11. What changes in verbal behavior of Mrs. Davidson have
you noticed?
12. Why did Davidson commit suicide (in your opinion)?
13. Where did the events described in the text take place?

257
VIII. Reread the text to answer the questions below on its style
and composition:

1. What type of narration do you come across in this text?
2. What syntactic stylistic device does the author use in the sen-
tences 'Damn. Damn.' What other syntactic stylistic devices can you
find in the text?
3. What can you say about a phrase 'the faintest semblance of a
groan'?
4. What adverbs are used in the text to introduce Jason's direct
speech addressed to Mrs. Davidson? What do they tell you about Jason?
5. What does the verb 'to tear-ass' mean? What is the author's
point in using it?
6. What is peculiar about the sentences'The young man had a bit
too much invested in his grades' and'… but I'm a bit upset'?
7. What does the phrase '… you'll freeze to death walking back
like this' express?
8. Can you explain the sentence 'Anyway, his soul felt wrinkled'
from stylistic point of view? What is the effect of its usage?
9. What stylistic figure is used in the sentence 'Obviously his
mother rode him like a racehorse in a never-ending homestretch'?
10. What do the questions that occur in the text imply? (e.g. What
did I do? Didn't I sacrifice my life for him? Why don't I help you
pack? etc.)

IX. Role- Play.

Student A. Your daughter/son is going to get married. You don't
approve of this idea at the moment. Your future daughter- /son-in-
law has come to discuss certain details. Try to dissuade her/him from
getting married, use different strategies for the purpose.
Student B. You are going to get married. You have come to
discuss certain details with your future mother- in-law. She doesn't
approve of this marriage at the moment. Try to gain her favor and
make her change her mind. Persuade her that you'll do your best to
make her daughter/son happy. Be polite, but persistent.

258
X. Write an essay of 350 words on one of the following
topics:

• Language generation gap.
• Child language and its peculiarities.
• Do teenagers speak a different language?
• Communication problems related to age difference.
• Your strategies of successful communication with parents and
grandparents.

XI. Comment on the following sayings and quotations:

'It is sad to grow old, but nice to ripen.' (Brigitte Bardot)

'Maturity is a high price to pay for growing up' (Tom Stoppard)

'The only advantage to being an adult is that you can eat your
dessert before your vegetables' (Lisa Alther)

'Always obey your parents when they are present' (Mark Twain)

'Ask your child what he wants for dinner only if he's buying'
(Fran Lebowitz)

'Children despise their parents until the age of forty, when they
suddenly become just like them, thus preserving the system'
(Quentin Crewe)
'Wrinkles merely indicate where smiles have been' (Mark Twain)


S E C T I O N B

Think over the following quotation before doing the
subsequent tasks.

'In the development of the child as a social being language has
the central role. Language is the main channel through which the
patterns of living are transmitted to him, through which he learns to
act as a member of a 'society'- in and through the various social
groups the family, the neighborhood and so on – and to adopt its
'culture', its modes of thought and action, its beliefs and its values.
This does not happen by instruction, at least not in the pre-school

259
years; nobody teaches him the principles on which social groups are
organized, or their systems of beliefs, nor would he understand it if
they tried. It happens indirectly, through the accumulated experience
of a number of small events, insignificant in themselves, in which his
behavior is guided and controlled, and in the course of which he
contracts and develops personal relationships of all kinds. All this
takes place through the medium of language.' (Halliday 1978: 9)

Topi c al Voc abul ar y

Innateness hypothesis (IH)
language acquisition
input
child-directed speech (CDS)
redundancy
fine tuning
to be exposed to
unsupported assumptions
caregiver
child language development
joint interaction
to make salient
verbal/non-verbal cues
patterns of behavior
mother-child/ father-child interaction
conversational breakdown
to elaborate on one's utterance
acknowledgement/ non-acknowledgement
to follow up on smth.

I. Read, translate and discuss the texts given below.

Te x t 1

For every theory about language there are of course linguists who
will disagree with it. Chomsky's IH is no exception to this rule. As
might be expected, many objections to it have been based on the
premise that Chomsky's 'mentalist' approach to language is wrong-

260
headed and that linguists should be analyzing not a complex internal
structure of the mind, but the process by which children learn the
ability to communicate with those around them.
One particular line of research in the area of language acquisition
has focused on Chomsky's claim about the 'poverty of stimulus': the
idea that the evidence for the language that the child receives is so
poor and incomplete that it cannot explain successful acquisition.
Chomsky's insistence that everyday language use is full of errors and
omissions seems plausible enough. However in the 1970s a number
of linguists challenged the assumption that observations about every-
day language could necessarily be used in discussions of the input to
the process of acquisition. Claims had been made about the language
children heard as input, and weighty theoretical conclusions had been
based on these claims. But there had been no attempt to establish by
observation whether the claims were justified.
Researchers in this area argued that the language addressed to young
children was just not the same as other types of everyday language.
They investigated this type of language by experiment and observation,
and at first referred to it as 'mothers' speech'. When it was realized that
the type of language in question was used not just by mothers but also
by other adults, and indeed even by older children, this term was later
changed to 'child-directed speech' (CDS). Researchers such as Catherine
Snow and others argued that CDS had certain distinctive characteristics
that set it apart as a specific variety of English.
The distinctive characteristics of CDS make up a quite complex and
diverse list. The utterances produced when addressing young children
are said to be generally shorter than those produced when addressing
other adults. They are also simpler grammatically, avoiding compli-
cated structures such as subordinate clauses and passives. They tend to
be more correct and more fluent; utterances in CDS generally do not
contain many grammatical errors, false starts or hesitations. They are
characterized by a high degree of redundancy; that is, they include a lot
of words that are not strictly necessary because they repeat either
exactly or roughly what has already been said. In terms of content and
subject matter, CDS tends to focus on the here and now: on what is
immediately present in the context of the conversation. Overall CDS is
said to be characterized by 'fine tuning'. Speech addressed to a young

261
child does not stay the same but changes gradually over time. It
becomes more complex as the child becomes older; it might be said to
be 'tuned' to the child's ability to understand and respond.
From the point of view of alternative theories of language, the
most interesting part of the work on CDS is how Snow and others
responded to these characteristics: the conclusions they drew from
them. In fact they were surprisingly modest in their claims. For in-
stance, Snow did not argue that her research indicated that Chomsky
must be completely wrong, or that it proved that language was not
innate. She actually agreed with Chomsky that there was no evidence
that children were directly taught language as they were taught other
skills. Adults' motivation in using CDS was to interact and commu-
nicate with children, not to teach them. However, Snow argued that it
was at least possible that the features of CDS offered young children
a very useful model for building up a picture of the language they
were learning, and that therefore some of Chomsky's more extreme
claims should be treated with caution. The input that children re-
ceived in fact looked remarkably like an effective set of 'language
lessons' (Snow, 1972, p. 561).
By placing this phrase in quotation marks, Snow was obviously
keen to distance herself from the suggestion that adults deliberately
taught language to children in this way. Language that was simple,
short and redundant offered children numerous examples of basic
syntactic structures. Meanwhile language that was concerned with
the here and now helped children to develop an understanding of
meaning, and of the relationship between individual words and
objects. In both respects the language the child was exposed to
gradually become more complex over time, meaning that the child
was constantly encouraged to develop further syntactic and
semantic ability.
CDS research certainly did not cause Chomsky's innateness
hypothesis to be abandoned. It did, however, suggest another way of
looking at things, and drew attention to some unsupported
assumptions about input in Chomsky's work. There are problems,
however, for anyone who wants to claim that CDS is sufficient to
explain away the logical problem of language acquisition. Perhaps
most significantly, there is evidence that CDS is far from universal.
Some of the early claims about its importance may have been based

262
on the assumption that what went on in particular types of family –
specifically middle-class, academic, American families – went on
everywhere. But there is evidence that in some cultures there simply
is no such thing as CDS. Children are either not addressed at all, or
addressed only with commands and explanations. Nevertheless, as
Chomsky himself has noted, children learn a first language with
similar speed and success whatever culture they grow up in. It is
certainly possible that CDS has a role to play in language learning,
but it seems that it cannot be an essential role.

(from Thinking about Language by Siobhan Chapman)


II. Decide whether the statements below are true or false,
according to what you read in the text.

1. Some scholars claimed that language addressed to young
children differs from other types of everyday language.
2. The term 'CDS' is used to describe the language addressed to
young children by their mothers.
3. Utterances in CDS are characterized by insignificant redun-
dancy.
4. 'Fine tuning' means that CDS does not stay the same but
changes gradually over time.
5. Snow's research showed that children were directly taught
language as they were taught other skills.
6. Language that was concerned with here and now helped
children to master basic syntactic structures.
7. CDS is not sufficient to explain away the logical problem of
language acquisition.

III. Prove the belonging of this text to the style of scientific
prose, support your arguments by examples from it.

IV. Be ready to discuss the links between language acquisition
and translation.

V. Share your experience of communication with young
children.

263
VI. In pairs make up dialogues demonstrating children's
creativity in language use.

VII. Read the text given below:

Te x t 2

Additional research on child language development from the
fields of psychology and developmental psycholinguistics further
substantiates the social nature of language learning. Findings from
this research demonstrate the links between the development of lan-
guage and children's participation in their socioculturally important
communicative activities with their caregivers and other more
competent participants. More specifically, it has been shown that
children acquire both the forms and meanings of their linguistic
resources from repeated experiences in regularly occurring
communicative activities with their primary caregivers. In their joint
interactions, the children are provided with a substantial amount of
input in which the caregivers make salient the more important cues
to the children. Children's attention is drawn to these cues through
sociopragmatic actions including non-verbal cues such as gazing and
tone and pitch changes. They are also provided with verbal in-
structions that direct them to perceive or notice these cues and make
connections between them and their contexts.
In their interactions with adults in the routines of their daily
lives, even very young children play an active role by attempting to
figure out the goals of their interlocutors' actions, and to reproduce
the actions used by their interlocutors to reach these goals. For
example, they observe and look for patterns of behavior in their
activities with others.
In another study that looked at caregiver-child talk, it was shown
how children developed different ways of communicating from their
participation in different communicative contexts. In looking at the
difference between mother-child and father-child interaction, the au-
thors found, for example, that when conversational breakdowns oc-
curred in interactions with their parents, children elaborated upon
their utterances if their mothers did not initially acknowledge them.
In contrast, the children repeated their utterances or abandoned talk if

264
their fathers did not acknowledge them. The authors argue that the
different communicative actions taken by the children in response to
each parent's non-acknowledgements arose from their different
communicative experiences with each parent. Because mothers usu-
ally followed up on their children's utterances when a breakdown in
communication occurred, the children learned to interpret their
mothers' lack of initial acknowledgement as a need for more infor-
mation and so learned to elaborate. On the other hand, because fa-
thers usually did not return to the conversation after a breakdown, the
children learned to interpret their fathers' non-acknowledgement as a
lack of interest and so learned to abandon talk.

(from Teaching and Researching Language
and Culture by J. K. Hall)


VIII. Summarize the results of two kinds of research presented
in the text, do it in writing.

IX. Pick from the text words and phrases related to different
stages of research process and find their Ukrainian equivalents,
use them in your own presentations.

X. Think of differences in your own communication with your
mother and father. Is it usually successful?

XI. Be ready to discuss the qualities of a good parent.

XII. Prepare research presentation on one of the following
topics:

1. M. Halliday's contribution to linguistic theory.
2. Chomsky's innateness hypothesis and related research.
3. Language acquisition as a branch of linguistics.
4. CDS as a line of research in language acquisition.
5. Age factor in translation process.
6. Age factor in learning a foreign language.
7. Age factor in teaching translation.
8. Ageism and its manifestations.

265
S E C T I O N C

ABSTRACT WRITING

Abstract is a concise representation of the contents of a
publication or an article, accompanied by adequate bibliographical
descriptions to enable the publication or the article to be traced.
These are the basic components of an abstract in any discipline:
1) Motivation/problem statement: Why do we care about the
problem? What practical, scientific, theoretical or artistic gap is your
research filling?
2) Methods/procedure/approach: What did you actually do to
get your results? (e.g. analyzed 3 novels, completed a series of 5 oil
paintings, interviewed 17 students)
3) Results/findings/product: As a result of completing the above
procedure, what did you learn/invent/create?
4) Conclusion/implications: What are the larger implications of
your findings, especially for the problem/gap identified in step 1?

An abstract must be a fully self-contained, capsule description of
the paper. It can't assume (or attempt to provoke) the reader into flip-
ping through looking for an explanation of what is meant by some
vague statement. It must make sense all by itself. Some points to
consider include:
Meet the word count limitation. If your abstract runs too long, ei-
ther it will be rejected or someone will take a chainsaw to it to get it
down to size. Your purposes will be better served by doing the diffi-
cult task of cutting yourself, rather than leaving it to someone else
who might be more interested in meeting size restrictions than in rep-
resenting your efforts in the best possible manner. An abstract word
limit of 150 to 200 words is common.
Any major restrictions or limitations on the results should be
stated, if only by using'weasel-words' such as'might','could','may',
and'seem.'
Think of a half-dozen search phrases and keywords that people
looking for your work might use. Be sure that those exact phrases
appear in your abstract, so that they will turn up at the top of a search
result listing.

266
Usually the context of a paper is set by the publication it appears
in (for example, IEEE Computer magazine's articles are generally
about computer technology). But, if your paper appears in a some-
what un-traditional venue, be sure to include in the problem
statement the domain or topic area that it is really applicable to.
Some publications request'keywords.' These have two purposes.
They are used to facilitate keyword index searches, which are greatly
reduced in importance now that on-line abstract text searching is
commonly used. However, they are also used to assign papers to re-
view committees or editors, which can be extremely important to
your fate. So make sure that the keywords you pick make assigning
your paper to a review category obvious (for example, if there is a
list of conference topics, use your chosen topic area as one of the
keyword tuples).

Purpose of an abst ract i s
(a) to help workers in the subject of the article to decide whether
the contents of the paper are such that they desire to read it in full.
(b) to give readers for whom the paper is of ' fringe ' interest as
much of information as possible, so that it is unnecessary for them to
read the whole paper.
(c) to expedite the work of the abstracting journals by making it
possible for them to reproduce immediately the author's abstract
which will be of great assistance in the general improvement of
information services in the scientific field.

Co n t e n t
The abstract should contain brief and factual summary of the
contents and conclusions of a paper, should refer to any new
information provided and give an indication of its relevance. New
information should include observed facts, essential points of new
method or treatment of newly designed apparatus etc.
Reference should be made to new materials, such as new
compounds, new species or varieties or forms etc and new numerical
data, such as physical constants.

Pr es ent at i on
(a) The abstract should be written in complete sentences using
standard terms avoiding unnecessary contractions.

267
(b) It should be assumed that the reader has some knowledge
of the subject discussed and that he may not refer to the actual paper
summarized.
(c) It should be intelligible in itself without reference to
the original paper.
(d) Specific references and citations should, in general, not be
included in abstracts.
(e) The abstract should be as concise as possible and only in
exceptional case should it exceed 200 words.

Ty pe s of Abs t r ac t s

Different types of abstracts are being recognized on the basis of
the information that they contain and the person who prepared them.

A. By t h e t y p e o f i n f o r ma t i o n

1. Titular Abstract

Titular abstract also known as title only abstract is the author's
title used without amplification to describe the contents of a
document. Most titular abstracts are subject – oriented rather than
findings -oriented.

2. Indi cat i ve / Descri pt i ve Abst ract

Indicative abstract points out what is in the original document,
without attempting to substitute the original. This helps the reader to
decide whether the original document should be read.
This embodies a general statement of the nature and scope of
a document and characteristically does not contain qualitative and
quantitative data. It provides clues to the reader whether the sought
information is contained in the original article or not. It serves as a
guide and is not a substitute for the original document. It often
contains statements, such as'procedures… are given','effects…are
discussed', 'a method… is described', 'diagrams…are included', The
length of this type of abstracts can be from 75 to 150 words. The
indicative abstract has been proven to be an effective tool for
providing current awareness services where the original documents
are readily available.

268
3. An n o t a t i o n

Annotation is the amplified title of the author by adding a few
words.

4. Mi ni -abst ract or Mi cro-abst ract

Mini-abstract or Micro-abstract is the highly condensed indicative
abstract which provides only a line or two about the document.

5. Informative, Informational or Comprehensive Abstract

An informative abstract yields all basic pertinent information and
facts so that it is not necessary to read the whole document. Also it
summarizes all relevant arguments, data and conclusions. In certain
eases, it might serve as an adequate substitute for the original for ob-
taining specific information. It is of 150 to 250 words.

6. Eval uat i ve Abst ract

Evaluative abstract, in addition to the summary of the principal
arguments will comment on the worth of the original.

7. Sel ect i ve Abst ract

In this type of abstracts the information is condensed as per the
needs of the user for example – executives, research managers etc.

B. B y c o mp u t e r

1. Aut o-abst ract s

Auto-abstracts is produced by a computer analysis of the
frequency of the use of significant words in a document and of the
frequency with which these'high frequency' words appear in the same
sentence.

2. Tel egraphi c abst ract or St andardi zed or Encoded
abst ract

Telegraphic abstract or Standardized or Encoded abstract is
produced by selecting significant words from the document, assign-
ing role indicators ( code symbols ) and punctuation symbols which
separate and group the word into various meaningful units.


269
3. St at i st i cal or numeri cal abst ract s

Statistical or numerical abstracts present data in tabular or
numerical form. This technique is also applicable to scientific
papersin which the author summarizes results in a data table, which
can be reproduced with the citation to form an abstract.


C. By t he t ype of wr i t e r of t he a bs t r a c t

1. Aut hor abst ract

Author abstract is the abstract prepared by the author of the
document and forms a part of the original paper. This may be an
indicative or informative abstract depending upon the nature of
publication and the publisher.

2. Synopsi s or homot opi c abst ract

Synopsis or homotopic abstract is a term adopted by the Royal
Society of London and by the International Conference on Science
Abstracting of UNESCO to describe an author's summary of a
scientific paper which is published simultaneously with the paper,
after the editorial scrutiny. This term is now replaced by 'Abstract'.

3. Subj ect Expert ' s Abst ract

Subject Expert's Abstract is an informative or indicative abstract
prepared by a peer in the specific discipline of the document either
by education or by specialization and experience.

4. Professi onal abst ract or prepared abst ract

Professional abstractor prepared abstract is prepared by a individual
who has high education and experience in some or all of the
disciplines in which documents are abstracted. These abstracts may be
of informative or indicative types depending upon the editorial policy
of the secondary periodical and the nature of the document.


270
I. Analyze the structure and the content of the abstracts given
below. Translate them into Ukrainian.
Stylistic Analytical Tools and Simultaneous Interpreting
Simon Zupan
University of Maribor

When working in simultaneous mode, conference interpreters
provide translation in the target language practically in real time. This
entails various challenges for them. On the one hand, they have to make
sure they deliver the content of the original speech in the target language
as faithfully and completely as possible; on the other, they have to
consider various linguistic, cultural, pragmatic and other differences
between the original and the target languages in the translation. In
addition, interpreters are often under pressure because of external factors
such as high speech rate, heavy accentuation or strong dialect, lack of
information and materials for successful preliminary preparation, long
working hours and many others. Consequently, the speech in translation
may contain inaccuracies and deviate from the original.
Stylistics as a discipline has so far not been frequently employed in
the analysis of the quality of simultaneous interpretation. (A Google
search of related keywords, for example, results in almost no studies
the two disciplines.) However, as I intend to show in the paper,
stylistic analysis can be of considerate use in the assessment of
simultaneous interpretation, in particular for determining discrepancies
between the source and target speeches. The paper relies on the results
of a pilot study which compared original speeches (of various types)
delivered in English during the Slovenian Presidency of the EU in
2008 with their Slovenian interpretation. In the study, source and
target speeches were first transcribed and then compared with respect
to various stylistic features. The analysis revealed not only the more
evident discrepancies such as omissions or mistranslations, but also
subtler ones such as a lesser reliance on the use of nominalization,
often an effective and quick way of expressing long verbal structures.
The findings have potentially interesting implications for both the
practice and teaching of simultaneous interpretation.
Keywords: stylistics, interpreting studies, simultaneous
interpretation, speech transcript, analysis.

271
The Tel evi sual Game i s ON: The St yl i st i cs of BBC' s
moder n- day ' Sher l ock'

Christiana Gregoriou
University of Leeds

Doyle's Sherlock Holmes is one of the most 'performed' charac-
ters of all time. This paper focuses on a very contemporary
reincarnation of this character's world, in the much – acclaimed
3-part televisual Sherlock series, set in modern-day London, and first
screened by the UK's BBC in the summer of 2010. The TV show's
270-minute long first series attracted wide national commendation,
with its final episode drawing overnight figures of a combined
audience of an impressive 7.3 million viewers.
I start with an exploration of the intertextual, stylistic and multi-
modal nature of selected transcribed extracts from these three mod-
ern 'texts', with a focus on the characterological pragmatics of the
Sherlock-Watson interaction. Seeing that fictional detective's social
eccentricity or oddness is indeed the norm where this genre is
concerned, this modern portrayal of the most recognized and greatest
detective of all is rather unsurprising, but worth pursuing linguisti-
cally. I closely analyze these main characters' very first encounter in
the BBC's 'A Study in Pink, a meeting indeed not depicted in most
other Sherlock adaptations. In analyzing the given extract, I investi-
gate not only the formulation of each of the two characters, but also
the way in which an understanding of language and other semiotic
means helps explain the way they relate to each other.
I also examine the ways in which the original narratives have
been adapted into a very technologically advanced, young, and
therefore culturally relevant setting. Besides, unlike his Victorian
counterpart, the modern Sherlock comes to rely on computers,
mobile phones and conceptual as well as technological satellite
navigators to catch killers and solve crimes. I here also account for
the series' various film-making and screen technological techniques.
Keywords: crime, multimodality, intertextuality, characterization,
Sherlock.


272
II. Analyze the source and target texts of the abstract given
below and assess the quality of this translation.


Ано т а ці я

Самохіна В. О. Жарт у сучасному
комунікативному просторі Вели-
кої Британії і США: текстуаль-
ний та дискурсивний аспекти.
– Рукопис.

Дисертація на здобуття наукового
ступеня доктора філологічних наук
зі спеціальності 10.02.04 – герман-
ські мови. – Харківський націона-
льний університет імені В. Н. Кара-
зіна. – Харків, 2010.
Дисертаційне дослідження ґрун-
тується на теоретичних і методоло-
гічних принципах нового напряму
лінгвістичного аналізу – функціона-
льно-комунікативній стилістиці
тесту, в межах якого виявляється
кореляція між поняттями дискурсу,
тексту, мовленнєвого жанру, стилю.
Робота є комплексним дослі-
дженням текстово-дискурсивних
властивостей сучасного британсь-
кого та американського жартів і
спирається на постулати функціо-
нально-комунікативної методології,
яка інтегрує формальні, компози-
ційні, текстові, жанрові та дискур-
сивні аспекти жарту.
Жарт розглядається як когнітивне
утворення, поява якого зумовлю-
ється розумінням комунікативної
активності людини в контексті смі-
хової культури і досліджується в
аспекті його соціального побуту-
вання й комунікативної ситуації.

A b s t r a c t

Samokhina V. A. Joke in the
Present-Day Communicative Space
of Great Britain and the USA:
Textual and Discursive Aspects.
– Manuscri pt .

Thesis for a Doctoral Degree in
Philology: Speciality 10.02.04 –
Germanic languages. – Vasyl Karazin
Kharkiv National University. –
Kharkiv, 2010.
Being a complex study of text-
discourse properties of modern British
and American jokes, this dissertation
substantiates methodological
principles of a new direction of
linguistic analysis – functional and
communicative text stylistics within
the framework of which a correlation
between style, text, discourse and
speech genre is ascertained.
The analysis is underpinned with
the postulates of functional and
communicative linguistics thus
integrating formal/compositional,
textual, genre and discourse aspects of
jokes.
The joke is considered as a
discourse format, the appearance
of which is conditioned by
perceiving a person's communica-
tive activity within the laughing
culture and examining it in the
context of its social setting
and situation of performance.

273
Інтегруючи відповідні лінгвістич-
ні елементи, комунікація може здій-
снюватись за допомогою жарту,
який функціонує в гумористичному
різновиді дискурсу і виявляється в
реалізації інконгруентності на дис-
курсивному рівні.
Інконгруентність є базовим когні-
тивним механізмом жарту, який
есплікується на лінгвоситуативному
рівні (порушення онтологічних,
логіко-поняттєвих, валоративних
норм), а також на лінгвальному рів-
ні (порушення мовних, мовленнє-
вих, текстових і жанрових норм),
маніфестуючись у парадок-
сі:відхилення від норми є нормою
сміхового сприйняття світу. У жарті
виявлені лінгвальні засоби й функ-
ції створення комічного ефекту.
У роботі також досліджується ін-
терпретативна роль адресата, праг-
мастилістичні функції антропоні-
мів, інтертекстуальність у тексті
анекдоту.
Ключові слова: жарт, інконгруе-
нтність, відхилення від норми, смі-
хова культура, лінгвальний vs лінг-
воситуативний гумор, мовленнєвий
жанр, гумористичний різновид дис-
курсу, механізми створення коміч-
ного, комічний ефект.

Integrating the corresponding lin-
guistic elements, communication
between people is realized with the
help of the joke which functions in
the humorous variety of discourse
and manifests incongruity at the
discourse level.
Incongruity is the basic cognitive
mechanism which manifests itself
both at the linguosituational (deviation
from onthological, referential, logical,
conceptual, discursive norms) and the
linguistic level (deviation from linfual,
speech, textual and genre norms).
Incongruity displays itself in a
paradox, the essence of which is
formulated as follows: deviation from
a norm is a norm of a laughable
perception of the world. Linguistic
tools common for jokes have been
established (functions of epithets,
numeric elements, oppositions, etc.).
The paper also explores the
interpretative role of the addressee,
pragmastylistic functions of
anthroponyms, intertextuality in the
narrative joke.
Key words: joke, incongruity,
deviation from standards, comic
culture, lingual vs linguosituational
humour, speech genre, humorous
variety of discourse, mechanisms of
comism creation, comic effect.



III. Find a research publication related to the topic of
your master's paper and write the abstract of it.

274
Uni t f i v e
TENDENCIES
IN PRESENT-DAY COMMUNICATION.
POLITICAL CORRECTNESS



S E C T I O N A

PRE-READING ACTIVITIES

1. What does the term 'political correctness' denote? Give
examples of the politically correct language.
2. Consider the matter of taboo shifting discussed by Jean
Aitchison, the Oxford professor of language and communication,'In
the 19
th
century, it was religious swearing that upset people. Then, in
the mid-20
th
century, sexual swearing. These days, people get far
more upset about politically incorrect language: nigger, and even
mad, are quite taboo… I think if a politician were to be heard off-
camera saying f-word, it would be trivial, but if he said nigger, that
would be the end of his career.' (The Guardian, 21 November, 2002)
How can you account for these taboo shifts?
3. Do you happen to know any cases when politically incorrect
behaviour or language ruined a person's career? Was it an intentional
offence, an unintentional mistake or a trumped-up case?

Spe e c h Pat t e r ns

a) the all but forgotten short-story writer;
b) I had to write something for him – he all but ordered me to.

The deal is all but done.
The theatrical company has all but sold out the tickets for the
opening night.
Online ads are all but useless: eyetrack results prove users are
ignoring banner ads.
The outcome of the election is all but certain.

It's almost a certainty that had he retired, without incident,
in his own good time, there would have been the festschrift.

275
Had they not rushed Jo to hospital, he would have died.
Were he to agree, he would become the next leader of the party.
Were you to have stopped and considered, you would have seen
the errors of your ways.
Should any of this cost you anything, send me the bill.

But strong as she was, loud as she was, Iris could not take it.

Hard as it is to believe, there are some good reasons for paying
taxes.
Diffucult as it was, they finally reached a compromise.
Unlikely as it might seem, I am tired too.
Much as I would like to help, I have other things that I must do.


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian. Which of the speech patterns can sound rather elevated
and rhetorical?

II. Come up with a short speech intended to persuade the
audience either that it is important to introduce the regulations on
political correctness in Ukraine or that it is absurd to have any
regulations of this kind. Use all the three speech patterns.

III. Paraphrase the sentences using the appropriate speech
patterns:

1. Tottenham almost completely ended Arsenal's hopes of
winning the Premier League with a win which boosted their own
chances of qualifying for the Champions League. 2. If it had not been
for Wagner, modern classical music would sound very different.
3. Even though they tried hard, the sides couldn't agree a peace
settlement. 4. If the world were to end tomorrow, what would you do
today? 5. Those stamps were destroyed, but if they were to have been

276
released, they surely would have been collectibles because of the
error in their design. 6. If they should sign the contract, we will have
to work twice as hard.

IV. Suggest completions for these sentences. Use the second
speech pattern.

1. __________, it will be the tenth consecutive victory of the
team.
2. __________, the shop would not have had to shut down.
3. __________, it would be embarrassing.
4. __________, the situation would have been much more
favourable.
5. Were the newspaper to be found guilty of libel, __________.
6. Were he to have done nothing else in his career, __________.
7. Had the police not arrived, __________.
8. Should the financial performance of the company not improve,
__________.

V. Match the sentence halves and give emphasis to the
adjective by using the third speech pattern:

the instructions first appeared confusing it was actually quite tasty
it looked disgusting

they slept soundly
she felt confident

he has won a million
the night air was hot

they were very useful when
I looked at them in detail
it may seem amazing

she knew the interview
would not be easy


VI. Translate from Ukrainian into English using the speech
patterns:

1. Хоча в класі Марія була зазвичай тихою та непомітною, на
сцені вона перетворювалася на пристрасну Кармен чи романти-
чну Одетту. 2. Він вже майже вирішив взяти кредит в банку та
купити нову машину. 3. Які образи використав би Мацуо Басьо,

277
якби він написав це хоку англійською? 4. На Новий рік батько
давав синові пиріг та казав: 'Їж, сину, та пам'ятай: якщо тобі
трапиться зимою збитися з дороги, то згадай, з чим їв на Новий
рік пиріг – і відшукаєш дорогу.' 5. Якби ООН не була створена в
1945, за останні шістдесят років в світі було б набагато більше
війн. 6. Хоча й налякана, дівчина змусила себе підійти до мале-
нького тигреняти. 7. Ремонт майже завершено. 8. Хоча це й зда-
валося малоймовірним, урядові вдалося приборкати галопуючу
інфляцію. 9. Яка партія виграла б вибори, якби вони проводили-
ся цього місяця? 10. Якщо раптом буде припинене електропос-
тачання, три генератори зможуть забезпечити лікарню світлом.


Te x t

THE HUMAN STAIN
( e xc e r pt )

BY PHILIP ROTH

Philip Roth (1933–) is an American
novelist and short-story writer whose works
are characterized by a concern with Jewish
middle-class life and the painful entanglements
of sexual and familial love. His best known
early work is Portnoy's Complaint (1969). He
received a Pulitzer Prize for his 1997 novel,
American Pastoral, which featured his best-
known character, Nathan Zuckerman, who
appears as the narrator in many Roth's novels.
It is the first novel of a Zuckerman trilogy, completed by I Married a
Communist (1998) and The Human Stain (2000). The latter was awarded
PEN / Faulkner Award and the United Kingdom's WH Smith Literary
Award. In 2006, the New York Times Book Review wrote, 'If we had
asked for the single best writer of fiction of the past 25 years, Roth
would have won.'

Coleman was one of a handful of Jews on the Athena
1
faculty
when he was hired and perhaps among the first of the Jews permitted
to teach in a classics department anywhere in America; a few years

278
earlier, Athena's solitary Jew had
been E. I. Lonoff, the all but
forgotten short story writer
whom, back when I was myself a
newly published apprentice in
trouble and eagerly seeking the
validation of a master, I had once
paid a memorable visit to here.
Through the eighties and into the nineties, Coleman was also the first
and only Jew ever to serve at Athena as dean of faculty; then, in
1995, after retiring as dean in order to round out his career back in
the classroom, he resumed teaching two of his courses under the
aegis of the combined languages and literature program that had
absorbed the Classics Department and that was run by Professor
Delphine Roux. As dean, and with the full support of an ambitious
new president, Coleman had taken an antiquated, backwater, Sleepy
Hollowish college and, not without steamrolling, put an end to the
place as a gentlemen's farm by aggressively encouraging the
deadwood among the faculty's old guard to seek early retirement,
recruiting ambitious young assistant professors, and revolutionizing
the curriculum. It's almost a certainty that had he retired, without
incident, in his own good time, there would have been the festschrift,
there would have been the institution of the Coleman Silk Lecture
Series, there would have been a classical studies chair established in
his name, and perhaps – given his importance to the twentieth-
century revitalization of the place – the humanities building or even
North Hall, the college's landmark, would have been renamed in his
honor after his death. In the small academic world where he had
lived the bulk of his life, he would have long ceased to be resented or
controversial or even feared, and, instead, officially glorified forever.
It was about midway into his second semester back as a fulltime
professor that Coleman spoke the self-incriminating word that would
cause him voluntarily to sever all ties to the college – the single
self-incriminating word of the many millions spoken aloud in his
years of teaching and administering at Athena, and the word that, as
Coleman understood things, directly led to his wife's death. The class
consisted of fourteen students. Coleman had taken attendance at the

279
beginning of the first several lectures so as to learn their names. As
there were still two names that failed to elicit a response by the fifth
week into the semester, Coleman, in the sixth week, opened the
session by asking, 'Does anyone know these people? Do they exist or
are they spooks?'
Later that day he was astonished to be called in by his successor,
the new dean of faculty, to address the charge of racism brought
against him by the two missing students, who turned out to be black,
and who, though absent, had quickly learned of the locution in which
he'd publicly raised the question of their absence. Coleman told the
dean,'I was referring to their possibly ectoplasmic character. Isn't that
obvious? These two students had not attended a single class. That's
all I knew about them. I was using the word in its customary and
primary meaning: 'spook' as a specter or a ghost. I had no idea what
color these two students might be. I had known perhaps fifty years
ago but had wholly forgotten that 'spooks' is an invidious term
sometimes applied to blacks. Otherwise, since I am totally
meticulous regarding student sensibilities, I would never have used
that word. Consider the context: Do they exist or are they spooks?
The charge of racism is spurious. It is preposterous. My colleagues
know it is preposterous and my students know it is preposterous. The
issue, the only issue, is the nonattendance of these two students and
their flagrant and inexcusable neglect of work. What's galling is that
the charge is not just false – it is spectacularly false.' Having said
altogether enough in his defense, considering the matter closed, he
left for home.
Now, even ordinary deans, I am told, serving as they do in a no
man's land between the faculty and the higher administration,
invariably make enemies. They don't always grant the salary raises
that are requested or the convenient parking places that are so
coveted or the larger offices professors believe they are entitled to.
Candidates for appointments or promotion, especially in weak
departments, are routinely rejected. Departmental petitions for
additional faculty positions and secretarial help are almost always
turned down, as are requests for reduced teaching loads and for
freedom from early morning classes. Funds for travel to academic
conferences are regularly denied, et cetera, et cetera. But Coleman

280
had been no ordinary dean, and who he got rid of and how he got rid
of them, what he abolished and what he established, and how
audaciously he performed his job into the teeth of tremendous
resistance succeeded in more than merely slighting or offending a
few odd ingrates and malcontents. Under the protection of Pierce
Roberts, the handsome young hotshot president with all the hair who
came in and appointed him to the deanship – and who told him,
'Changes are going to be made, and anybody who's unhappy should
just think about leaving or early retirement' – Coleman had
overturned everything. When, eight years later, midway through
Coleman's tenure, Roberts accepted a prestigious Big Ten
2

presidency, it was on the strength of a reputation for all that had been
achieved at Athena in record time – achieved, however, not by the
glamorous president who was essentially a fund-raiser, who'd taken
none of the hits and moved on from Athena heralded and unscathed,
but by his determined dean of faculty.

***

The invitations I received during my first months out here in
1993 – to come to a dinner, to tea, to a cocktail party, to trek to the
college down in the valley to deliver a public lecture or, if I
preferred, to talk informally to a literature class – I politely declined,
and after that both the neighbors and the college let me be to live and
do my work on my own.
But then, on that afternoon two years back, having driven directly
from making arrangements for Iris's burial, Coleman was at the side
of my house, banging on the door and asking to be let in.
Though he had something urgent to ask, he couldn't stay seated
for more than thirty seconds to clarify what it was. He got up, sat
down, got up again, roamed round and round my workroom,
speaking loudly and in a rush, even menacingly shaking a fist in the
air when– erroneously– he believed emphasis was needed. I had to
write something for him – he all but ordered me to. If he wrote the
story in all of its absurdity, altering nothing, nobody would believe it,
nobody would take it seriously, people would say it was a ludicrous

281
lie, a self-serving exaggeration, they would say that more than his
having uttered the word'spooks' in a classroom had to lie behind his
downfall. But if I wrote it, if a professional writer wrote it...
All the restraint had collapsed within him, and so watching him,
listening to him – a man I did not know, but clearly someone
accomplished and of consequence now completely unhinged – was
like being present at a bad highway accident or a fire or a frightening
explosion, at a public disaster that mesmerizes as much by its
improbability as by its grotesqueness. The way he careened around the
room made me think of those familiar chickens that keep ongoing after
having been beheaded. His head had been lopped off; the head
encasing the educated brain of the once unassailable faculty dean and
classics professor, and what I was witnessing was the amputated rest
of him spinning out of control. I – whose house he had never before
entered, whose very voice he had barely heard before – had to put
aside whatever else I might be doing and write about how his enemies
at Athena, in striking out at him, had instead felled her. Creating their
false image of him, calling him everything that he wasn't and could
never be, they had not merely misrepresented a professional career
conducted with the utmost seriousness and dedication – they had killed
his wife of over forty years. Killed her as if they'd taken aim and fired
a bullet into her heart. I had to write about this'absurdity,'
that'absurdity' – I, who then knew nothing about his woes at the
college and could not even begin to follow the chronology of the
horror that, for five months now, had engulfed him and the late Iris
Silk: the punishing immersion in meetings, hearings, and interviews,
the documents and letters submitted to college officials, to faculty
committees, to a pro bono black lawyer representing the two students
. . . the charges, denials, and countercharges, the obtuseness,
ignorance, and cynicism, the gross and deliberate misinterpretations,
the laborious, repetitious explanations, the prosecutorial questions –
and always, perpetually, the pervasive sense of unreality.'Her murder!'
Coleman cried, leaning across my desk and hammering on it with his
fist. 'These people murdered Iris!'
The face he showed me, the face he placed no more than a foot
from my own, was by now dented and lopsided and – for the face
of a well-groomed, youthfully handsome older man – strangely

282
repellent, more than likely distorted from the toxic effect of all
the emotion coursing through him. It was, up close, bruised and
ruined like a piece of fruit that's been knocked from its stall in
the marketplace and kicked to and fro along the ground by the
passing shoppers.

***

All in all, he [Coleman] remained a neat, attractive package of a
man even at his age, the small-nosed Jewish type with the facial heft
in the jaw, one of those crimped-haired Jews of a light yellowish skin
pigmentation who possess something of the ambiguous aura of the
pale blacks who are sometimes taken for white. When Coleman Silk
was a sailor at the Norfolk naval base down in Virginia at the close
of World War II, because his name didn't give him away as a Jew –
because it could as easily have been a Negro's name – he'd once been
identified, in a brothel, as a nigger trying to pass and been thrown
out. 'Thrown out of a Norfolk whorehouse for being black, thrown
out of Athena College for being white.'
'They killed her, Nathan. And who would have thought that Iris
couldn't take it? But strong as she was, loud as she was, Iris could
not. Their brand of stupidity was too much even for a juggernaut like
my wife. 'Spooks.' And who here would defend me? Herb Keble? As
dean I brought Herb Keble into the college. Did it only months after
taking the job. Brought him in not just as the first black in the social
sciences but as the first black in anything other than a custodial
position. But Herb too has been radicalized by the racism of Jews
like me. 'I can't be with you on this, Coleman. I'm going to have to be
with them.' This is what he told me when I went to ask for his
support. To my face. I'm going to have to be with them.
Them!
'You should have seen Herb at Iris's funeral. Crushed. Devastated.
Somebody died? Herbert didn't intend for anybody to die.
These shenanigans were so much jockeying for power. To gain a
bigger say in how the college is run. They were just exploiting a
useful situation. It was a way to prod Haines and the administration
into doing what they otherwise would never have done. More
blacks on campus. More black students, more black professors.

283
Representation – that was the issue. The only issue. God knows
nobody was meant to die. Or to resign either. That too took Herbert
by surprise. Why should Coleman Silk resign? Nobody was going to
fire him. Nobody would dare to fire him. They were doing what they
were doing just because they could do it. Their intention was to hold
my feet over the flames just a little while longer – why couldn't
I have been patient and waited? By the next semester who would
have remembered any of it? The incident– the incident! – provided
them with an 'organizing issue' of the sort that was needed at a
racially retarded place like Athena. Why did I quit? By the time
I quit it was essentially over. What the hell was I quitting for?'

Comme nt ar y

1. Athena – a fictional college in western Massachusets.
2. Big Ten, also the Big Ten Conference, is the oldest Division I
college athletic conference. US universities join together in
conferences for regular sports competitions. All members of the Big
Ten are also members of a leading educational consortium.


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. handful n (1) [count.] an amount of something that can be held
in one hand: The boy grabbed handfuls of snow. (2) [a handful] a
very small number of people or things: Why do only a handful of
people run Linux instead of Windows? (3) [to be a handful]
(informal) someone who is difficult to control: Our dog is a real
handful.
2. faculty n (1) [count.] a division of a university: the Faculty of
Arts / the Arts Faculty; (2) [count. and uncount.] (American English)
all the teachers in a university = (British English) academic staff: a
meeting with students and faculty; (3) [count., usually plural] a
natural ability to hear, see, think, move, etc: the faculty + of sight; to
be in full possession of all one's faculties; (4) [count.] (formal) a
particular skill, aptitude that someone has: a great faculty + for
picking up speech in noisy environments.

284
3. spook n [count.] (1) (informal) a ghost; (2) espionage agents or
spies (especially American English): a CIA spook; (3) a derogatory
term for a person of African descent.
spook v (informal) (1) [transitive] to make someone suddenly
feel frightened or nervous: I'm not easily spooked. (2) [intransitive]
to suddenly feel frightened, especially of animals: It'll spook if we
make noise.
spooky adj (informal) sinister or ghostly in a way that causes fear
and unease: a spooky house, a spooky atmosphere.
4. sever v (1) [intransitive and transitive] (formal) to break or
separate, especially by cutting: electricity cables severed by the
storm; (2) [transitive] (formal) to end a relationship with sb, or
connection with sth: to sever diplomatic relations; to sever ties /
relations / contact.
severance n [uncount.] (1) (formal) the act of ending a
connection, relationship, etc. or of being separated from a person,
place: the severance of aid to the country; severance from one's
family; (2) severance pay compensation paid by a firm to an
employee who has to leave because the job he or she was appointed
to do no longer exists: The management have offered employees one
week's severance (pay) for each six months they have worked at the
company.
5. scathing adj severely and unkindly critical: a scathing attack
on the government's planned tax increases. He was very scathing
about the report, saying it was inaccurate.
scathingly adv She spoke scathingly of the poor standard of work
done by her predecessor.
unscathed adj [not before noun] not injured or harmed: He
escaped unscathed from the accident. The official was relatively
unscathed by the scandal.
6. absurd adj (1) completely stupid, unreasonable, or impossible
to believe: It seems quite absurd to expect anyone to drive for three
hours just for a 10 minute meeting. (2) arousing amusement,
ridiculous: Short skirts looked absurd on that tall girl. Syn.: foolish,
silly, preposterous:

285
Something is foolish which does not commend itself to the
judgment of others as wise or sensible: a foolish investment, foolish
courage.
Something is silly which seems pointless or futile: a silly
sacrifice.
Something is absurd which is inconsistent with accepted ideas,
common sense, or sound reason: the absurd dogma that the king can
do no wrong.
Something is preposterous which is glaringly absurd: If a person
has never eaten oysters, it is preposterous to ask whether he / she
likes their taste.
to absurd lengths making an extreme amount of efforts: Jack
goes to absurd lengths to prove his point.
the absurd an absurd state of affairs: Some of the stories he tells
verge on the absurd.
absurdity n [count., uncount.] the quality or state of being
ridiculous: the absurdities of haute cuisine. Everybody laughed at the
absurdity of the situation.
absurdly adv On the island, the prices are absurdly low.
7. ludicrous adj stupid or unreasonable and deserving to be
laughed at: a ludicrous suggestion. Syn.: laughable, ridiculous:
Laughable is the general term for whatever is fit to provoke
laughter: a laughable incident, laughable results.
Ludicrous applies to what induces usually scornful laughter
because of its absurdity or preposterousness: a ludicrous lie.
Ridiculous applies to what excites derision because of extreme
absurdity: Good manners at the court are as ridiculous in the
country as the behaviour of the country is mockable at the court
(Shakespeare).
8. immerse v [transitive] (1) to put something or someone
completely under the surface of a liquid: Immerse your foot in ice
cold water to reduce the swelling. (2) immerse yourself in sth to
become completely involved in sth: She got some books and
immersed herself in British history and culture.
immersion n [uncount.] (1) the act of putting sb or sth deep into a
liquid so that they are completely covered: immersion in ice cold
water; (2) absorbing involvement in sth you are doing: immersion in

286
politics; (3) (technical) the language teaching method in which the
target language is used for instruction: to learn through immersion;
an immersion course in German.
9. gross adj (1) [only before noun] total: gross income; gross
salary; gross weight; (2) [only before noun] clearly wrong and
unacceptable: a gross violation of justice; gross indecency; gross
exaggeration; (3) (spoken) very unpleasant to look at or think
about: 'Oh, gross!' she said, looking at the flies buzzing above the
piles of dirty plates. (4) (informal) extremely fat or large and ugly:
She had put on ten kilos and felt gross in her bikini. Syn.: flagrant,
glaring:
All the derogatory intensives mean outstandingly bad or
unpleasant.
Flagrant applies to offences or errors which are so bad that they
cannot escape notice: flagrant neglect of work.
Glaring carries an even stronger implication of obtrusiveness
than flagrant. The term is applied to something which is so evidently
wrong, improper, or faulty: a glaring inconsistency.
Gross is even more derogatory than flagrant and glaring because
it suggests a degree of badness that is beyond all bounds and is
unpardonable: gross misinterpretations.
grossly adv grossly inadequate
gross adv earned before tax has been taken away: to earn $50000
gross
gross v [transitive] to earn a particular amount of money before
taxes or costs have been taken away: The new film grossed an
estimated $34 million at the box office.
gross out phr v (spoken) to make someone wish they had not seen
or been told about sth because it is so unpleasant: He smells and he's
dirty – he really grosses me out.
10. juggernaut n [count.] (1) (British English) a very large heavy
truck that carries goods over long distances = (American English) a
semi-trailer: The peace of the village has been shattered by
juggernauts thundering through it. (2) (disapproving) a powerful
force or organization that cannot be stopped; it crushes whatever is in
its path: the juggernaut of public expenditure.

287
11. prod v (1) to thrust a pointed object or push something or
someone with your finger: She prodded him in the back with her
umbrella. to prod at sb / sth: She took a fork and prodded at the
food. (2) to make sb do sth by persuading or reminding them that it is
necessary, especially when they are lazy or unwilling prod sb into
doing sth: They attempted to prod the central bank into cutting
interest rates.
prod n [count.] (1) a quick push with your finger or with an
object that has a long thin end: She gave him a gentle prod in the
ribs. (2) an act of persuading or reminding someone to do sth:
You'll have to give him a prod or he'll never get it finished. (3) a
pointed instrument used for pushing animals to make them move: a
cattle prod.
12. say n (1) [uncount.] the right to influence action or decision:
to have some / little / no say in sth Colonies usually had little say in
how they were governed. to have the final say The judge will have
the final say in this matter. (2) [uncount.] expression of opinion: to
have a / one's say Everyone will have a chance to have their say.
say-so n (informal) (1) sb's say-so power or act of deciding or
allowing sth: No new employees come into the company without his
say-so; (2) on sb's say-so based on what someone says but without
any proof from them: The police won't investigate the claim on the
say-so of a known criminal.


Wor d Combi nat i ons and Phr as e s

to round out one's career to turn sth down
under the aegis of in(to) the teeth of sth
to put an end to sth to take a hit
in one's own good time to spin out of control
the bulk of sth to take aim and fire a bullet
no man's land to jockey for power


Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the examples into
Ukrainian.

288
II. Make up three sentences of your own with each
vocabulary item.

III. Explain the meaning of the words and phrases in bold
type in the context. Translate the sentences into Ukrainian.

1. Only a handful of surgeons are able to carry out this
procedure. 2. Every handful of weed that was pulled out was likely
to contain its fair share of aquatic creatures too. 3. You may buy a
special basin designed to make bathing your little handful less of a
handful. 4. Even at the age of 100, she still had all her faculties.
5. Studying has certainly sharpened my critical faculties. 6. A rabbit
has 360° vision, a useful faculty if every predator around considers
you good for dinner. 7. Over half of the faculty's graduates go
immediately into full-time employment. 8. After the conference,
guests and faculty members will join together for a buffet supper.
9. These fish often feed within 20 yards of the beach and the slightest
light reflection will spook them. 10. The film was dreadful – all
spooks and vampires. 11. It was a spooky coincidence. 12. How
Family Members Who Sever Relationships Can Reconnect (book
title). 13. Severance pay was instituted to help protect the newly
unemployed. 14. The European Commission has warned Romania to
halt the export of children for adoption or face a bar on EU
membership and the severance of aid funds. 15. Many doctors are
very scathing about anti-cellulite creams. 16. The Countess cast a
scathing eye at the dancers who were beginning yet another waltz,
then looked back to the Duke. 17. Touch wood, he had been lucky
and come through it all unscathed. 18. 'I have never actually
married', he says, 'I find the marriage vows preposterous, I could
never imagine myself making them.' 19. There are all sorts of
absurdities in the proposal. 20. Every night he wore a ludicrous
outfit. 21. And with inflation increasing at 20 per cent or more a year
it is ridiculous that all tax levies and exemptions are not indexed to
the purchasing power of the £ so that inflation itself does not become
the most grievous tax-gatherer of all. 22. Immerse the fabric
completely in the dye. 23. Her total immersion in work meant that
she had few friends. 24. Gross domestic product (GDP) refers to

289
the market value of all final goods and services produced within a
country in a given period. 25. In the fourteenth century even judges
had been remarkably ignorant of the statutes which they had to
enforce; lawcourts sometimes did not even possess copies of
particular acts; and the copies which did exist were marred by gross
errors. 26. Sometimes it is hard to love a rebellious and rude
teenager, to endure the appalling racket of pop music, to cope with
disobedience and flagrant disregard of rules laid down for family
life. 27. The truth is that public spending is a juggernaut that is
almost out of control. 28. Blake was very wary of the snorting
machine which his travelling companion described as a 'juggernaut'.
29. She did her chores without prodding. 30. Carrie was good at
stories but sometimes she stopped in the middle and had to be
prodded. 31. He prodded a lump in his serving of stew. 32. In some
societies parents do select the marriage partner for their children, but
we have very little say in the partners our children choose, however
strongly we may feel on the subject. 33. He spoke almost
offhandedly, making it clear that the woman had little or no say in
the matter. 34. Who should have a final say in naming the baby?
35. Now that you have had your say, it is time to step-up and do
something about it, or you will be just another windbag.

IV. Paraphrase the sentences using the vocabulary notes and
translate them into Ukrainian.

1. The building was surrounded by scary ruins, the remains of an
ancient farm. 2. Belt has a natural aptitude for engendering support.
3. Kiev's flourishing trade had been undermined by inter-princely
warfare, nomadic incursions, and the virtual ending of her commerce
with Byzantium. 4. She invited loads of friends to her party, but only
a few of them turned up. 5. 'You know how he'll behave because
you'd behave the same,' she sneered critically. 6. Her older son is fine
but the little one is a bit difficult to control. 7. The prize is open to all
full-time students in the Department of Music. 8. He carried caution
to extremes. 9. Like a runaway heavy truck with no brakes to slow its
headlong rush, unemployment keeps rising remorselessly. 10. I don't
stop on the instruction of anybody's assistant. 11. He pushed his bag
with his foot. 12. The total amount of the gift was $1000.

290
V. Answer the questions using the vocabulary notes:

1. What method of teaching a foreign language is based on
exclusive use of that language? 2. What do you call the total value of
all goods and services produced in a country in one year; except for
income received from abroad? 3. What is the difference between
GDP and GNP? 4. What do you call a spy? 5. What do you call
a pointed implement used as a goad? 6. What do people get when
they have to leave the company because their employer has no longer
a job for them? 7. What do you call a form of drama that emphasizes
the absurdity of human existence by employing disjointed, repetitious,
and meaningless dialogue, purposeless and confusing situations,
and plots that lack realistic or logical development?

VI. Paraphrase using a suitable word combination or
phrase from the list:

1. Permission for the development was granted in spite of the
opposition from local shopkeepers. 2. A points system will stop all
arguments. 3. The rival clans are competing for power. 4. There are
many societies run with the support of the Students' Union. 5. The
shops in the village closed as more women went out to work, often to
neighbouring cities, where they'd do most of their shopping. 6. He
pointed and shot bullets from each gun mounted on the plane.
7. British and German soldiers met in the land between front lines
during the Christmas Truce of 1914. 8. The car went out of control
and hit a tree. 9. Jack will tell them about it when he is ready to do it.
10. The singer finished her career on a high note. 11. I'm not going to
refuse an invitation to go to New York. 12. He was the aim of
everybody's verbal attack.

VII. Fill in the gaps using the word combinations and
phrases:

1. We hope the talks may _______ violence. 2. The firm has
expanded its building contracting division _______ the recession.
3. The _______ between the two parties is where presidential
contests are won and lost. 4. The negotiations were conducted

291
_______ of the UN. 5. Sportsmen should _______ their career
_______time. 6. _______ of consumers are based in towns. 7. New
office holders _______ with established cabinet members. 8. One of
the turbines _______ during the storm. 9. The unemployment was so
high that you would have thought your friend crazy if they had
_______ the job offer. 10. Grabbing his rifle, he _______.

VIII. Find in the excerpt from The Human Stain the
words defined below. Learn the words.

– of a very quiet place not influenced by new ideas (b……..);
– making sure something happens by using all your power
and influence (s………..);
– people in the organization who are no longer useful (d…….);
– a volume of learned articles or essays by colleagues and
admirers, serving as a tribute or memorial especially to a scholar
(f……….);
– very careful about small details and always making sure that
everything is done correctly (m………);
– the way that someone reacts to a particular subject (s……….);
– not based on facts and good thinking; likely to be incorrect
(s…….);
– making you feel upset or angry because of something that is
unfair (g……);
– to have a very strong desire to have something that someone
else has (c….);
– an ungrateful person (i……);
– someone who is not happy with the way things are organized
(m………);
– someone who is very successful and confident (h……);
– in a threatening way (m………);
– mentally unbalanced (u…….);
– to capture the complete attention of somebody (m……..);
– slow understanding which is annoying (o………);
– having one side that is lower and heavier than the other
(l…….).

292
IX. Make up a short story using the words from Exercise VIII.

X. Translate the sentences into English using the essential
vocabulary:

1. Їхній папуга – це один клопіт: вдень здирає шпалери, а
вночі – розмовляє. 2. Діти змайстрували годівничку (bird-
table) й щодня насипали дві-три жмені зерна. 3. Раніше, коли
він приходив до тиру, він швидко прицілювався, стріляв та
отримував призи, а тепер, коли майже втратив зір, про тир
довелося забути. 4. Після закінчення кар'єри оперного співа-
ка, він почав працювати в консерваторії. Виявилося, що в
нього ще й талант викладача. 5. Якби не ваша важка хода,
олені не злякалися б, і ми б зробили чудові фотографії. 6. Ре-
жисер продовжує працювати, не зважаючи на нищівні відгуки
критиків. 7. З людьми він сходиться швидко, але так само
швидко може розірвати усі зв'язки, про що потім часто шко-
дує. 8. Цей вчений мало не довів теорію попередника до абсу-
рду. 9. Зважуватися тричі на день – смішно. Щойно вона на-
бирає кілька зайвих грамів, вона починає здаватися собі
огрядною та огидною. Вона, мабуть, вже втратила здоровий
глузд. 10. Величезні вантажівки тепер зможуть пересуватися
містом тільки вночі. Невже це покладе край транспортним
проблемам? 11. Вогненний вал війни, який прокотився краї-
ною, залишив на своєму шляху лиш попелища та руїни.
12. кщо хочеш залучити читача до спілкування, став йому пи-
тання, підштовхуй до певних висновків, але не намагайся зда-
ватися розумнішим за нього. 13. Козимо Медічі був правите-
лем Флоренції майже 30 років. Він не мав титулів, але жодне
рішення не приймалося без його схвалення. 14. Поєднайте
швидке та ефективне вивчення мови методом повного зану-
рення з відпочинком на мальовничому гірському озері. 15. Я
був здивований не менше, коли занурився в цю надзвичайно
складну й цікаву тему. 16. Інфляційні процеси майже вийшли
з-під контролю. 17. Власник контрольного пакету акцій має
вирішальний голос, коли йдеться про питання управління під-

293
приємством. 18. Ця газета вже писала про кричущі порушення
права дітей. Нещодавно журналісти взяли участь в конферен-
ції, яка відбувалася під егідою ЮНІСЕФ і була присвячена
питанням захисту прав дітей. 19. Валовий внутрішній про-
дукт – один з найважливіших показників розвитку економіки.
20. У вас буде можливість висловити свою думку після ви-
ступу доповідача.


Exe r c i s e s t o t he Te xt

I. Write a précis of the text

II. Retell the text as if you were a) Coleman Silk; b) Herb Keble
(Prof. Silk brought you into the college a few months after he
became the Dean); c) one of the black students whom Prof. Silk
called 'spooks'.

III. Carry out the linguistic examination of Coleman Silk's
locution. Which linguistic methods can you use to prove that
Coleman Silk used the word spooks referring to the ectoplasmic
character of the students and not their race? Write the report on
your examination.

IV. Role-play the hearing of Coleman Silk's case. Be sure to use
rhetorical speech patterns, strings of synonyms (a few are given
in the vocabulary notes), intensifiers, etc in the speeches you are
going to make.

V. Discuss and analyse the text you have read:

1. Comment on the title of the novel.
2. What is the key of the passage under study (dramatic, ironical, etc)?
3. What had Coleman Silk managed to achieve before he decided
to round out his career in the classroom?

294
4. Which epithets does Philip Roth use to show the deplorable
state of affairs in the college before the deanship of Prof. Silk? What
is the connotation of the ironic college's name (Sleepy-Hollowish
College)? Why do you think the author has called the college
Athena? Does this allusion add anything to the novel?
5. Why do you think Philip Roth gives us a hypothetical course of
events? What would have happened to Prof. Silk's name had it not
been for the single word he uttered?
6. Why did Silk's colleagues fail to defend him? Why would
highly educated academics – people trained to weigh evidence
carefully and to be aware of the complex subtleties of any object of
study – so readily have believed the absurd stories concocted to
disgrace Coleman Silk?
7. Why did Herb Keble refuse to defend or even to support
Coleman Silk? Is he one of the ingrates?
8. Philip Roth quite often applies repetition. Pinpoint the cases
when repetition is used to show the state of mind of Coleman Silk,
who is under the stress of strong emotion, and when repetition'aims
at logical emphasis, emphasis necessary to fix the attention of the
reader on the key word of the utterance.


9. Philip Roth uses the following intensifiers: totally meticulous,
spectacularly false, completely unhinged. What do they add to the
text? Comment on each intensifier and its function in the text.
10. The author describes the experience of watching Coleman
Silk. Comment on the simile: 'watching him, listening to him … was
like being present at a bad highway accident or a fire or a
frightening explosion, at a public disaster that mesmerizes as much
by its improbability as by its grotesqueness.'
11. What stylistic devices does the author resort to while
describing the state of Coleman Silk? Comment on them. How does
the author contrast Coleman Silk as a successful professor and as a
crushed, undone man who has just lost his wife?


Гальперин И. Р. Стилистика английского языка. Учебник. – М:
Высшая школа, 1981. – C. 211–212.

295
'The way he careened around the room made me think of those
familiar chickens that keep ongoing after having been beheaded.
His head had been lopped off; the head encasing the educated
brain of the once unassailable faculty dean and classics professor,
and what I was witnessing was the amputated rest of him spinning
out of control.'
'It was, up close, bruised and ruined like a piece of fruit that's
been knocked from its stall in the marketplace and kicked to and fro
along the ground by the passing shoppers.'
12. What is the function of the following enumerations: 'the
punishing immersion in meetings, hearings, and interviews, the
documents and letters submitted to college officials, to faculty
committees, to a pro bono black lawyer representing the two students
. . . the charges, denials, and countercharges, the obtuseness,
ignorance, and cynicism, the gross and deliberate misinterpretations,
the laborious, repetitious explanations, the prosecutorial questions–
and always, perpetually, the pervasive sense of unreality.' What does
Philip Roth aim at when he puts the words always, perpetually one
by one?
13. Which simile does Coleman Silk employ to describe
the'murder' of his wife?
14. Comment on the use of inverted structures. What is their
function in the text?
15. Give examples of elliptical sentences. Comment on their
usage.
16. Comment on the choice of words. How does it contribute to
creating the academic atmosphere of the college?
17. In the passage it dawns on the reader that Coleman Silk
looked like a black man. At the end of the novel the reader gets to
know Prof. Silk's secret – he was a mixed race man who presented
himself as Jewish. Coleman Silk's downfall is caused by the spurious
charge of racism that results from his question about two absent
black students. What ironies are involved in Silk being charged with
racism when he himself is black? By denying his own racial identity
has he turned it into a kind of ghost? Is Coleman in any way
responsible for his own destruction?

296
VI. Philip Roth describes a hard life of a dean who has to
serve in a no man's land, 'between the faculty and the higher
administration.' Compare the career of the glamorous president
who moves on heralded and unscathed with the career of the dean.
Which positions might be as troublesome as the one of a dean?
Consider the position of a group monitor at university.

Coleman Silk succeeds in reforming the college and estab-
lishing its good reputation. He does his job with seriousness and
dedication. The reform process is always painful. How would you
bring about reform, if you were Athena's dean?

VII. Write an essay of 300–350 words on one of the topics:

1. To destroy somebody's good name is to commit a kind of murder.
2. There is a power of life and death in the tongue.
3. Everybody loves reforms, but nobody loves reformers.
4. It's hard to serve in a no man's land.
5. Denying your roots is denying your very essence.


S E C T I O N В

TOPICAL VOCABULARY

Politically incorrect language and behaviour: insensitive
language; offence in occupational, gender, racial, cultural, sexual
orientation, religious belief, disability, and age-related contexts;
pejorative labels and terms; racist / classist / sexist / ageist terms;
hate speech; discrimination; intolerance; racial and sexual
harassment.
Politically correct language and behaviour: inclusive language;
culturally sensitive language; gender-neutral (gender-inclusive)
language; a speech code; positive discrimination; tolerance;
promoting diversity and multiculturalism; affirmative action.

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A l i st of pol i t i cal l y correct t erms and t hei r pol i t i cal l y
i ncorrect equi val ent s:

Race related words:
ethnicity or nationality – a race; an African-American, a black – a
Negro; Asian – Oriental (when referring to people); Native
Americans (US) / First Nations (Canada) – Indians; an outcast – a
black sheep; banned – blacklisted.

Social and personal status related words:

a dysfunctional family – a
broken home; a homeless
person – a bum; behaviorally
challenged – a criminal;
chemically challenged – a drug
addict; a deferred success – a
failure; a newcomer – an
immigrant; an undocumented
immigrant – an illegal alien;
economically unprepared,
economically marginalized –
poor; non-waged – unemployed.

Gender related words:
a person of gender – a woman; womyn – women; humankind,
humanity – mankind; the Founders – the Founding Fathers; a
firefighter – a fireman; a letter / mail carrier – a postman; a police
officer – a policeman; a chair, a chairperson – a chairman.

Feminism ideology words:
an unpaid sex worker – a wife; an oppressor – a man; choice –
abortion.

Sexual orientation words:
an LGBT community (lesbian, gay, bisexual, transgender
community).

Age related words:
a senior citizen – an elderly person; chronologically gifted – old;
other aged – too old / young.

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Disability related words:

differently abled, physically challenged, handicapable –
handicapped, disabled, a cripple; visually challenged – blind; hearing
impaired – deaf; verbally challenged – dumb.

Appearance related words:

vertically gifted – tall; vertically challenged – short; differently
weighted, horizontally gifted – fat, overweight; horizontally
challenged – thin; different – pretty; aesthetically challenged,
visually challenging – ugly.

Occupation related words:

a sanitation engineer – a garbage man; a domestic engineer – a
housewife; an administrative assistant – a secretary.

Nature and animal related words:

a rainforest – a jungle; a wetland – a swamp; an oxygen exchange
unit - a tree; free-living – wildlife; a companion animal – a pet; a
human carer – a pet owner.

I. Read the dictionary entries for political correctness and
comment on the change of its meaning(s) over time:

Political correctness n [U] 1) following with the political doctrine
of a government; 2) being considered to be among the ruling group,
especially for personal political advantage; 3) assuming an
acceptable position concerning society, especially a position
advocating widely accepted attitudes (the Barnhart Dictionary
Companion, 1991).

Political correctness n [U] language, behaviour and attitudes that
are carefully chosen so that they do not offend or insult anyone –
used especially when you think someone is too careful in what they
say or how they behave (The Longman Dictionary of Contemporary
English, 2003).

Political correctness (sometimes disapproving) is the principle of
avoiding language or behaviour that may offend certain groups of
people (The Oxford Collocations Dictionary, 2003).

299
II. It is often said that politically correct language bears a
resemblance to Newspeak, the official language of a giant
totalitarian state in George Orwell's novel'1984'; though the
languages have different intentions. A few paragraphs below give
the views expressed by a compiler of the dictionary of Newspeak.

а) What i s t he mai n di st i nct i on bet ween t hese t wo
l anguages? What i s t he connect i on of pol i t i cal l y correct
l anguage t o Newspeak?

'We're getting the language into its final shape – the shape it's
going to have when nobody speaks anything else. When we've
finished with it, people like you will have to learn it all over again.
You think, I dare say, that our chief job is inventing new words. But
not a bit of it! We're destroying words – scores of them, hundreds of
them, every day. We're cutting the language down to the bone.'

***

'It's a beautiful thing, the destruction of words. Of course the great
wastage is in the verbs and adjectives, but there are hundreds of nouns
that can be got rid of as well. It isn't only the synonyms; there are also
the antonyms. After all, what justification is there for a word which is
simply the opposite of some other word? A word contains its opposite
in itself. Take 'good', for instance. If you have a word like 'good', what
need is there for a word like 'bad'? 'Ungood' will do just as well –
better, because it's an exact opposite, which the other is not. Or again,
if you want a stronger version of 'good', what sense is there in having a
whole string of vague useless words like 'excellent' and 'splendid' and
all the rest of them? 'Plusgood' covers the meaning or 'doubleplusgood'
if you want something stronger still. Of course we use those forms
already. But in the final version of Newspeak there'll be nothing else.
In the end the whole notion of goodness and badness will be covered
by only six words – in reality, only one word.'

***

'Don't you see that the whole aim of Newspeak is to narrow the
range of thought? In the end we shall make thoughtcrime literally
impossible, because there will be no words in which to express it.

300
Every concept that can ever be needed will be expressed by exactly
one word, with its meaning rigidly defined and all its subsidiary
meanings rubbed out and forgotten. Already, in the Eleventh Edition,
we're not far from that point. But the process will still be continuing
long after you and I are dead. Every year fewer and fewer words, and
the range of consciousness always a little smaller. Even now, of
course, there's no reason or excuse for committing thoughtcrime. It's
merely a question of self-discipline, reality-control. But in the end
there won't be any need even for that. The Revolution will be
complete when the language is perfect.
By 2050, earlier, probably – all real knowledge of Oldspeak will
have disappeared. The whole literature of the past will have been
destroyed. Chaucer, Shakespeare, Milton, Byron – they'll exist only
in Newspeak versions, not merely changed into something different,
but actually changed into something contradictory of what they used
to be. Even the literature of the Party will change. Even the slogans
will change. How could you have a slogan like 'freedom is slavery'
when the concept of freedom has been abolished? The whole climate
of thought will be different.
In fact there will be no thought, as we understand it now.
Orthodoxy means not thinking – not needing to think. Orthodoxy is
unconsciousness.'

в) Whi ch vi ew do you adhere t o i n t he argument over
whet her t hought cont rol s l anguage or l anguage cont rol s
t hought ? Gi ve some proofs t o support your posi t i on.

The Sapir-Whorf theory, named after the American linguists
Edward Sapir and Benjamin Lee Whorf, argues that language
controls thought, and people who speak different languages perceive
and think about the world quite differently. On this basis, the
perspective is that translation between one language and another is at
the very least, problematic, and sometimes impossible.
Many linguists now accept a 'weak', more moderate theory,
namely that the ways in which we see the world may be influenced
by the kind of language we use.

с) A striking instance where Orwell' s speculation has
matched with reality is the one about the literature of the
past that might be destroyed or rewritten in a new language.

301
Draw a comparison between the ideas in the novel and
views put forward in the following extracts from the
newspaper and Internet articles:

New edition replaces racial slur with 'slave' in Mark Twain's
books (The Associated Press, January 2011).

'Politically Correct' Romeo and Julian Play Sparks Anger
School performances of Romeo and Julian during Lesbian Gay
Bisexual Transgender History month have been criticised for valuing
the 'politically correct' over traditional Shakespeare studies (The
Telegraph, February 2009).

Instead of singing 'Baa baa, black sheep' as generations of
children have learnt to do, toddlers in Oxfordshire are being taught to
sing 'Baa baa, rainbow sheep.'
In keeping with the new approach, teachers at the nurseries have
reportedly also changed the ending of Humpty Dumpty so as not to
upset the children and dropped the seven dwarfs from the title of
Snow White (The Times, March 2006).


III. In 1994, James Finn Garner published Politically Correct
Bedtime Stories: Modern Tales for Our Life and Times, in which he
satirizes the trend toward political correctness and censorship of
children's literature, with an emphasis on humor and parody.
Read one of his tales; consider the politically correct terms and ideas
introduced by the author.

Politically Correct Three Little Pigs
*


Once there were 3 little pigs who lived together in mutual respect
and in harmony with their environment. Using materials that were
indigenous to the area they each built a beautiful house. One pig built
a house of straw, one a house of sticks, and one a house of dung, clay
and creeper vines shaped into bricks and baked in a small kiln. When
they were finished, the pigs were satisfied with their work and settled
back to live in peace and self-determination.

302
But their idyll was soon shattered. One day, along came a big, bad
wolf with expansionist ideas. He saw the pigs and grew very hungry
in both a physical and ideological sense.
When the pigs saw the wolf, they ran into the house of straw. The
wolf ran up to the house and banged on the door, shouting, 'Little
pigs, little pigs, let me in!'
The pigs shouted back, 'Your gunboat tactics hold no fear for pigs
defending their homes and culture.'
But the wolf wasn't to be denied what he thought was his manifest
destiny. So he huffed and puffed and blew down the house of straw.
The frightened pigs ran to the house of sticks, with the wolf in hot
pursuit. Where the house had stood, other wolves bought up the land
and started a banana plantation.
At the house of sticks, the wolf again banged on the door and
shouted, 'Little, pigs, little pigs, let me in!'
The pigs shouted back, 'Go to hell, you carnivorous, imperialistic
oppressor!'
At this the wolf huffed and puffed and blew down the house of
sticks. The pigs ran to the house of bricks, with the wolf close at their
heels. Where the house of sticks had stood, other wolves built a time-
share condo resort complex for vacationing wolves, with each unit a
fibreglass reconstruction of the house of sticks, as well as native
curio shops, snorkelling and dolphin shows.
At the house of bricks, the wolf again banged on the door and
shouted, 'Little pigs, little pigs, let me in!'
This time in response, the pigs sang songs of solidarity and wrote
letters of protest to the United Nations.
By now the wolf was getting angry at the pigs' refusal to see the
situation from the carnivore's point of view. So he huffed and puffed,
and huffed and puffed, then grabbed his chest and fell over dead from
a massive heart attack brought on from eating too many fatty foods.
The three little pigs rejoiced that justice had triumphed and did a
little dance around the corpse of the wolf. Their next step was to
liberate their homeland. They gathered together a band of other pigs
who had been forced off their lands. This new brigade of porcinistas
attacked the resort complex with machine-guns and rocket launchers
and slaughtered the cruel wolf oppressors, sending a clear signal to

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the rest of the hemisphere not to meddle in their internal affairs.
Then the pigs set up a model socialist democracy with free
education, universal health care and affordable housing for everyone.
{My note: well it is a fairy tale after all.}
Please note: The wolf in this story was a metaphorical construct.
No actual wolves were harmed in the writing of the story.

*
In 2008, the British educational agency judged the book The
Three Little Cowboy Builders based on a popular children's
fairytale and targeted at youngsters aged five to eleven as 'offensive
to Muslims' because 'the use of pigs raises cultural issues.' Thus
even the Politically Correct Three Little Pigs may not be deemed
politically correct.

IV. Write your own politically correct fairy-tale revision
using PC terms, modern concepts and objects. A plot twist
that reverses the roles of the original characters, etc is
desirable.

V. Imagine that the main character in Cinderella is not a
young woman but a young man in a similar situation. How
would the story be different if Cinderella were a man? Would
this version be politically correct? Why?

VI. Work in groups. Questions for discussion:

Gr o u p A

Some people argue that Cinderella is not a good story for children
because of the stereotype portrayed: a woman who is in trouble is
rescued by a man. In fairy-tales the woman is almost always saved
by a man, rarely vice-versa. This teaches young girls that men are
superior to women. What do you think about it?

Gr o u p В

Some people argue that Cinderella is not a good story for
children because it teaches that the beautiful and handsome are
good and the ugly are bad; in other words, it teaches that outward
appearance is a very important aspect in judging a person's worth.
What do you think about it?

304
Cl a s s d i s c u s s i o n :

Which verdict would you give on the old tale?

VII. Make up a dialogue on any topic
(Use your imagination – the sky is
the limit!). One person is to speak
politically correct English; the other
gives preference to politically
incorrect terms. Role-play the
dialogue.

VIII. On consideration of the two
extracts below (one from an
article and the other from a
blog), answer the question: Does
political correctness do any good to those for whom it is
intended?

a) A campaign to save the traditions of Christmas from the
interference of politically correct town halls was launched by an
influential coalition of Christian and Muslim leaders. Leaders of the
two faiths warned that attempts to suppress Christmas bring a
backlash and Muslims get the blame. And they said that while
Christmas causes no offence to minority faiths, banning it offends
almost everybody.
Notorious local authority attempts to stamp out Christmas include
Birmingham's 1998 decision to name its seasonal celebrations
'Winterval' and Luton's 2001 attempt to change Christmas into a
Harry Potter festival by renaming its festive lights 'Luminos'.
The angry rebuke came from the Christian Muslim Forum. The
body sent a letter to town halls pleading for an end to the suppression
of Christmas and the restoration of its Christian meaning.
Council leaders were told:'There seems to be a secularising
agenda which fails to understand the concerns of religious
communities. The approach of some is to exclude mention of any
specific religious event or celebration in order to avoid offending
anyone. The usual result of such a policy ends up offending most of
the population.

305
Any repetition of public bodies and local authorities renaming
Christmas, so as not to offend other faith communities, will tend, as
in the past, to backfire badly on the Muslim community in particular.
Sadly we have seen it is they who get the blame - and for something
they are not saying.
All of us, both Muslims and Christians, wish that people in public
positions would take another look at how they deal with religious
festivals.'
(from The Evening Standard, 2006)

b) I have seen the term 'differently abled' used time and time
again in conversations with non-disabled people. I'll use the term
'disabled' to refer to me and my fellow sisters and brothers PWD
(people with disability) and, in return, the non-disabled person will
refer to us as'differently abled.' It's quite maddening, really. I get the
impression that they do that as some attempt to be polite, so I
decided to write this to explain to all my non-disabled friends and
acquaintances about why 'differently abled' isn't how we tend to refer
to ourselves and why it simply makes them seem a bit out of touch
with PWD realities when they use it.
Contrary to what you may think, many PWD see the use
of'differently abled' as much more insulting than'disabled.' The two
terms are not interchangeable. Many non-disabled people tend to be
confused about what the term 'disabled' means. It doesn't have
anything to do with what the PWD is actually able to do. It refers to
the way that society limits certain kinds of people from being fully
included within it, specifically those whose bodies are perceived as
being deficient, inferior or abnormal. In fact, we all have different
ways of doing things but only some of those ways of doing things are
categorized as 'alternative.' The term 'differently abled' is just another
way of hierarchizing PWD lives as somehow abnormal.
The term 'disabled' recognizes that the problem isn't with how our
bodies work. The problem lies with how some societies are unwilling
to acknowledge that every kind of body is just as normal as any
other. Sign language isn't a 'different' way of speaking. It's a
language just like any other. Using wheelchairs isn't a 'different' way
of traveling. It's simply one way of getting from point A to point B.

(from http://bintalshamsa.blogspot.com/2008/07/
dont-call-me-differently-abled-just.html)

306
IX. Find a short article on some aspect of political
correctness. Read the article and write a summary of 50 to
75 words. Also, write your own opinion (in 30–40 words)
about the information in the article.

X. Hold a discussion on the pros and cons of political
correctness. Select the format you like: a round-table
discussion, a talk-show, etc.

Follow-up: write an article on the discussion you had.
Describe the participants, their points of view, the arguments
they offered for and against political correctness, the
atmosphere prevailing during the discussion, etc.


S E C T I O N C

HOW TO GIVE
AN EFFECTIVE PRESENTATION

All the great speakers were bad speakers once.
Ralph Waldo Emerson


Pr e p a r a t i o n :

1. Det ermi ne t he audi ence

:

Generation

It is important that you should know the age range of your
listeners. The younger the people in your audience, the more likely
they are to communicate by text, instant message, and blog and the
less likely they are to be interested in a long presentation from a
talking head. Great communicators know how to make a common
connection that speaks to everyone. You'll need to choose stories,
references, examples, and terminology that will have meaning for
your audience.



Templeton, Melody Public Speaking and Presentations Demystified.
– Mc Graw Hill, 2010. – pp. 16 – 37.

307
Gender

Is your audience predominately one gender or evenly mixed?
Choose examples and language appropriate for everyone. Don't
assume that all men or all women
have the same interests or preferences. If your audience is
predominately male,
avoid using only sports references. For a female audience,
constant references to
children or fashion may be inappropriate unless those are the
topics of your presentation.

Culture

We live in a global society, and cultural sensitivity is absolutely
necessary for speakers. You can prevent a serious misinterpretation
of your message by developing awareness of differences in culture.

Example

An American project manager was leading a multinational virtual
team. As she was discussing her pilot program, she said the team
members were all 'guinea pigs' in the venture. The next day one of
the female team members from Asia resigned from her job because
she was offended by being called a 'pig.' Fortunately, the company's
human resources department came to the rescue; an HR staffer
explained the American slang to the team member and saved the
relationship.

Occupation

The occupations of audience members give you clues to the
language, terminology, and examples that matter to them. Each
occupation has its own language and jargon.

Ask yoursel f:
• Why do the members of the audience want to know about your
topic?
• What do they want to know, and what do they need to know?
• Will the people in your audience understand your language and
terminology?

308
• Is their knowledge general or technical?
• Do they share a common knowledge base, or are some more
informed than others?
• Are they required to attend, or did they choose to be there?
• What is their point of view regarding your topic?
• Do they support or oppose your ideas?
• Are they friendly or hostile to you?

2. Sequence your i nformat i on t hought ful l y:

Learn from other people's mistakes: A headmaster was
speaking for an assembly. The pupils knew the town hall had
approved some budget cuts and decided to close their school the next
year. The headmaster began his talk with a story from his own school
years. He talked on and on about himself, focusing on the need to
study in hard economic times. The teens grew restless and agitated.
Finally the headmaster said, 'And I'm pleased to announce that our
school will be open next year!' By the time he told them the good
news, it no longer sounded good!

3. Thi nk of a successful i nt roduct i on:
• tell a joke or a story;
• refer to a previous speaker;
• ask a question and either get the audience to respond to you by
answering'yes' or'no', by raising hands or go on to answer the
question yourself;
• say something which is short and simple but unusual, surprising
or provocative;
• give a thought-provoking quote;
• give objective evidence or facts from an authoritative source.

4. Make a powerful concl usi on:
• summarise your points;
• challenge the audience to do something:
The most famous conclusion of this type is the one of John F.
Kennedy: 'Ask not what your country can do for you; ask what you
can do for your country.'
• answer the question you asked in the introduction;

309
• use a quote;
• finish with a bang:
One presenter gave a talk about creativity. At the end she played
some music. She danced across the stage. It was different. It really
gave the presentation impact.

5. Creat e great sl i des and handout :
• PowerPoint is a tool. Use it only if it is the right tool to do the
job and support you in the presentation.
• Create your slides after you have developed your talk, otherwise
preparation may take twice as long.
• A template provides the overall background and theme for your
slide presentation. Choose a template that matches the atmosphere
you intend to create for your audience. Choose colors that support
your message.
• Don't use more than two fonts per slide. It is distracting.
• Choose large font size (twenty-four points or larger).
• Don't clutter your slides. Use white space.
• USING ALL CAPS IS SHOUTING. Use all capitals sparingly
and only to emphasize a point.
• Use key words and simple phrases to make your point. If
everything you say is on your slides, you are unnecessary.
• Use no more than six lines per slide and no more than six words
per line. Try to use fewer.
• Graphics are more powerful than words. Eliminate words if the
graphic tells the story.
• Don't just print out your slides to make a handout. A year after
the presentation, this handout is unlikely to make much sense
without additional text.
• Your handout should follow the structure of your presentation
so that audience members can easily find the information they want.
• Make your handout stand-alone. The handout may be passed
onto people who were not at your presentation.


Pr e s e nt at i on:

1. Th e s t a r t :

At the start, your audience require some basic information:
Who? Introduce yourself.

310
Why? Tell them the reason they are there to listen to you and the
purpose of your presentation.
What? Outline the main points you are going to develop and the
order in which you would like to develop these.
How? Tell them how long the presentation will take, when they
can ask you questions, whether you will give a handout, etc
Your 'start' should include these points but be no longer than
ninety seconds. If it is longer, you may lose listeners.

The fol l owi ng phrases may be used i n your' st art . '
Read t hrough t he phrases and wri t e ' who' , ' why' , ' what '
or ' how' next t o each phrase.

Today's topic is of particular interest to those of you who …
First, I'll be looking at …, second …, and third …
If you have any questions, feel free to interrupt me at any time.
For those of you who don't know me, my name is …
If you have any questions, I'll be grateful if you could leave them
until the end.
My presentation will take about 30 minutes.
In my presentation I would like to report on …
I'll pass round copies of my slides so you can make notes as I go
through the presentation.
In my presentation I'll focus on three major issues.
We will have about 10 minutes for questions in the question and
answer period.
During the next few hours we'll be …
We'll take a short coffee break at about 10.30.
Let me just start by introducing myself. I'm …
I'll begin / start off by … Then I'll move on to … Next / After that …
I can email my PowerPoint presentation to anybody who wants it …
The subject of my presentation is …
Does everybody have a handout? Please take one and pass them on.
My talk is particularly relevant to those of you who …
There will be time for questions after my presentation.
This won't take more than …
Point one deals with …, point two …, and point three …
Today I'd like to update you on …

311
By the end of this talk you will be familiar with …
I'm here in my function as the head of …
It will take about 20 minutes to cover these issues.
The purpose / objective / aim of this presentation is …
Don't worry about taking notes. I've put all the important statistics
on a handout for you.
Feel free to ask me question any time during my talk.
I've divided my presentation into three parts …
Today I'll be showing you / reporting on …

2. Th e ma i n p a r t :

Signposting allows you to structure the main content of your
presentation and guide the audience through the presentation linking
one point to the next. Signposts are verbal signals that raise the
attention of the audience.

Mat ch t he t wo part s t o make sent ences t hat are used
as si gnpost s:

This brings me to for point two.
Let me come back to the next question.
Before I move on, a look at …
Let me first give you in the first section, …
This brings us the end of my first point.
Let me briefly to what I said before.
So much a brief overview.
After examining this point, summarise the main issues.
Let's now take I'd like to recap the main points.
As I pointed out let's turn to …

Which of the signposts are used a) to say what is coming;
b) to indicate the end of a section; c) to summarise a point;
d) to move to the next point; e) to go back?

TTT when you present visual information

:
Touch – indicate what is relevant on the slide
Turn back to the audience
Talk to the audience



Williams, Erica Presentations in English. – Macmillan, 2008. – p. 37.

312
Typical phrases used to introduce or to explain a visual:

• Let's now look at the next slide that shows …
• To illustrate this, let's have a close look at the pie chart …
• The flow chart on the following slide shows …
• The problem is illustrated in the next bar chart …
• You can see the test results in this table.
• First, let me quickly explain the graph.
• You can see that different colours have been used to indicate …
• The biggest segment indicates …

3. Th e c o n c l u s i o n :
Complete the following sentences with words from the
box. Change the form of the word if necessary:

highlight go over cover approach final

1. I'm now ____ the end of my presentation.
2. That ___ just about everything I wanted to say about ...
3. As a ___ point, I'd like to …
4. Finally, I'd like to ___ one key issue.
5. Before I stop, let me ___ the key issues again.

4. The que s t i on s e s s i on:

Match the sentences used during the question-answer
period and the correct category:

a) clarifying questions;
b) avoiding giving an answer;
c) admitting you don't know;
d) postponing questions.

1. Sorry, I don't know that off the top of my head.
2. I'm afraid I didn't quite catch the question.
3. Perhaps we could go over this after the presentation.
4. If I understood you correctly, you would like to know ...
5. I'm afraid that's actually not what we are discussing today.
6. I'm afraid I'm not in a position to answer that question at the
moment.

313
7. If you don't mind, I'll come back to this point in my
presentation later.
8. Sorry, that's not my field.
9. Actually I would prefer not to discuss that today.

5. Th e d e l i v e r y :
Keep this in mind: A loud voice often gets the attention of your
audience. A long pause followed by quietly spoken words always
gets attention. Silence is the most powerful tool.
Vary your rate of speech during a presentation to keep attention.
Don't race to the end, and don't plod along.
Filler words such as um, ah, like, basically, ok and others like
them distract others from hearing the points you want to get across.
There's nothing wrong with being silent during a portion of your
presentation. The quiet time actually gives people time to think about
what you are going to say and it adds emphasis to your presentation.
Using these silence fillers make you seem less confident, convincing
and conversational.
Each of your nonverbal messages strongly influence what your
audience hears you say, so be careful with your posture, eye-contact,
gestures, and facial expressions.
The best nonverbal skills can't make a bad presentation good, but
bad nonverbal skills can ruin your great content.

Pract i ce: Present at i on and Feedback

I. Prepare your own presentation on one of the topics:

1. The History of Political Correctness.
2. A Speech Code vs. Freedom of Speech.
3. The Origins of Affirmative Action, Its Terms and Practices.
4. Multiculturalism and Development of Language Rights.
5. Political Correctness: from the Sublime to the Ridiculous Is
but a Step.
6. Political Correctness and Modern Feminism.
7. Happy Politically Correct Holidays!
8. Euphemisms in War: Mass Murder Disguised as Collateral
Damage.
9. Political Correctness in Education.
10. Political Correctness in Translation.

314
II. Analyse each others' presentations and your own
performance using the feedback form.

Poor OK Good Wow! Comments
Start
Structure
and organisation

Presentation
of visual information

Finish
Content
Delivery
(pace, intonation, etc)

Dealing with questions

315
BOOK TWO




PART THREE

A HUMAN
IN THE SOCIETY



Uni t one

RELATIONS



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. W. Somerset Maugham's Theatre, Margaret Mitchell's Gone
with the Wind. Can you recollect more literary pieces where romantic
relations between the characters involve considerable difference in
their age?
2. Do you think age matters in choosing the right partner?
3. Is the cultural / national identity an important issue in the
choice?
4. What is, in your opinion, more important: the age or the
cultural identity?
5. What does'being in love' really mean?
6. What kind of misunderstanding might occur between parents
and children?
7. Read the text below and answer the questions again. Have you
changed your opinion? Why or why not?



316
Speech Pat t erns

It all started with a phone call.

It all started with a school project and ended up with an Oscar.
Where did it all start anyway!
Did it all start with a Big Bang?
It all started with a feeling that something was caught in my
throat.

Please let it be a joke!

Oh Lord, please do not let me be misunderstood!
Please let it be true!
(While taking an exam card) Oh let it be Number 9…
Please let me be the person my dog thinks I am.

But she is more like Venus.

She was more like a beauty queen from a movie scene.
She's acting more like a friend than a girlfriend.
Salvador Dali was more like Jung than Freud, open to an
archetypal reality.
I have this friend. Well, she's been more like a sister to me.
Why can't a woman be more like a man?

She will easily find well-paid work here, once she learns English.

What does an atheist do once he has lost faith in himself?
Vitaliy Klitschko will retire, once he wins another world title.
How long did it take, once the ring was bought?
He never asks a second favour, once he's refused the first.

This just goes to show how foolish these gossipy types can be.

Young people. They expect too much. It just goes to show you
how society has broken down.

317
You can get a bigger car for twice the price, but it has the same
features as the smaller one. It just goes to show you – bigger might
not necessarily be better.
There are more women in parliament now than ever before. It just
goes to show that things are changing.
The painting was gone for a week before anyone noticed, which
only goes to show how unobservant people are.

If needs be he will disown his daughters.

If need be, we'll rent a car.
If need be, I can type the letters myself.
I can distribute the equipment today if needs be.
If need be, I can come early tomorrow and work overtime.
If needs be, you'll find me doing the dishes or mopping the floors


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each
speech pattern. Make sure they can be used when discussing
relations between people.

III. Fill in the gaps with a suitable speech pattern:

1. The website ……….. that almost anything can be marketed
online. 2. …… the love has gone, does it ever come back? 3. Shaw
and Chesterton were themselves deeply concerned about the
answers. Both sincere, both dealing with realities, they were prepared
to accept each other's sincerity and to fight the matter out, ………..,
endlessly. 4. Please ……… a text message and not my alarm waking
me up. 5. It ………. a conversation, but ended up changing several
lives. 6. In many ways, Count Dracula is ……… a regular human
than a vampire.

318
IV. React to the statements below using the appropriate
speech pattern:

1. I don't think that getting an MBA makes any sense for me.
2. How did you get to know such a gorgeous guy? 3. Her youngest
daughter is so incredibly whimsical! 4. What do you think of my new
hair colour, Linda? 5. Why are you traveling so light? 6. Sorry to be
telling you this, Madam, but you are late for your plane to Paris.

V. Make up a short dialogue discussing family relations.
Be sure to use speech patterns from Unit One.

VI. Translate from Ukrainian into English using speech
patterns:

1. Все почалося з баночки Кока-коли: я зацікавився тим, чому
її кольори знають всі. 2. Ти чув, що Сергій провалив іспит з іс-
торії англійської мови? Це ще раз доводить, що підготуватися за
одну ніч нереально. 3. Твоя машина – це скоріше танк, а не ав-
томобіль. 4. Як тільки я закінчу магістратуру, я відразу ж поїду
у подорож Європою. 5. Як мені хочеться, щоб наступним філь-
мом Тарантіно була комедія! 6. Якщо буде потрібно, я можу
під'їхати до тебе вранці і допомогти із проектом.

Te x t
FROM A SHORT HISTORY
OF TRACTORS IN UKRAINIAN
BY MARINA LEWYCKA

Marina Lewycka was born in 1946 in a
refugee camp in Kiel, Germany. Her family
subsequently moved to England where she now
lives. She graduated from Keele University with
BA in English and Philosophy and from the
University of York with a B. Phil in English
Literature. She began, but did not complete, a
PhD at King's College London. She currently
works as a lecturer in media studies at Sheffield
Hallam University.


319
Lewycka's debut novel A Short History of
Tractors in Ukrainian won numerous prizes,
including the 2005 Bollinger Everyman
Wodehouse Prize for comic writing at the
Hay literary festival, the 2005/6 Waverton
Good Read Award, the 2005 Saga Award for
Wit. It was long-listed for the 2005 Man
Booker Prize and short-listed for the 2005
Orange Prize for Fiction. The novel has been
translated into over thirty languages,
including Romanian, Bulgarian, Dutch,
Russian, Norwegian, Italian, Spanish,
German, Swedish, Finnish, and Portuguese.


Two years after my mother died, my father fell in love with a
glamorous blonde Ukrainian divorcee. He was eighty-four and she
was thirty-six. She exploded into our lives like a fluffy pink grenade,
churning up the murky water, bringing to the surface a sludge of
sloughed-off memories, giving the family ghosts a kick up the
backside.
It all started with a phone call.
My father's voice, quavery with excitement, crackles down the
line.'Good news, Nadezhda. I'm getting married!'
I remember the rush of blood to my head. Please let it be a joke!
Oh, he's gone bonkers! Oh, you foolish old man! But I don't say any
of those things.'Oh, that's nice, Pappa,' I say.
'Yes, yes. She is coming with her son from Ukraina. Ternopil in
Ukraina.'
Ukraina: he sighs, breathing in the remembered scent of mown
hay and cherry blossom. But I catch the distinct synthetic whiff of
New Russia.

Her name is Valentina, he tells me. But she is more like
Venus.'Botticelli's Venus rising from waves. Golden hair. Charming
eyes. Superior breasts. When you see her you will understand.'
The grown-up me is indulgent. How sweet – this last late flowering
of love. The daughter me is outraged. The traitor! The randy old beast!
And our mother barely two years dead. I am angry and curious. I can't
wait to see her – this woman who is usurping my mother.

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'She sounds gorgeous. When can I meet her?'
'After marriage you can meet.'
'I think it might be better if we could meet her first, don't you?'
'Why you want to meet? You not marrying her.' (He knows
something's not quite right, but he thinks he can get away with it.)
'But Pappa, have you really thought this through? It seems very
sudden. I mean, she must be a lot younger than you.'
I modulate my voice carefully, to conceal any signs of
disapproval, like a worldly-wise adult dealing with a love-struck
adolescent.
'Thirty-six. She's thirty-six and I'm eighty-four. So what?' (He
pronounces it 'vat'.)
There is a snap in his voice. He has anticipated this question.
'Well, it's quite an age difference.'
'Nadezhda, I never thought you would be so bourgeois.' (He puts
the emphasis on the last syllable – wah!)
'No, no.' He has me on the defensive.'It's just that…there could be
problems.'

There will be no problems, says Pappa. He has anticipated all
problems. He has known her for three months. She has an uncle in
Selby, and has come to visit him on a tourist visa. She wants to make
a new life for herself and her son in the West, a good life, with good
job, good money, nice car – absolutely no Lada no Skoda – good
education for son – must be Oxford Cambridge, nothing less. She is
an educated woman, by the way. Has a diploma in pharmacy. She
will easily find well-paid work here, once she learns English. In the
meantime, he is helping her with her English, and she is cleaning the
house and looking after him. They are happy together.

Did I hear that right?
'Oh, well…' I keep my voice steady, but rage burns in my
heart,'…life's just full of surprises. I hope it works out for you. But,
look, Pappa,' (time to be blunt)'I can see why you want to marry her.
But have you asked yourself why she wants to marry you?'
'Tak tak. Yes, yes, I know. Passport. Visa. Work permit. So vat?'
Cross, croaky voice.

He has it all worked out. She will care for him as he grows older
and frailer. He will put a roof over her head, share his tiny pension
with her until she finds that well-paid job. Her son – who, by the

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way, is an extraordinarily gifted boy – genius – plays piano – will get
an English education. They will discuss art, literature, philosophy
together in the evenings. She is a cultured woman, not a chatterbox
peasant woman. He has already elicited her views on Nietzsche and
Schopenhauer, by the way, and she agrees with him in all respects.
She, like him, admires Constructivist art and abhors neo-classicism.
They have much in common. A sound foundation for marriage.
'But, Pappa, don't you think it might be better for her if she
married someone nearer her own age – ? The authorities will realise
it's a marriage of convenience. They're not stupid.'
'Hmm.'
'She could still be sent back.'
'Hmm.'

He hasn't thought of this. It slows him down, but it doesn't stop
him in his tracks. You see, he explains, he is her last hope, her only
chance to escape persecution, destitution, prostitution. Life in
Ukraine is too hard for such a delicate spirit as hers. He has been
reading the newspapers, and the news is grim. There is no bread, no
toilet paper, no sugar, no sewerage, no probity in public life, and
electricity only sporadically. How can he condemn a lovely woman
to this? How can he walk by on the other side of the road?
'You must understand, Nadezhda, only I can save her!'

It's true. He has tried. He has done his best. Before he hit on the
plan of marrying her himself, he searched all around for suitable
husbands. He has already approached the Stepanenkos, an elderly
Ukrainian couple who have a single son still living at home. He has
approached Mr Greenway, a widower living in the village whose
unmarried son visits him from time to time. (A sensible type, by the
way. An engineer. Not a common type. Would be very good match
for Valentina.) They have both refused: they are too narrow-minded.
He told them so, in no uncertain terms. Now neither the Stepanenkos
nor Mr Greenway will speak to him any more.
The Ukrainian community in Peterborough has disowned her.
They, too, are narrow-minded. They are not impressed with her
views on Nietzsche and Schopenhauer. They are bound up in the
past, Ukrainian nationalism, Banderivtsi. She is a modern, liberated
woman. They put out vile rumours about her. They say she sold her
mother's goat and cow to buy grease to put on her face to attract

322
Western men. They speak rubbish. Her mother had chickens and
pigs – she never had a goat or a cow. This just goes to show how
foolish these gossipy types can be.

He coughs and splutters on the other end of the telephone. He has
fallen out with all his friends over this. If needs be he will disown his
daughters. He will stand alone against the world – alone apart from
the beautiful woman by his side. His words can barely keep up with
the excitement of his Big Idea.'But Pappa…'
'And one thing more, Nadia. Don't tell Vera.' Not much chance of
that. I haven't spoken to my sister for two years, since our row after
Mother's funeral.

'But Pappa…'
'Nadezhda, you have to understand that in some respects the man
is governed by different impulses to the woman.'
'Pappa, please, spare me the biological determinism.'

Oh, what the hell? Let him learn the hard way.


Comment ary

1. Botticelli's Venus: The Birth of Venus is a painting by Sandro
Botticelli, an Italian painter of the Florentine school during the Early
Renaissance. It depicts the goddess Venus, having emerged from the
sea as a full grown woman, arriving at the sea-shore.
2. Nietzsche: Friedrich Wilhelm Nietzsche (1844–1900) was a
19th-century German philosopher and classical philologist. He wrote
critical texts on religion, morality, contemporary culture, philosophy
and science, displaying a fondness for metaphor, irony and aphorism.
3. Schopenhauer: Arthur Schopenhauer (1788–1860) was a
German philosopher known for his pessimism and philosophical
clarity.
4. Constructivist art: Constructivism was an artistic and
architectural movement that originated in Russia from 1919 onward
which rejected the idea of autonomous art in favour of art as a
practice directed towards social purposes.
5. neo-classicism: Neoclassicism is the name given to movements
in the decorative and visual arts, literature, theatre, music, and
architecture that draw upon Western classical art and culture (usually

323
that of Ancient Greece or Ancient Rome). These movements were
dominant in northern Europe during the mid-18th to the end of the
19th century.
6. biological determinism: Biological determinism is the
interpretation of humans and human life from a strictly biological
point of view. Biological determinism is also the hypothesis that
biological factors such as an organism's individual genes (as opposed
to social or environmental factors) completely determine how a
system behaves or changes over time.

Es s e nt i al Voc abul ar y

Vocabulary Notes

1. indulgent adj. 1) allowing someone to do or have what they
want: indulgent parents; 2) treating someone with kindness,
especially when you should be strict: an indulgent smile / glance
indulgently adv. I was indulgently advised to give the kids what
they wanted unless I wished my son to be socially ostracized.
2. conceal v [transitive] FORMAL 1) to prevent someone from
seeing or knowing your feelings: He looked at her with barely
concealed admiration. 1a) to not tell someone about something,
especially because you are ashamed of it or worried about it: Why did
you decide to conceal your true identity.
conceal something from someone: Concealing evidence from
the police is a serious offence. 2) to hide something so that it cannot
be found: The letters had been concealed under a mattress. 2a) to
cover something so that it is hidden: A long velvet curtain concealed
a small doorway. Synonym: hide.
3. defensive adj. 1) intended or used for protecting a place during
an attack: defensive weapons; 2) showing that you are angry or
offended when you think someone is criticizing you: He got really
defensive when I asked why he had left. 3) intended to stop the other
team from scoring points in a game: a strong defensive effort;
4) a defensive player tries to stop the other team from scoring points.
on the defensive trying to defend something from attacks or
criticism: put someone on the defensive: a controversy that has put
the school's leadership on the defensive
defensively adv. As drivers, we often ignore the golden rule of
driving safely and defensively.

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4. anticipate v [transitive] 1) to think that something will
probably happen: The organizers hadn't anticipated the huge interest
there was in the event. The building will be completed around six
months earlier than anticipated.
anticipate (that): We anticipate that the river level will rise very
slowly.
anticipate (someone / something) doing something: We don't
anticipate this causing any difficulties. 1a) to be excited about
something enjoyable that is going to happen soon: The film, due to be
released in the spring, is being eagerly anticipated by the critics.
Synonym: look forward to 2) to guess that something will happen,
and be ready to deal with it: Luckily we had anticipated the question.
The businesses that will survive will be those that anticipate changes
in technology.
anticipation n [uncount] a feeling of excitement about something
enjoyable that is going to happen soon: a quiver / thrill / buzz of
anticipation.
in anticipation of something if you do something in anticipation
of an event, you expect it to happen and you prepare yourself for it.

5. blunt adj (1) saying what is true or what you think, even if this
offends or upsets people: It was a frank answer to a blunt question.
let's be blunt (used before saying that something is true but
unpleasant): Let's be blunt – younger people will not buy this car.
2) not pointed or sharp: a blunt pencil / razor.
bluntness n [uncount] In politics, bluntness can and does work.
blunt v [transitive] 1) to make something less strong, less
effective, or less important: The years had not blunted his keen
intelligence. 2) to make something less pointed or sharp: Ken had
blunted the blade by scraping it on the rocks.
blunt instrument 1) any heavy object with a flat or round end,
used as a weapon 2) a method that uses too much force, so that, in
achieving your aim, it also causes some harm or trouble
bluntly speaking in a direct and honest way, even if this offends
or upsets people: 'They just don't like you,' he told me bluntly.
to put it bluntly (used when saying something honest that may
offend people): To put it bluntly, your friend isn't welcome here.


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6. elicit v [transitive] FORMAL 1) to make someone react in that
way: The question elicited a positive response from 60 % of voters.
2) to manage to get information from someone: Their research had
elicited very little so far.

7. abhor v [transitive] FORMAL to dislike something very much,
especially when you think it is immoral: She abhors violence.
abhorrence n [uncount] FORMAL the feeling that you have
when something offends you a lot or you think it is immoral
abhorrent adj FORMAL if something is abhorrent to you, you
dislike it very much, usually because you think it is immoral
abhorrent to: Racism is abhorrent to the majority of people.


Word Combi nat i ons and Phrases

love-struck adolescent
sound foundation for smth
marriage of convenience
quite an age difference
to stop smbd in his / her tracks
to hit on the plan of doing smth
to be bound up in the past
Not much chance of that.
Spare me smth!
to learn the hard way


Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Come up with three sentences of your own with each
vocabulary item. Make sure they can be used when discussing
relations between people.


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III. Consult a dictionary, transcribe the following words
and practice their pronunciation:

glamorous, divorcee, quavery, synthetic, usurping, gorgeous,
modulate, adolescent, bourgeois, emphasis, pharmacy, croaky,
extraordinarily, persecution, destitution, delicate, sewerage, probity,
condemn, sporadically, sensible, community, disown, gossipy,
splutter, impulse, excitement

IV. Match the phrasal verbs on the left with the correct
definition on the right:

1) think smth through
2) look after smbd

3) work out for smbd
4) get away with smth
5) keep up with smth
6) slow smbd down
7) put smth out
8) send smbd back

9) fall out with smbd

a) have an argument with
b) do something against the rules or illegal
and not get caught or punished
c) make move more slowly
d) broadcast
e) return
f) consider carefully
g) take care of (a child, a house, a pet)
h) stay on schedule with
(a person, the workload, homework)
i) be successful

V. Match the words on the left with their antonyms on
the right:

1) conceal
2) blunt

3) indulgent
4) elicit
5) anticipate

6) defensive

7) abhor

a) offensive
b) abstaining, intolerant, moderate, moderating, strict,
tempering
c ) be amazed, be surprised, doubt
d) diplomatic, sensitive, sophisticated
e) disclose, divulge, expose, lay bare, let out, open,
reveal, show, tell, uncover
f) admire, adore, approve, cherish, desire, enjoy, like,
love, relish
g) cover, hide, keep, repress, suppress


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VI. Fill in the gaps with the word combinations and phrases:

1. A good teacher can always develop a strategy for giving all
children a ……… with literacy skills. 2. Sometimes the best lessons
in life are the ones you ………... 3. ……. the outrage over political
scandals! 4. The solution for the problem of a …….. remains
increasing the variety of opportunities to socialize, not merely
decreasing the social outlet they are obsessed with. 5. I am 20 and
my boyfriend is 45. Yes, this is ……., but when we are together, we
are always happy and complete each other. 6. When your boyfriend
says he needs a break, do not lose him: do this and …….. 7. A …….
or fake marriage is a marriage contracted for reasons other than the
reasons of relationship.

VII. Paraphrase the following sentences using your Essential
Vocabulary:

1. Muslim women hide their faces. 2. They are anxious to show
their hatred of racism. 3. His permissive mother was willing to let
him do what he wanted. 4. We expect a large turnout at the next
meeting. 5. She heard the blustering, uptight note in his voice. 6. We
drew out some interesting linguistic data from the native informant.
7. His outspokenness got him into trouble.

VIII. Translate the following sentences into Ukrainian.
Pay special attention to the words and word combination
in italics:

1. Indulgent grandparents overfeed kids and make them fat,
scientists warn. 2. During the 1990s, conjoint analysis was developed
to elicit patients' and the community's views on health care. 3. Many
bloggers worry about how to conceal your digital identity while
online. 4. The World Economic Forum ends with few clear
outcomes, but with bankers firmly on the defensive. 5. Abhor what is
evil; hold fast to what is good. 6. Toads, like humans, are capable of
anticipating when and how hard they are going to land after a jump
and activating muscles important in absorbing impact accordingly.
7. The government has said it has no savings or job cut targets, but
one of the officials has a blunt message for unhappy public servants.
8. The President concealed the fact that he bugged the offices in the
White House.

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IX. Translate the following sentences into English using the
active vocabulary:

1. Говорячи абсолютно відверто, вона мене дратує. 2. Не по-
трібно бути так насторожі. Я ж тільки виказав припущення.
3. Багато сучасних винаходів передбачив ще Леонардо да Вінчі.
4. Коментарі президента викликали стривожений відгук з боку
республіканців. 5. Навіть сама думка про те, що їй можна на-
шкодити, для мене абсолютно жахлива. 6. Хіба можна весь час
потурати дитині? Це її розбещує! 7. Не варто приховувати пра-
вду: у будь-якому разі всі про це згодом дізнаються.

X. Fill in the gaps in the quotations with suitable Essential
Vocabulary units:

1. It is the story-teller's task to ……. sympathy and a measure of
understanding for those who lie outside the boundaries of State
approval. (Graham Greene) 2. A woman, especially, if she have [sic]
the misfortune of knowing anything, should ……… it as well as she
can. (Jane Austen) 3. Just as the body reacts in a purposeful way to
wounds or infections or an abnormal way of living, so the psychic
functions react to unnatural or injurious disturbances with
appropriate means of ……. (Carl Jung) 4. People who …… solitude
may ……. company almost as much. (Mason Cooley) 5. Tragedy, as
you know, is always a fait accompli, whereas terror always has to do
with ………, with man's recognition of his own negative potential –
with his sense of what he is capable of. (Joseph Brodsky) 6. My
intentions go one way, my desires another. Thus I feel both
self-………. and deprived. (Mason Cooley) 7. A ……. statement can
be as false as any other. (Mason Cooley).

XI. Compose short situations in dialogue using Essential
Vocabulary. Pay attention to the intonation of the stimuli
and responses.


Exe r c i s e s t o t he Te xt

I. Summarise the text in a short paragraph of 60–80 words.

II. Write a précis of the text in 20–30 words.

329
III. Pick up from the text sentences describing Valentina,
Nadezhda and Nikolai (Pappa). Give the character sketches
and speech portraits.

IV. Retell the text a) as if you were Valentina; b) as if you were
Nadezhda; c) as if you were Pappa; d) as if you were a neighbour.
Will the general tone of the four versions differ? How and why?

V. Practice dialogues between Nadezhda and Pappa.

VI. Put 15 questions to the text, trying to focus on the sphere
of human relations.

VII. Pick out from the text all the words and phrases
belonging to emotions in relations between the characters Use
them in situations of your choice.

VIII. Write out from the text sentences containing the word
combinations and phrases and translate them into Ukrainian.

IX. Answer the following questions on the text:

1. Who is supposed to be speaking the words of the text?
2. How many voices can you hear in the narrative? Who is the
narrator?
3. Where is the story set? How is the setting important for the
plot development?
4. Is the tone of the passage serious or not? And the situation
itself? What effect does the contrast create?
5. What is Pappa's'Big Idea'?
6. What effect do the news on Pappa's marriage have on
Nadeshda?
7. What reasons does Nikolai have for marrying Valentina?
8. What do you think is her motivation?
9. What would you do in this situation if you were Nadezhda?
10. What is the underlying cause of the disagreement in the
family?

330
11. Can you remember a particularly disappointing incident in
your life as a child?
12. What inference might be drawn from the fact that Valentina's
son'will get an English education'? Is it important for a person to
understand the culture as well as the language of the country?
13. Would you define any of the characters as positive or
negative? Why or why not?
14. Try to alter the mode of narration by transposing the text into
third person narration from the author's point of view. Has this
transposition of point of view worked? Why or why not?

X. Reread the text to answer the following questions on its
style and composition:

1. 'She exploded into our lives like a fluffy pink grenade.' What
figure of speech does the author use to make readers feel the sudden
change in the family routine? What is the tone of the sentence?
2. 'Why you want to meet? You not marrying her.' How is the
Ukrainian accent made explicit in the passage? What do you think is
the purpose of it? Give examples of particular instances and
comment on them from the point of view of both language and style.
3. Identify historical and artistic allusions in the text. Why do you
think they are alluded to? What effect is created?
4. Comment on the stylistic use of the allusions. Do you think
Valentina is really knowledgeable about philosophy and art? Is
Nikolai?
5. How does the writer suggest that Nadezhda is ashamed of her
father's behaviour?
6. What is implied in the statement about'breathing in the
remembered scent of mown hay and cherry blossom'? How is it
contrasted to'the distinct synthetic whiff of New Russia'? Whose
point of view is this?
7. 'Her name is Valentina, he tells me.' Is the reported speech
intended to make the characters closer or more distant to the reader?
What effect is achieved? What would have been the difference is the
author had used the direct speech instead?
8. What is implied by usage of the simile'like a worldly-wise
adult dealing with a love-struck adolescent'? What other figures of
speech are used to make readers feel the relations between the
daughter and the father?

331
9. 'She wants to make a new life for herself and her son in the West,
a good life, with good job, good money, nice car – absolutely no Lada
no Skoda – good education for son.' Does Nikolai see the future of his
fiancée as positive or negative? How is it shown on a lexical level?

ХI. Comment on the picture. Do family relations acquire
new forms with the development of technology? How are you
personally affected?



XII. Write a letter to a friend, sharing a family story.

XIII. Write an essay of 2,000 words on one of the following
topics:

• Multicultural Marriages: Can They Really Work?
• Family Traditions in Different Generations
• Daughter-Father Relations: Who Teaches Whom?
• There is no Fool Like an Old Fool
• Immigration: Way to a Better Life or Continuous Nostalgia?

XIV. Read the blurbs to A Short History of Tractors in
Ukrainian. Write a similar / different blurb of your own and
comment on it to the group.

• 'An extraordinary read … nothing short of amazing. A rare treat,
all too easy to gulp down in one greedy sitting' (Daily Express)
• 'Hugely enjoyable …. Yields a golden harvest of family truths'
(Daily Telegraph)

332
• 'Thought-provoking, uproariously funny, a comic feast. A
riotous oil painting of senility, lust and greed' (Economist)
• 'Delightful, funny, touching' (Spectator).


S E C T I O N B

Consider the following information as background to the
subsequent tasks:

Relationship is defined as a state of connectedness between
people. Although in today's society with its crazy rhythm of
everyday life, when people tend to live in a densely populated
megalopolis, spending most of their time in the office and hardly
knowing their neighbour's name, we still find ourselves in some kind
of a relationship – with friends, family, or colleagues.
Family relationships are the first people's relationships to enter
into. Parents and relatives influence our emotional development by
creating a model that we are sometimes bound to follow all our life,
often subconsciously.
In day-care, at school, then in the office we spend a lot of time
among fellow students and co-workers. We learn to maintain
business relationships, to work in a team environment, then form
smaller groups of like-minded people and finally select some of them
as our friends.
Sociologists believe that most of the people are looking for
similarity of views, social status, and interests when choosing
friends. No wonder that our friends are often people of the same age,
sex, and education. Another important factor is joint activity and
solidarity. This is the reason why many of us befriend their
colleagues and people who work in the same field.
The number of single people is growing every day, making
modern psychologists question the need for a serious relationship
between men and women. People are getting more and more self-
sufficient and don't seem to need a life partner any longer. Now,
when successful career and professional self-realization have become
priority for fresh graduates, when taking maternity leave will take
away your chances of ever catching up with your more successful
and commitment-free co-workers, most people tend to delay settling
down or even moving in with someone until their late thirties.

333
However, psychological studies reveal that people who manage to
maintain healthy relationships really have more happiness and less
stress. There are simple ways to make relationships healthy, even
though each one is different… boyfriends, girlfriends, parents,
siblings, friends, colleagues, professors, roommates, and classmates.
– From People and Relationships

Topi cal Vocabul ary

Friend of smb, close personal friend of smb, acquaintance of smb,
parent of smb, grandparent of smb, sibling of smb, child of smb,
grandchild of smb, spouse of smb, enemy of smb, antagonist of smb,
ambivalent of smb, lost contact with smb, knows of smb, would like
to know smb, knows smb in passing, knows smb by reputation, close
friend of smb, has met smb, works with smb, colleague of smb,
collaborates with smb, employer of smb, employed by smb, mentor
of smb, apprentice to smb, lives with smb, neighbour of smb, life
partner of smb, engaged to smb, ancestor of smb, descendant of smb,
participant in smth.


Te x t 1

I. Read the text:

FROM EVERYTHING
IS ILLUMINATED

BY JONATHAN SAFRAN FOER



Jonathan Safran Foer was born in
1977. He studied at Princeton where he won
the freshman, sophomore, junior, and senior
creative writing thesis prizes. Several years
ago, he travelled to Ukraine to research his
grandfather's life. Jonathan Safran Foer now
lives in Queens, New York.

334


Everything Is Illuminated (2002) is
his first novel. An excerpt of it appeared
in the New Yorker's debut-fiction issue,
eliciting a huge response and a flood of
letters from admiring readers. It was later
adapted into a film by the same name
starring Elijah Wood.

A young American Jew, named Jonathan
Safran Foer, journeys to Ukraine in search
of Augustine, the woman who saved his
grandfather's life during the Nazi liquidation
of Trachimbrod, his family shtetl. Armed
with many copies of an old photograph of
Augustine and his grandfather and maps,
Jonathan begins his adventure with
Ukrainian native and soon-to-be good
friend, Alexander 'Alex' Perchov, who is
Foer's age and very fond of American pop
culture, albeit culture that is already out of
date in the United States. Alex studied
English at his university, and even though
his knowledge of the language is not 'first-
rate', he becomes the translator. Alex's
'blind' grandfather and his 'deranged seeing-
eye bitch,' Sammy Davis, Jr., Jr.,
accompany them on their journey.


Chapt e r 10: goi ng f or t h t o l ut s k

It was pending this five-hour car drive from the Lvov train station
to Lutsk that the hero explained to me why he came to Ukraine. He
excavated several items from his side bag. First he exhibited me a
photograph. It was yellow and folded and had many pieces of
fixative affixing it together. 'See this?' he said. 'This here is my
grandfather Safran.' He pointed to a young man who I will say
appeared very much like the hero, and could have been the hero.
'This was taken during the war.'From who? 'No, not taken like that.
The photograph was made. 'I understand. 'These people he is with are

335
the family that saved him from the Nazis. 'What?' They. . . saved . . .
him... from... the... Na . . . zis. 'In Trachimbrod?' No, somewhere
outside of Trachimbrod. He escaped the Nazi raid on Trachimbrod.
Everyone else was killed. He lost a wife and a baby. 'He lost?' They
were killed by the Nazis. 'But if it was not Trachimbrod, why do we
go to Trachimbrod? And how will we find this family?' He explained
to me that we were not looking for the family, but for this girl. She
would be the only one still alive.
He moved his finger along the face of the girl in the photograph as
he mentioned her. She was standing down and right to his grandfather
in the picture. A man who I am certain was her father was next to her,
and a woman who I am certain was her mother was behind her. Her
parents appeared very Russian, but she did not. She appeared
American. She was a youthful girl, perhaps fifteen. But it is possible
that she had more age. She could have been so old as the hero and me,
as could have been the hero's grandfather. I looked at the girl for many
minutes. She was so so beautiful. Her hair was brown, and rested only
on her shoulders. Her eyes appeared sad, and full of intelligence.
'I want to see Trachimbrod,' the hero said. 'To see what it's like,
how my grandfather grew up, where I would be now if it weren't for
the war. 'You would be Ukrainian. 'That's right.' Like me. 'I guess.'
Only not like me because you would be a farmer in an unimpressive
town, and I live in Odessa, which is very much like Miami. 'And I
want to see what it's like now. I don't think there are any Jews left,
but maybe there are. And the shtetls weren't only Jews, so there
should be others to talk to.' The whats? 'Shtetls. A shtetl is like a
village. 'Why don't you merely dub it a village?' It's a Jewish word.
'A Jewish word?' Yiddish. Like schmuck. 'What does it mean
schmuck?' Someone who does something that you don't agree with is
a schmuck. 'Teach me another.' Putz. 'What does that mean?' It's like
schmuck. 'Teach me another.' Schmendrik. 'What does that mean?'
It's also like schmuck. 'Do you know any words that are not like
schmuck?' He pondered for a moment. 'Shalom,' he said, 'which is
actually three words, but that's Hebrew, not Yiddish. Everything I
can think of is basically schmuck. The Eskimos have four hundred
words for snow, and the Jews have four hundred for schmuck.'
I wondered, What is an Eskimo?

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'So, we will sightsee the shtetl?' I asked the hero. 'I figured it
would be a good place to begin our search.' Search? 'For
Augustine. 'Who is Augustine?' The girl in the photograph. She's the
only one who would still be alive. 'Ah. We will search for Augustine,
who you think saved your grandfather from the Nazis. 'Yes.' It was
very silent for a moment. 'I would like to find her,' I said. I perceived
that this appeased the hero, but I did not say it to appease him. I said
it because it was faithful. 'And then,' I said, 'if we find her?' The hero
was a pensive person. 'I don't know what then. I suppose I'd thank
her. 'For saving your grandfather. 'Yes.' That will be very queer, yes?
'What?' When we find her. 'If we find her.' We will find her.
'Probably not,' he said. 'Then why do we search?' I queried, but
before he could answer, I interrupted myself with another query.
'And how do you know that her name is Augustine? 'I guess I don't,
really. On the back, see, here, are written a few words, in my
grandfather's writing, I think. Maybe not. It's in Yiddish. It says:
'This is me with Augustine, February 21, 1943. 'It's very difficult to
read. 'Yes.' Why do you think he remarks only about Augustine and
not the other two people in the photograph? 'I don't know.' It is
queer, yes? It is queer that he remarks only her. Do you think he
loved her? 'What?' Because he remarks only her. 'So?' So perhaps he
loved her. 'It's funny that you should think that. We must think alike.'
(Thank you, Jonathan.) 'I've actually thought a lot about it, without
having any good reason to. He was eighteen, and she was, what,
about fifteen? He had just lost a wife and daughter when the Nazis
raided his shtetl. 'Trachimbrod?' Right. For all I know the writing
doesn't have anything to do with the picture. It could be that he used
this for scrap paper. 'Scrap?' Paper that's unimportant. Just something
to write on. 'Oh.' So I don't really have any idea. It seems so
improbable that he could have loved her. But isn't there something
strange about the picture, the closeness between them, even though
they're not looking at each other? The way that they aren't looking at
each other. The distance. It's very powerful, don't you think? And his
words on the back. 'Yes.' And that we should both think about the
possibility of his loving her is also strange. 'Yes,' I said. 'Part of me
wants him to have loved her, and part of me hates to think it.'What is
the part of you that hates it if he loved her? 'Well, it's nice to think of
some things as irreplaceable.' I do not understand. He married your

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present grandmother, so something must have been replaced. 'But
that's different.' Why? 'Because she's my grandmother.' Augustine
could have been your grandmother. 'No, she could have been
someone else's grandmother. For all I know she is. Maybe he had
children with her.' Do not say this about your grandfather. 'Well, I
know he had other children before, so why would that be so
different?' What if we reveal a brother of yours? 'We won't.' And
how did you obtain this photograph?' I asked, holding it to the
window. 'My grandmother gave it to my mother two years ago, and
she said that this was the family that saved my grandfather from the
Nazis.' Why merely two years? 'What do you mean?' Why was it so
newly that she gave it to your mother? 'Oh, I see what you're asking.
She has her reasons.' What are these reasons? 'I don't know.' Did you
inquire her about the writing on the back? 'No. We couldn't ask her
anything about it.' Why not? 'She held on to the photograph for fifty
years. If she had wanted to tell us anything about it, she would have.'
Now I understand what you are saying. 'I couldn't even tell her I was
coming to the Ukraine. She thinks I'm still in Prague.' Why is this?
'Her memories of the Ukraine aren't good. Her shtetl, Kolki, is only a
few kilometers from Trachimbrod. I figure we'd go there too. But all
of her family was killed, everyone, mother, father, sisters,
grandparents.' Did a Ukrainian save her? 'No, she fled before the
war. She was young, and left her family behind.' She left her family
behind. I wrote this on my brain. 'It surprises me that no one saved
her family,' I said. 'It shouldn't be surprising. The Ukrainians, back
then, were terrible to the Jews. They were almost as bad as the Nazis.
It was a different world. At the beginning of the war, a lot of Jews
wanted to go to the Nazis to be protected from the Ukrainians. 'This
is not true.' It is. 'I cannot believe what you are saying.' Look it up in
the history books. 'It does not say this in the history books.' Well,
that's the way it was. Ukrainians were known for being terrible to the
Jews. So were the Poles. Listen, I don't mean to offend you. It's got
nothing to do with you. We're talking about fifty years ago. 'I think
you are mistaken, 'I told the hero.' I don't know what to say. 'Say that
you are mistaken.' I can't. 'You must.'
'Here are my maps,' he said, excavating a few pieces of paper
from his bag. He pointed to one that was wet from Sammy Davis,
Junior, Junior. Her tongue, I hoped. 'This is Trachimbrod,' he said.

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'It's also called Sofiowka on certain maps. This is Lutsk. This is
Kolki. It's an old map. Most of the places we're looking for aren't on
new maps. Here,' he said, and presented it to me. 'You can see where
we have to go. This is all I have, these maps and the photograph. It's
not much.' I can promise you that we will find this Augustine, 'I said.
I could perceive that this made the hero appeased. It also made me
appeased. 'Grandfather,' I said, rotating to the front again. I explained
everything that the hero had just uttered to me. I informed him about
Augustine, and the maps, and the hero's grandmother. 'Kolki?' he
asked. 'Kolki,' I said. I made certain to involve every detail, and I
also invented several new details, so that Grandfather would
understand the story more. I could perceive that this story made
Grandfather very melancholy. 'Augustine,' he said, and pushed
Sammy Davis, Junior, Junior onto me. He scrutinized at the
photograph while I fastened the wheel. He put it close to his face,
like he wanted to smell it, or touch it with his eyes. 'Augustine.' She
is the one we are looking for, 'I said. He moved his head this and
that.'We will find her,' he said. 'I know,' I said. But I did not know,
and nor did Grandfather.

II. Discuss the following:

1. Why does Jonathan travel to Ukraine? What is he searching
for? What are Alex and his grandfather searching for on the journey?
What do you think will each character find? What are the relations
between the three characters?
2. Why do you think the author Jonathan Safran Foer chose to
give the protagonist of the novel his name? Does this decision affect
how you read the story? Would the experience of reading Everything
Is Illuminated be different if this character had another name?
3. The text introduces the topic of loyalty to one's family and
country. It also points out how identity can change rapidly from
generation to generation. Find textual examples to illustrate these
observations.
4. Jonathan comes from a family of Holocaust survivors, and
whatever he does will seem tiny compared to what his relatives went
through in order to survive. Express your opinion on the issue.

339
5. The text also introduces us to the mystery of Grandfather's past.
He becomes much friendlier to Jonathan once he sees the photograph
of Augustine. Suddenly the trip has meaning for him; he wants to
find Augustine and is encouraging about the task even when
Jonathan is not around. We are left to wonder whether Grandfather
knows Augustine or is just touched by her beauty. What is your
opinion on the matter? Do you think they will find Augustine? Do
you consider the ending of the book will be hopeful or tragic? Why?
6. Guilt is a big theme in Everything Is Illuminated. Later in the
novel, Alex's grandfather, responding to the account of the Nazis'
murdering innocent Jews, tells Alex: 'You would not help somebody
if it signified that you would be murdered and your family would be
murdered.' He also says, 'I am not a bad person. I am a good person
who has lived in a bad time.' Do you think Alex's grandfather did
anything wrong? Should he feel in any way guilty? Are we
responsible for the bad things that others do if we do nothing to stop
them? Should we feel guilty if a family member did something bad
in the past?
7. What is implied in the statement that'this story made
Grandfather very melancholy? Is he in some way related to the war-
time events?
8. Later in the novel, Jonathan writes, 'Every widow wakes one
morning, perhaps after years of pure and unwavering grieving, to
realize she has slept a good night's sleep, and will be able to eat
breakfast, and doesn't hear her husband's ghost all the time, but only
some of the time.' How do people both move on and still remember
these events? What roles do stories play in reconciling ourselves with
the past?
9. What does the title of the novel, Everything Is Illuminated,
mean? Does it mean one thing? What things are illuminated? What is
illumination? What is gained and lost by illumination? How
can'illumination' help human relations?

III. Reread the text to answer the following questions on
its style and composition:

1. Why do you think is the main character referred to as'a hero'?
Whose position is it? Whose voice can you hear?

340
2. Is the passage consistent in its style, or are there points of major
contrast or change within the text? Do different characters use
language in significantly different ways? Why?
3. Exhibited instead of showed; excavated instead of took out;
appeased instead of calmed down. Comment on the usage of
elevated words in the passage. Find more examples and supply
neutral synonyms to them. What effect is created?
4. '[Y]ou would be a farmer in an unimpressive town, and I live in
Odessa, which is very much like Miami.' How does the statement
characterize Alex? In what way can Odessa be similar to Miami?
5. What is implied by the usage of such words as shtetl, schmuck,
putz, schmendrik and shalom? Do they bear explicit cultural
implications or create a certain atmosphere in the narrative?
6. Trachimbrod, Sofiowka, Lutsk, Kolki. Are the place names in
the passage real or fictitious? Check the map to answer the question.
What would have been the artistic effect if this had been the
opposite?
7. Comment on the syntax of the narrative. Are the sentences
predominantly short and simple or long and complicated? What does
it testify to? Whose language style does it reflect?

IV. Read the blurbs to Everything is Illuminated. Write
a similar / different blurb of your own and comment on it
to the group.

• 'Not since …. A Clockwise Orange has the English language
been simultaneously mauled and energized with such brilliance and
such brio' (Francine Prose, New York Times Book Review)
• 'Read it, and you'll feel altered, chastened – seared in the fire of
something new' (Washington Post Book World)
• 'Maybe two or three times in a lifetime, a book transcends its
genre to become experience. Everything is Illuminated is an event of
this order' (Baltimore Sun).

V. Watch the film Everything is Illuminated (2005). Work
on the following activities:

• Write your review of the film and present it to the group.

341
• Share your impressions of the film with your group-mates. Do
you see any differences in the way the characters are presented in the
passage and in the movie?
• What is your attitude to Grandfather? To Alex? To Jonathan?
• What do you think were the relations between Jonathan's
grandfather and Augustine? Is the woman they met the real
Augustine?
• What is your opinion of the relations in Alex's family? Is your
family similar to theirs?


P O E T R Y

I. Read the poem:


MEN ARE
BY THE JOEYS

Men are, men are, men are,
men are strong
men are tough
men are surly, men are rough
men are mates
men drink beer
men are brave and don't show fear
men slap backs
men sing songs
men are men and men are strong
men don't touch
men aren't drips
men shake hands with vice-like grips.

men like fighting
men like cars
men like shouting with men in bars
men like football
and now and then
men like men like men like men
no they don't
men beat up queers

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men live with their mums for year and years
men have beards
and hairy chests
men walk through blizzards in string vests.

men can embrace
and bare their soul
but only if they've scored a goal
men leap tall buildings
men are tough
men don't know when they've had enough
men drive fast cars with wide wheels
men have muscles
men have sweat

men wear trousers
men have flies
men kick sand in each other's eyes
men stand alone
men show no fears
men have hobbies and hairy ears
men have willies
men have bums
men are good at science and sums
men aren't loving
men don't dance
men don't change their underpants.

men climb mountains
in the snow
men don't cook and men don't sew
men are bosses
men are chums
men build office blocks and slums
men make bombs
men make war
men are stupid, men are bores
men ignore
what women see
and call our story history.

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II. Discuss / do the following:

1. How serious is the poem?
2. Does the author really mean what he says? Are these the main
features of men?
3. Do you think the poem was written by a man or a woman?
What are the gender-marked evidence that justify your point of
view?
4. Write a reply or a continuation to the poem.
5. Write a similar poem, substituting'men' for'women.' Discuss
your ideas with the group.
6. 'Men are from Mars, Women are from Venus.' How much do
you agree with the claim? Are the man / woman relations usually
complicated? Can we understand each other well? Why or why not?

III. Reread the poem to answer the following questions on
its style and composition:

1. You have probably noticed that almost every line of the poem
starts with the same word'men.' What effect is achieved with the use
of this anaphora?
2. List some examples of parallelism in the verse. In this text is
parallelism more common between lines or inside the line?
3. Why does this poem use parallelism so extensively? (There
might be several reasons.)
4. Comment on the contrast in the last lines. Is it the
foregrounding that impresses the reader?
5. Are the lines generally of the same length and complexity? If
not, is the inequality patterned or distributed in any way that might
be significant?
6. Why do you think is the punctuation virtually missing in the
verse? Would it sound the same if all commas and periods were
there?
7. What is a'vice-like grip'? How does it feel? What other epithets
would you use to characterize men?
8. Write out all the adjectives, nouns and verbs the author uses to
characterize men. Can you notice any systematicity in their meaning?
What are the semantic fields?

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9. Make up a similar list for women. Are the semantic fields
the same?


IV. Comment on the picture. Do you think the men and
women really belong to completely different worlds? If so, do
you think a compromise can be found?




MA G A Z I N E A R T I C L E

I. Read the article:

AGE GAP RELATIONSHIPS

PARTNERS' DIFFERENT AGES MAKE FOR HEALTHY
OR TROUBLED RELATIONSHIP
BY VICTORIA ANISMAN-REINER

Partners with a significant difference in their ages may worry
about criticism from friends and family, or the impact of an age gap
on their relationship.
Age gap relationships (or 'spring-autumn' relationships) may
come in for criticism and ridicule, no matter how balanced or healthy
they are. Partners with a significant age gap may find themselves the

345
target of ridicule or outright criticism from family, friends and
strangers; or they may worry that there is something wrong with the
relationship.
Cultural norms about dating age gaps are based on two
assumptions: that the age gap in relationships will be a small one,
and that (in a heterosexual relationship, at least) the man will be the
older partner. This simply isn't the case in many relationships.

Psychol ogi cal Fact ors
i n Age Gap Rel at i onshi ps?

There are psychological reasons that some age gap relationships
may be unhealthy.
• It is often suggested that the younger partner is seeking a mother
or a father figure, or someone to guide and care for them.
• Older partners may be the target of those who assume that their
interest in their significant other is purely physical or that they can't
have found an equal in someone younger – especially for substantial
age gaps of ten years or more.

Ma t u r i t y

People mature at different rates, based on family patterns and life
experience. It's possible for two people at different ages – even with
a 20 or 30 year age gap – to be equally'mature,' however you define
the term. After all, how often do we hear the cliché that'women
mature faster than men'? Some women at 30 are more mature than
men at 50 – and vice versa.
Online support groups and chat rooms for age gap relationships
abound. One of the most repeated comments on these boards is the
reassurance that'age is just a number' and that love is about the
person, not their age.

In Love wi t h t he Part ner,
not her Age

It's hard to argue with love. If love is real, and the relationship is
good, then age becomes secondary.
It seems sensible to judge an age gap relationship by the same
standards as any other romantic relationship. Does the person
make you happy? Do they treat you well? These are the issues
that really matter.

346
Consider the relationship as a relationship first, and an age-gap
partnership second – but with an awareness of the additional issues
that an age gap may introduce into any relationship, including aging,
different life goals, and social pressure.

Fri ends and Fami l y
of Age Gap Rel at i onshi ps

The largest stumbling-block in most age gap relationships comes
when friends and family – and even strangers – are introduced into
the mix.
People may feel threatened or confused when witnessing a happy
relationship between partners with a visible age gap, and some of
them make comments that offend. Parents, in particular, may find it
difficult to see their son or daughter with a romantic partner who is
the same age as themselves – especially if the older partner is the
woman, which really goes against what is expected. It may also be a
challenge to enter each other's social circles, especially if friends or
colleagues are limited to people of one's own age.
It may be helpful to give friends and family time to get used to
the idea of an age gap relationship. Since their interest is usually in
ensuring their loved one's happiness, seeing the couple together and
happy will eventually win them over.
Remember that although family and friends mean well, it is not
their relationship! Only the couple themselves know what goes on
within their relationship, and only they have to live with whatever
they decide to create in their life together.

II. Find in the article the leading ideas and present them
in the form of clear-cut claims.

III. Find in the text the claims with which you agree /
disagree. Justify your position. Use the following patterns for
agreeing / disagreeing:

• I'm sure that …
• I'm certain that …
• I'm (absolutely) convinced that …

347
• I really do think that …
• I definitely think that …
• I can't agree to the claim that …
• I agree to it to a certain extent, but …
• That's an interesting idea, but …
• I'm not sure I entirely agree.
• I don't think I really like the idea.
• I don't agree with … at all on that point.

IV. Discuss the following:

1. How biased is the society towards age gap relationship? Are
the'older man' /'older woman' cases treated the same?
2. Why are people in many cultures judgmental towards age gap
relationships? Could you cite some real-life examples that illustrate
successful wide age-gap love relationships?
3. Is, in your opinion, age just an arbitrary, relative number,
meaningless in the context of a relationship or is it the crucial factor?
4. What would you say if your best friend got involved in a
relationship with someone who is twenty years older than him / her?
Would you approve or disapprove? Will the age gap affect your
attitude?
5. If you believe that age really matter, then how old is too old?
6. Some women nevertheless believe that there are more'cons'
than'pros' in dating an older man. What are they? What are the
positive aspects?
7. 'Age is just a number.' Do you agree? Support your position
with arguments.

V. Comment on the following proverbs about relations.

1.Even in hell you meet relations (Japanese proverb). 2. A good
friend is worth many relations (Scottish proverb). 3. Poor relations
have little honour (Danish proverb). 4. When a peasant gets rich, he
knows neither relations nor friends (Spanish proverb). 5. A dead man
has neither relations nor friends (French proverb). 6. The rich man
has more relations than he knows about (French proverb).

348
VI. Comment on the picture. Do you think the woman is /
was happy about her relations with the partner? Was he?



VII. Choose a project topic from the list. Prepare a 15-minute
PowerPoint presentation on it and present it to the group. Allow
5 minutes for a question / answer session.

• Gender Roles in Human Relations
• Cultural Implications in Interpersonal Relations
• Interpersonal Relationships
and Marriage or Bonding Relationships
• Interpersonal Relationships and the Family
• Family: A Safe Haven or a Nightmare of Oppression?

VIII. When working on a project in Ex. VII above, make an
Internet search. What key words will you search for? What
reasons would there be for making these searches?


S E C T I O N C

GUIDELINES FOR PREPARING
A CONFERENCE PAPER

As an M.A. student working on your research, you might wish to
present your findings at an international conference. This is a very
helpful and inspiring practice, which will immediately bring you to a

349
dramatically different standard of academic quality. Below are some
guidelines for students as to how to prepare a conference paper.

I. Presentation technique.

Do NOT give your paper without illustrations. If you do, it will
be much harder for the audience to follow your arguments, and it
will therefore be more difficult for you to persuade them.

There are basically three kinds of illustrations: handouts,
transparency sheets, and PowerPoint presentations. PowerPoint
presentation offers most in terms of possibilities: it looks very
professional, can contain any kind of information, allows you to
create special effects to emphasize certain points, and is entertaining
to watch. It also pre-structures your talk to a high degree, making it
easier for you to talk freely.

II. Preparing the written text.

Your paper will be presented to an unknown audience of
professionals, in a foreign language, and within a very strict time
limit. That puts high demands on your presentational skills.
Therefore, it is imperative to prepare well for the event. One very
efficient way (certainly for a beginner) is to write out the whole
paper beforehand.

If you use PowerPoint or a handout, limit yourself to a maximum
of 6 pages (line spacing 2). Write in a simple and clear style, coming
close to everyday speech. The English speaking academic tradition
favours this, so do not be afraid that people will think you stupid if
you use simple sentences and clear language. Do not forget that this
is an oral presentation, and everyone is the audience wants to
understand what you are saying.

III. The oral presentation.

Memorize the text. Rehearse your presentation several times.

Try to control your nerves: think of how many other ordinary
people have done this before.

350
During your presentation, do not sit. Stand in front of the
audience, and do not shy away.

Breathe deeply and calmly; often that has a beneficial effect on
your state of mind. Speak loudly and clearly. A good trick is to ask
people in the back whether they can understand your. This creates an
informal atmosphere and makes you look confident.

Speak slowly. Your time is limited, but you have prepared your
talk accordingly, so there is no need to rattle away.

Establish eye contact with the audience; this makes it less
frightening.

Try to be humorous; it relaxes the atmosphere and takes the sting
out of it all.

Use body language to make clear or emphasize what you want to say.

IV. Organizational aspects.

Most paper presentations at international conference are limited to
20 minutes, following by 10 minutes' discussion. Sessions are
presided over ('chaired') by someone who has been appointed by the
local organizers. Usually these are senior or at least experienced
researchers, so you may trust that they know how to handle such a
situation. Normally, the chair will thank you after your presentation
and will invite contributions from the audience.

V. Discussion time.

This, of course, is what everyone dreads most, since you are at the
mercy of the audience, and cannot really prepare yourself for it.
However, there are a few things that can help you.
Remain calm. Do not panic if you do not understand a question or
remark. Simply request to repeat it: 'I am sorry, but I am not sure I
understand the question. Can you please repeat it?'
Do not be ashamed if your English is not perfect: all non-natives
make mistakes, and native speakers know that and appreciate your
efforts to communicate in their language. I have never in my whole
life seen someone ridiculed because of his / her English!

351
Listen carefully to what the speaker is saying / asking. If you do
not know the answer to a question or remark, do not beat about the
bush, but simply admit that you do not know.
If a sensible piece of criticism is uttered, acknowledge it – say
that you will take that into account, or that you will think further
about it.
Thank people for remarks; it costs nothing, is courteous, and
conveys a pleasant image.
If you disagree with the speaker, simply say so in a polite and
non-personal way, like'Well, I am not so sure ...' Often this can be
done courteously by putting your disagreement in the form of a
question, like'But what if …?' of'But wouldn't you think that ...?'
The purpose of the discussion is to improve the quality of
academic work. So please consider this as a means to find out about
any shortcomings your research has, so make notes during or
immediately after the discussion, so that you can use the criticism
when you write up your paper for publication later.
– Willie van Peer


Usef ul phrases
for maki ng present at i on / speaki ng i n publ i c

• I am greatly honoured by and deeply grateful for the
opportunity to address this important assembly concerned with…
• Let me begin by...
• I could begin by saying that…
• I would like to give you a brief outline of my position on the
matter…
• We should always remember that…
• I don't want to leave anyone in any doubt about the fact that…
• I'd like to talk about smth that was mentioned earlier…
• I'd like to bring you back to my original point…
• It would be useful to summarize what we've said so far.
• Let me run over the main points again.
• Let me just recap for a moment.

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Usef ul phrases
for l eadi ng t he conference / sessi on

• Ladies and gentlemen, are we ready to begin?
• I hereby declare the Conference open.
• On behalf of the Organizing Committee and in my own name
I welcome you and those who are participating in the Conference.
• You are welcome to ask questions after each report has been made.
• I give the floor to Professor ... who is going to speak on ...
• Any questions to the speaker?
• Are you happy with the reply?
• The next report is to be delivered by Professor ..., who will
make a report on …
• As we are running short of time, we could just move on to …
• Is there anyone else who would like to express his opinion
on the reports made?
• In conclusion, allow me to express great appreciation of the
work performed by the speakers and those who took part in the
Conference.
• And now I declare the Conference closed.


I. Think of a challenging topic for a presentation at a
students' conference.


II. Discuss the topic choice with the group. Have you been
given critical remarks? Did they affect your choice?


III. In your group, 'organize' a conference on Human
Relations Psychology. Elect the Organizing Committee and
session chairs. Prepare an abstract for your presentation and a
PowerPoint presentation on a topic of your choice. Play out the
conference, paying special attention to presentation techniques
and discussion sessions moderation.

353
Uni t t wo
CONTACTS



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. Why do people need contact with others? Is it essential for a
human being to communicate with other human beings? Give your
arguments. What can make people withdraw from society and
communication with others?
2. What types / forms of human contact do you know? Continue
this list:
personal contact
eye contact
face-to-face contact
business contact
social contact
direct contact …
What is characteristic of each of these types of contact?
3. How do people get in contact with each other? Are the ways
and means of getting in contact with other people different today
from what they were in previous centuries? Explain how.
4. Have cell phones and the Internet made modern people more
contactable? Give arguments to support your viewpoint. Have you
ever been in a situation when you felt happy because you had your
cell phone with you? Share your experience.
5. Do you think modern technology has improved human
communication? In your opinion, why do many people today
complain of loneliness, in spite of availability of cell phones and
online communication?
6. Is the concept of quality time familiar to you? Do you spend
enough quality time with your family and people you care about?
7. Throughout history, human contacts have continuously been
taking place in the broader context of the contact between peoples,
nations and cultures. How have contacts of nations and cultures

354
changed the world since ancient times? Were such contacts always
mutually beneficial? What is your opinion of such form of
intercultural contact as war, its causes, forms and consequences?
Give examples to illustrate your viewpoint.
8. What is the role of translators and interpreters in establishing
contact between people and cultures? Do translators and interpreters
have different missions in this respect?

Spe e c h Pat t e r ns

There are no roads to speak of.

There's been no rain to speak of for several months.
The house had no garden to speak of.
His supple skin had no lines to speak of; he preserved it with
various expensive creams and face masks.
In all, the unit has a staff of eighteen and no budget to speak of.

You cannot be a human being and remain unmoved.

One cannot love and be wise.
You cannot have your cake and eat it.
She cannot be his mother and stay indifferent to his problems.
You cannot listen to such insults and remain calm.

My great collection of phone numbers was the reason
many reporters trusted me to take them into Darfur.

A lack of workers is the reason the economy is growing more slowly.
Low salary was the main reason she quit.
The difference in our educational background was the real reason
we weren't getting along.
The desire to keep control over the gold mines was the major
reason they began the war.

I don't know how Philip got my cell number in the first place.

Why did you agree to meet her in the first place?

355
He wouldn't have given you the job in the first place if he didn't
think you could do it.
I should never have gone in the first place!
And there is the question of the relevance of the trading of
information in the first place.

They travel across the borders as they please.

You can spend the money as you please.
With the Explorer pass, you can get on and off the bus as you
please.
I think we have the right to move about as we please.
She was no longer a nervous little nineteen-year-old that he could
push around as he pleased.

It's absolutely essential that you understand this.

It is absolutely essential that our pilots are given the best possible
training.
It is absolutely essential that you attend all the company meetings.
At this juncture, it is absolutely essential that James give his ex-
wife all the support she needs.
In a crisis situation, it is essential that the pilot remain calm.


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own for each speech
pattern.

III. Say the same using the speech patterns:

1. There's been very little rain over the last month. 2. The cottage
has a tiny garden. 3. There is very little food left in the house. 4. The
project has an extremely insufficient budget. 5. There is almost no

356
industry in the area. 6. It's impossible for a mother to watch passively
her child suffer. 7. It's impossible for a human being to stay calm
when such appalling atrocities are going on. 8. It's unnatural for a
doctor to do nothing when your patient is dying. 9. I cancelled the
meeting because the secretary was not able to get all the necessary
paperwork done in time. 10. She did not accept the job mainly
because of the low salary. 11. She hasn't been offered any promotion
for years, so she decided to quit. 12. Her lack of confidence was the
reason behind her decision to give up the competition. 13. Lori is
pregnant, so they decided not to put off the wedding. 14. Why didn't
you tell us that earlier? 15. Why did you agree to meet her at all?
16. How did you initially plan to handle this problem? 17. You are
free to spend this money as you want. 18. You may stay here as long
as you wish. 19. That child behaves just as he wants. 19. Now that
you are off your diet you can eat as much chocolate as you want.
20. If you're going walking in the mountains, strong boots are
essential. 21. It's essential to wear protective clothing in this area.
22. You must explain the procedure to the patient. It's very
important. 23. It's vitally important for you to understand the danger.
24. It is important for the president to continue his schedule,
regardless of the bomb threat.

IV. Complete the sentences using the speech patterns:

1. ________________________ to speak of. 2. One cannot
__________________ and __________________. 3. Her unexpected
arrival was the reason ____________________________________ .
4. ________________________ in the first place.
5. ________________________ as you please. 6. It's absolutely
essential that you _____________________________. 7. You cannot
______________________ and ______________________. 8. Jack's
late arrival was the reason _______________________________ .
9. __________________________ as they please. 10. It's absolutely
essential that she ________________________. 11. Your refusal to
speak was the main reason __________________________. 12. His
high-handed manner of doing business was the main reason
________________________.


357
V. Translate from Ukrainian into English using the speech
patterns:

1. У цьому регіоні практично немає промислових підпри-
ємств. 2. У нього практично немає друзів. 3. Неможливо бути
матір'ю і терпіти знущання над своєю дитиною. 4. Його майже
патологічна залежність від комп'ютера є причиною того, що у
нього немає дівчини. 5. Звичка до спілкування в Інтернеті є при-
чиною того, що багато молодих людей не вміють спілкуватися у
реальному житті. 6. Я взагалі не розумію, чому ти дала згоду на
побачення з ним. 7. Чому ти з самого початку не запитала, звід-
ки він дізнався твій номер телефону? 8. Ти можеш користувати-
ся цими коштами, як забажаєш. 9. Абсолютно необхідно, щоб,
перш, ніж надавати відомості про себе, ти перевірив надійність
цієї компанії. 10. Дуже важливо, щоб перше враження наших
партнерів було позитивним.

VI. Make up a conversation using the speech patterns.


Te x t

FROM 'THE TRANSLATOR'

BY DAOUD HARI


Daoud Hari was born in the Darfur
region
1
of Sudan. After escaping an
attack on his village, he entered the
refugee camps in Chad and began
serving as a translator for major news
organizations including The New York
Times, NBC, and the BBC, as well as the
United Nations and other aid groups. He
now lives in the United States.




358
Chapter One

A Cal l f r om t he Road

I am sure you know how important it can be to get a good phone
signal. We were speeding through the hot African desert in a
scratched and muddy Land Cruiser that had been much whiter a
week earlier. Our driver, a Darfur tribesman like me, was swerving
through thorny acacia bushes, working the gears expertly in the deep
sands of another and always another ravine, which we call a wadi
2
,
and sailing over the bumps in the land – there are no roads to speak
of. In the backseat, a young news filmmaker from Britain, Philip
Cox, was holding on as we bounced and as our supplies thumped and
clanked and sloshed around.
A veteran of these deserts, he was in good humor– even after a
long week of dusty travel and so many emotionally difficult
interviews. Survivors told us of villages surrounded at night by men
with torches and machine guns, the killing of men, women, and
children, the burning of people alive in the grass huts of Darfur. They
told us of the rape and mutilation of young girls, of execution by
machete of young men – sometimes eighty at a time in long lines.
You cannot be a human being and remain unmoved, yet if it is your
job to get these stories out to the world, you keep going. So we did that.
I was Philip's translator and guide, and it was my job to keep us
alive. Several times each hour I was calling military commanders
from rebel groups or from the Chad National Army to ask if we
should go this way or that way to avoid battles or other trouble. My
great collection of phone numbers was the reason many reporters
trusted me to take them into Darfur. I don't know how Philip got my
cell number in the first place – maybe from the U.S. Embassy, or the
U.S. State Department
3
, or the British Embassy, or from the U.N.
High Commissioner for Refugees
4
, or from one of the aid
organizations or a resistance group. It seemed that everyone had my
cell phone number now. He certainly did not get my number from
the government of Sudan, whose soldiers would kill me if they
caught me bringing in a reporter.
These satellite phone calls – and often just cell phone calls –
frequently were to commanders who said, No, you will die if you
come here, because we are fighting so-and-so today. We would then
find another way.

359
If one rebel group hears that you have been calling another group,
they might think you are a spy, even though you are only doing this
for the journalist and for the story – you give the rebels nothing in
return. I had to be careful about such things if I wanted to get my
reporters out of Darfur alive, and so more stories could go out to the
world. Since the attack on my own village, that had become my
reason, and really my only reason, for living. I was feeling mostly
dead inside and wanted only to make my remaining days count for
something. You have perhaps felt this way at some time. Most of the
young men I had grown up with were now dead or fighting in the
resistance; I, too, had chosen to risk myself, but was using my
English instead of a gun.
We needed to arrive at our destination before sundown or risk attack
by the Sudanese Army, or by Darfur rebels aligned with government,
or by other rebels who didn't know who we were and who might kill us
just to be safe. So we didn't like what happened next.
Our Land Cruiser was suddenly blocked by six trucks that
emerged from a maze of desert bushes. These were Land Cruisers,
too, but with their roofs cut off completely so men could pile in and
out instantly, as when they have to escape a losing battle or get out
before a rocket-propelled grenade (RPG) reaches them. Dusty men
with Kalashnikov rifles piled out. On the order of their commander,
they pointed their guns at us. When so many guns are pulled ready at
the same time, the crunching sound is memorable. We moved slowly
out of our vehicle with our hands raised.
These men were clearly rebel troops: their uniforms were but
dirty jeans; ammunition belts hung across their chests; their loosely
wrapped turbans, or shals – head scarves, really – were caked with
the dust of many days' fighting. No doctors travel with these troops,
who fight almost every day and leave their friends in shallow graves.
Emotionally, they are walking dead men who count their future in
hours. This makes them often ruthless, as if they think everyone
might as well go to the next life with them. Many of them have seen
their families murdered and their villages burned. You can imagine
how you would feel if your hometown were wiped away and all your
family killed by an enemy whom you now roam the land to find and
kill so you can die in peace.

360
Among the rebels are the Sudan Liberation Movement, the Sudan
Liberation Army, the Justice and Equality Movement
5
, and several
others. There are other groups in Chad, and they travel across the
borders as they please. Where they get their guns and money is often
a mystery, but Darfur has been filled with automatic weapons from
the time when Libya attacked Chad
6
and used Darfur as a staging
area. Also, it must be understood that Sudan is aligned with radical
Islamic groups and is, as a separate matter, letting China get most of
its oil. So some Western interests and some surrounding countries
are thought to be involved in supporting the rebel groups. It is sad
how ordinary people suffer when these chess games are played.
Nearly half of Africa is covered by the pastoral lands of herding
villages, and much of this land has great wealth below and poor
people above. They are among the three hundred million Africans
who earn less than a dollar a day, and who are often pushed out of
the way or killed for such things as oil, water, metal ore, and
diamonds. This makes the rise of rebel groups very easy. The men
who stopped us probably needed no persuasion to join this group.
The men's weary-looking young commander walked to me and said
in the Zaghawa language
7
, 'Daoud Ibarahaem Hari, we know all about
you. You are a spy. I know you are Zaghawa like us, not Arab, but
unfortunately we have some orders, and we have to kill you now.'
It was easy for him to know I was a Zaghawa from the small scars
that look like quotation marks and were cut into my temples by my
grandmother when I was an infant. I told him yes, I am Zaghawa, but
I am no spy.
The commander breathed in a sad way and then put the muzzle of
his M-14 rifle to one of these scars on my head. He asked me to hold
still and told Philip to stand away. He paused to tell Philip in broken
English not to worry, that they would send him back to Chad after
they killed me.
'Yes, fine, but just a sec,' Philip replied, holding his hand up to
stop the necessary business for a moment while he consulted me.
'What is going on?'
'They think I am a spy, and they are going to shoot the gun and it
will make my head explode, so you should stand away.'
'Who are they?' he asked.

361
I told him the name of the group, nodding carefully in the
direction of a vehicle that had their initials handpainted on the side.
He looked at the vehicle and lowered his hands to his hips. He
looked the way the British look when they are upset by some
unnecessary inconvenience. Philip wore a well-wrapped turban; his
skin was tanned and a little cracked from his many adventures in
these deserts. He was not going to stand by and lose a perfectly good
translator.
'Wait just a moment!' he said to the rebel commander. 'Do . . . not
. . . shoot . . . this . . . man. This man is not a spy. This man is my
translator and his name is Suleyman Abakar Moussa of Chad. He has
his papers.' Philip thought that was my name. I had been using that
name to avoid being deported from Chad to a certain death in Sudan,
where I was wanted, and to avoid being otherwise forced to stay in a
Chad refugee camp, where I could be of little service.
'I hired this man to come here; he is not a spy. We are doing a
film for British television. Do you understand this? It's absolutely
essential that you understand this.' He asked me to translate, just to
be sure, which, under my circumstance, I was happy to do.
More than his words, Philip's manner made the commander
hesitate. I watched the commander's finger pet the trigger. The gun
muzzle was hot against my temple. Had he fired it recently, or was it
just hot from the sun? I decided that if these were about to be my last
thoughts, I should try some better ones instead. So I thought about my
family and how I loved them and how I might see my brothers soon.
'I am going to make a telephone call,' Philip explained, slowly
withdrawing his satellite phone from his khaki pants pocket. 'You will
not shoot this man, because your commander will talk to you on this
telephone momentarily – you understand?' He looked up a number
from his pocket notebook. It was the personal number of the rebel
group's top commander. He had interviewed him the previous year.
'Your top man,' he said to all the gunmen standing like a firing
squad around us as he waited for the call to go through.'Top man.
Calling his personal number now. It's ringing. Ringing and ringing.'
God is good. The satellite phone had a strong signal. The number
still worked. The distant commander answered his own phone. He
remembered Philip warmly. Miracle after miracle.
Philip talked on the phone in a rapid English that I quietly
translated for the man holding the gun.

362
Philip held one finger up as he spoke, begging with that finger
and with his eyes for one more moment, one more moment. He
laughed to show that he and the man on the phone were old friends.
'They are old friends,' I translated.
Philip then held out the satellite phone to the commander, who
pressed the muzzle even harder against my head.
'Please talk to him now. Please. He says it's an order for you to
talk to him.'
The commander hesitated as if it were some trick, but finally
reached over and took the phone. The two commanders talked at
length. I watched his trigger finger rise and fall like a cobra and then
finally slither away. We were told to leave the country immediately.
To not get killed is a very good thing. It makes you smile again
and again, foolishly, helplessly, for several hours. Amazing. I was
not shot – humdallah
8
. My brothers, you will have to wait for me a
little longer.
Our driver had been wide-eyed through all this, since drivers
often do not fare well in this kind of situation. There was joy and
some laughter in the Land Cruiser as we sped back toward the village
of Tine– which you say 'Tina' – on the Chad-Sudan border.
'That was amazing what you did,' I said to Philip. We drove a few
trees farther before he replied.
'Amazing, yes. Actually, I've been trying to get through to him for
weeks,' he said.'Lucky thing, really.'
The driver, who spoke almost no English, asked me what Philip
had said. I told him that he had said God is good, which, indeed, is
what I believe he was saying.

Comme nt ar y

1. Darfur is a region in Sudan, which has been in a state of
humanitarian emergency since 2003, when the Sudan Liberation
Movement/Army (SLM/A) and Justice and Equality Movement
(JEM) groups in Darfur took up arms, accusing the Sudanese
government of oppressing non-Arab Sudanese in favor of Sudanese
Arabs. One side of the conflict is composed mainly of the official
Sudanese military and police, and the Janjaweed, a Sudanese militia
group recruited mostly from the Arab tribes. The other combatants
are made up of rebel groups, notably the SLM/A and the JEM,
recruited primarily from the non-Arab ethnic groups. Although the

363
Sudanese government publicly denies that it supports the Janjaweed,
it has been providing financial assistance and weapons to the militia
and has been organizing joint attacks targeting civilians. Sudan's oil
wealth has played a major part in enabling an otherwise poor
government to fund the expensive bombers, helicopters and arms
supplies for the war in Darfur. Over 5 million people have already
been affected by the conflict.
2. wadi – an Arabic term traditionally referring to a valley. In
some cases, it may refer to a dry (ephemeral) riverbed that contains
water only during times of heavy rain.
3. U.S. State Department – The United States Department of
State (often referred to as the State Department), the United States
federal executive department responsible for international relations
of the United States, equivalent to the foreign ministries of other
countries.
4. U.N. High Commissioner for Refugees – the Office of the
United Nations High Commissioner for Refugees (UNHCR), also
known as the UN Refugee Agency is a United Nations agency
mandated to protect and support refugees at the request of a
government or the UN itself and assists in their voluntary
repatriation, local integration or resettlement to a third country. Its
headquarters are in Geneva, Switzerland.
5. the Sudan Liberation Movement, the Sudan Liberation
Army, the Justice and Equality Movement – see Note 1.
6. The Chadian-Libyan conflict was a state of sporadic warfare
events in Chad between 1978 and 1987.
7. Zaghawa language – a Saharan language spoken by the
Zaghawa people of eastern central Chad and northwestern Sudan
(Darfur)
8. humdallah (Arabic) – praise be to God (Allah)!


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. veteran n [count.] 1) someone who has been a soldier, sailor
etc. in a war, e.g. a veteran of the Second World War, a Vietnam
veteran; 2) someone who has had a lot of experience of a particular
activity, e.g. a veteran of countless political campaigns, a veteran

364
politician / campaigner / leader / journalist / actor / goalkeeper
etc.: Chiles, a three-term veteran of the U.S. Senate, won the
governorship of Florida. Millett is a veteran campaigner for
women's rights.
veteran car (British English) a car built before 1905.
Veterans Day a holiday in the US on 11 November when people
show special respect to people who fought in wars as soldiers,
sailors etc.
2. mutilate v [transitive] 1) to severely and violently damage
someone's body, especially by cutting or removing part of it: The
prisoners had been tortured and mutilated. 2) to damage or change
sth. so much that it is completely spoiled: Intruders slashed and
mutilated several paintings.
mutilation n [uncount. and count.].
3. refugee n [count.] someone who has been forced to leave their
country, especially during a war, or for political or religious reasons,
e.g. economic / political refugees: Refugees were streaming across
the border.
refugee camp a place where refugees are kept.
refuge n 1) [uncount.] shelter or protection from sb. or sth.:
During the frequent air-raids, people took refuge in their cellars.
2) [count.] a place that provides shelter, or protection from danger, e.g.
a wildlife refuge: A huge oak tree provided a refuge from the storm.
Our authorities are planning to set up a refuge for battered wives.
4. aid n 1) [uncount.] help, such as money or food, given by an
organization or government to a country or to people who are in a
difficult situation: Foreign aid from many countries poured into the
famine area. Major, for his part, praised Clinton's initiative to airlift
humanitarian aid to Bosnia. 2) [uncount.] help that you need to do a
particular thing: Father Poole walked painfully, with the aid of a
stick. 3) in aid of something in order to help a charity: We're
collecting money in aid of cancer research. 4) [uncount.] help or
advice that is given to someone who needs it: I didn't speak any
French, but a nice man came to my aid. 5) [count.] a machine, tool
etc. that helps someone do sth.: A video is a useful aid in the
classroom. 6) what's this in aid of? (British English, spoken) used
to ask what sth. is used for or why someone is doing sth.: What's this
meeting tomorrow in aid of, then?

365
aid worker [count.] someone who works for an organization that
brings food and other supplies to people in danger from wars, floods
etc: As a volunteer aid worker I was a failure.
Band-Aid [count.] 1) (trademark, esp. American English) a piece
of thin material that is stuck to the skin to cover cuts and other small
wounds (= plaster British English) 2) a Band-Aid solution to a
problem is temporary and will not solve the problem (used to show
disapproval): This idea is criticized by some as a Band-Aid solution.
computer-aided design (CAD): Excellent facilities exist to
develop skills in computer-aided design.
financial aid [uncount.] (American English) money given or lent
to students at college or university to pay for their education:
Students must contact the community college's financial aid office for
an application.
first aid [uncount.] simple medical treatment that is given as
soon as possible to someone who is injured or who suddenly
becomes ill: Being given first aid at the scene of the accident
probably saved his life.
first aid kit [count.] a special bag or box containing bandages
and medicines to treat people who are injured or become ill suddenly.
hearing aid [count.] a small object which fits into or behind your
ear to make sounds louder, worn by people who cannot hear well.
legal aid [uncount.] a system in which a government gives
money to people who need a lawyer but cannot afford to pay for
one: They have been granted legal aid and now intend to take their
case to court.
visual aid [count.] sth. such as a map, picture, or film that helps
people understand, learn, or remember information: Any visual aid
should be carefully selected and planned to add clarity to the
presentation.
aid v [transitive] 1) to help someone do sth.: The new government
grants are intended to aid small businesses. Mrs Coxen was aided in
looking after the children by her niece. 2) to make sth. happen more
quickly or easily: Welfare spending aids economic development in
three ways. 3) aid and abet (law) to help someone do sth. illegal:
Aiding and abetting suicide is a serious crime.
5. rebel n [count.] 1) someone who opposes or fights against
people in authority: Anti-government rebels attacked the town.

366
2) someone who refuses to do things in the normal way, or in the way
that other people want them to: Alex has always been a bit of a rebel.
rebel v [intransitive] 1) to oppose or fight against someone in
authority or against an idea or situation which you do not agree with:
In Croatia, Serbs rebelled against the republic's authorities.
2) (written) if your stomach, legs, mind etc. rebel, you cannot do or
believe sth. you think you should: He knew he ought to eat, but his
stomach rebelled.
rebellion n [uncount. and count.] 1) an organized attempt to
change the government or leader of a country, using violence (syn.
coup, revolution): The Bretons rose in rebellion against the King.
2) when someone opposes or fights against people in authority or ideas
which they do not agree with: rebellion against traditional values.
rebellious adj. 1) deliberately not obeying people in authority or
rules of behaviour: rebellious teenagers 2) fighting against the
government of your own country: rebellious minorities.
rebelliously adv.
rebelliousness n [uncount.].
6. align v 1) [transitive] to publicly support a political group,
country, or person that you agree with: Church leaders have aligned
themselves with the opposition. 2) [intransitive and transitive] to
arrange things so that they form a line or are parallel to each other, or
to be in a position that forms a line etc.: The desks were neatly
aligned in rows. 3) [transitive, usually passive] to organize or change
sth. so that it has the right relationship to sth. else: This policy is
closely aligned with the goals of the organization.
alignment n 1) [uncount.] the state of being arranged in a line
with sth. or parallel to sth.: The sights of the gun must be in
alignment with the target.2) [uncount. and count.] support given by
one country or group to another in politics, defence etc.: their
military alignment with the U.S.
non-aligned adj. a non-aligned country does not support, or is not
dependent on, any of the powerful countries in the world: the non-
aligned countries of Europe.
non-alignment n [uncount.].
7. radical adj. 1) thorough, complete, important, very big: They
are proposing radical changes to the way the company is run. 2) new
and different, against what most people think or believe (ant.
conservative): He has put forward some very radical ideas.

367
3) favouring thorough or complete political or social reform; holding
extreme views: a radical politician / thinker / feminist; radical
politics 4) (American English) very good or enjoyable: That was one
radical party last night!
radical n [count.] someone who has new and different ideas,
especially someone who wants complete social and political change
(ant. conservative): political / religious radicals.
radically adv. They have radically different views.
radicalize, -ise (British English) v [transitive] to make people
accept new and different ideas, esp. ideas about complete social and
political change: Young people have been radicalized by the struggle
with the government.
8. muzzle n [count.] 1) the nose and mouth of an animal, esp. a dog
or horse 2) a cover that you put over a dog's mouth to stop it from
biting people 3) the open end of a gun, where the bullets come out.
muzzle v [transitive] 1) to prevent someone from saying what
they think in public (syn. gag): Attempts to muzzle the country's
media have failed. 2) to put a muzzle over a dog's mouth so that it
cannot bite people.
9. deport v [transitive] to make someone leave a country and
return to the country they came from, esp. because they do not have a
legal right to stay: He was deported from Ecuador when his visa
expired.
deportation n [uncount. and count.].
deportee n [count.] (formal) someone who has been deported or
is going to be deported.
10. withdraw v 1) [intransitive and transitive] to stop taking part
in an activity, belonging to an organization etc., or to make someone
do this: A knee injury forced her to withdraw from the competition.
Parents have the right to withdraw their children from religious
education lessons if they wish. 2) [transitive] to stop giving support
or money to sb. or sth., esp. as the result of an official decision: One
of the minority parties has withdrawn its support for Chancellor
Kohl. Union members will vote on whether to withdraw their labour
(= stop working). 3) [transitive] to take back a promise, threat, offer,
request etc.: After much persuasion he agreed to withdraw his
resignation. 4) [transitive] (formal) to say sth. is not true: He refused
to withdraw his remarks and was expelled from the Party.
5) [transitive] to stop offering a product / service for sale or use: The

368
drug has been withdrawn from the market for further tests.
6) [intransitive and transitive] to leave a place: The USA decided to
withdraw 40.000 troops from western Europe. 7) [transitive] to take
money out of a bank account: I'd like to withdraw £500 from my
current account. 8) [transitive] to move back: Claudia withdrew her
hand from his. 9) [transitive] (literary) to take an object out from
inside sth.: She withdrew a document from her briefcase.
10) [intransitive] to stop communicating, to become quieter, less
friendly, and only concerned about your own thoughts: Ralph has
withdrawn from the other kids.
withdrawal n 1) [uncount. and count.] the act of moving an
army, weapons etc. away from the area where they were fighting
2) [uncount.] the removal or stopping of something such as support,
an offer, or a service, e.g. withdrawal of government aid 3) [uncount.
and count.] the act of taking money from a bank account, or the
amount you take out: Customers can use the machine to make
withdrawals of up to £250 a day. 4) [uncount.] the act of no longer
taking part in an activity or being a member of an organization:
Germany's withdrawal from the talks reduced the chances of signing
a peace treaty to a minimum. 5) the period after someone has given
up a drug that they were dependent on, and the unpleasant mental
and physical effects that this causes: When you first stop taking
caffeine, you may experience withdrawal symptoms. 6) [uncount.] the
act of saying that sth. you previously said was in fact untrue (syn.
retraction), e.g. the withdrawal of all allegations.
withdrawn adj. very shy and quiet, and concerned only about
your own thoughts (syn. timid, self-conscious, reserved,
introverted): After his wife's death he became more and more
withdrawn.

Word Combi nat i ons and Phrases

to speed through
to work the gears
to be in good humor
to keep going
to trust sb. to do sth.
to wipe away
to catch sb. doing sth.
to stand by
to be wanted
to be of little service
to talk at length
to get through to sb.


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Vocabul ary Exerci ses

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Come up with three sentences of your own with each
vocabulary item.

III. Consult a dictionary, transcribe the following words
and practice their pronunciation:

acacia, machete, rocket-propelled, grenade, ammunition, turban,
ruthless, weary-looking, khaki, momentarily, squad, cobra

IV. Explain the meaning of the words and phrases in bold
type in the context. Translate the sentences into Ukrainian:

1. Veteran diplomat Richard Murphy is heading the commission.
2. Chiles, a three-term veteran of the U.S. Senate, won the
governorship of Florida. 3. In 1927, the first veteran car rally was
held from London to Brighton. 4. A police officer said his corpse
was so charred and mutilated that it took more than an hour to
identify it. 5. Britain has traditionally been a safe haven for political
refugees. 6. Villagers from El Barillo ended up in a church-run
refugee camp in Calle Real. 7. The basement provided us with a
refuge from the fighting. 8. Jacqueline became pregnant, her flat was
repossessed, she sought refuge from Tommy's violence. 9. Small
huts along the trail provide a refuge from the rain. 10. An Italian aid
worker was kidnapped by rebels last month, and still hasn't been
released. 11. Another harvest has failed, and international aid
agencies warn of the threat of mass starvation. 12. As a result, both
candidates for governor are considering earmarking some state aid
for salary increases. 13. If you talk loudly, it can be very nasty on a
hearing aid. 14. The thesaurus functions not only as a retrieval aid,
but also as a reference facility. 15. Peter Hardcastle of Ridgehill,
Dartmouth, was taken to hospital after passing motorists gave him
first aid. 16. The legal aid scheme developed over the decades as a
means of paying for a lawyer in connection with litigation work.

370
17. Any visual aid should be carefully selected and planned to add
clarity to the presentation. 18. Our ability to combat organized crime
has been aided by our partnership with local police. 19. In his black
leather jacket and chains he looked every inch the young rebel.
20. Her parents wanted her to go to university, but she rebelled and
went to live on a commune. 21. Threats of an armed rebellion
caused tightened security measures across the country. 22. Maria was
headstrong and rebellious. 23. All adjoining panels should be
pressed evenly together ensuring all the panels are aligned squarely
to each other. 24. More than 50 seats were won by independents,
many of whom are closely aligned with Mr Khatami's conservative
foes. 25. When lava solidifies, its tiny ferrous particles align
themselves, like magnetic needles, with the earth's magnetic field.
26. He is upset with the prime minister for not trying harder to create
a non-aligned peace formula to end the Gulf war. 27. This can
throw the spine out of alignment and press on sensitive nerves in
your back and legs. 28. She hunted stereotypes down as if they were
sewer rats and stuck radical slogans to the fridge door. 29. Her
verbal spontaneity ruffled far too many feathers even if it attracted
admiration from thousands of radicals and feminists. 30. Democracy
activists have been effectively muzzled by these tough new laws.
31. He reeled away as Barnabas was dragged into the back seat and
muzzled. 32. Baker insisted that the delegation include at least one
deportee and one person with East Jerusalem links. 33. Under this
emergency measure dozens of opposition figures were arrested
without charge, and many were subsequently beaten and deported.
34. As with most child accounts, children can not make withdrawals
until they are seven. 35. The loss of one vehicle and the leading
tank's offensive capability was not enough to cause a full scale
withdrawal. 36. A heavy bout of drinking will produce temporary
withdrawal symptoms as the brain and body strive to rebalance
themselves. 37. After her husband died Priscilla became very
withdrawn and seldom left her home. 38. Against the odds John
succeeded in drawing her out of a withdrawn reaction. 39. Bower
was leading in the polls, but he withdrew when the scandal hit the
press. 40. He has been asked to withdraw remarks he made in a
national newspaper about the honesty of the president.

371
V. Say the same using the vocabulary notes instead of the
words in bold type:

1. Millett is an experienced campaigner for women's rights.
2. Blood poured down from her damaged face. 3. During the
frequent air-raids, people took shelter in their cellars. 4. Most of the
people who were forced to leave the former war zone have now
been sent back. 5. He has been granted free legal services. 6. Each
year, the U.S. sends more than $1.8 billion to help sub-Saharan
Africa. 7. In 1968, a student uprising in Paris sparked off
a nationwide general strike. 8. The child was stubborn and
disobedient. 9. The desks were neatly arranged in rows. 10. This
policy conforms to the goals of the organization. 11. It was an
incredibly innovative decision. 12. The dog lifted his nose to pick up
a scent. 13. The prime-minister has been accused of attempting to
gag members of his government who do not agree with his policy.
14. He was forced to leave France when his visa expired. 15. He'd
always been an unhappy, introverted little boy.

VI. Answer the questions using the vocabulary notes:

1. What do people in the United States celebrate on 11 November?
2. What would you call a person who has had long service in the
police? 3. What would you say about a person who advocates
fundamental political, economic, and social reforms by direct and
often uncompromising methods? 4. What do you do when you need
cash? 5. Which countries do not support or favour any other country
or bloc? 6. What happens to people whose presence in the country is
illegal? 7. What may happen if people are completely dissatisfied
with the established authorities? 8. Which device do people with
hearing loss need? 9. What is a common form of help to nations
suffering from a natural disaster or war? 10. Where can refugees get
shelter, food and medical aid? 11. In Sharia law, thieves may be
punished by having a hand amputated. Which term is used to
describe such kind of punishment? 12. What do people do to dogs to
prevent them from biting people?

372
VII. Fill the gaps in the sentences below with a suitable
preposition or postposition from the box.

at

away

by

for

in

of

off

on

out

out of

over

through

through to

up

with


1. And we just sped _____ Poland-Germany border where in past
frontier police could hold you suspiciously for one or two hours.
2. A ball came sailing _____ the fence. 3. She and Jack were _____
the back seat and Fogarty was driving. 4. The town was surrounded
by the enemy and the citizens did not know if they could hold _____
until help arrived. 5. He was _____ good humor, even after a week of
stressful negotiations. 6. The poem tells _____ the deeds of a famous
warrior. 7. If you raise your hands, I'll answer questions one _____ a
time. 8. The police were brought _____ to investigate the matter.
9. We got _____ school early on Thursday. 10. The appeal went
_____ for food and medicines. 11. His promises don't count _____
much. 12. What do you want to be when you grow _____? 13. Most
of the members were aligned _____ the chairman, only a few
disagreed. 14. It was already dark by the time they arrived _____
their hotel. 15. One of his fingers was cut _____ in the accident.
16. Pierre came to pick them up, and they all piled _____. 17. She
produced a camera and pointed it _____ me. 18. Our boots were
caked _____ mud. 19. A frown quickly wiped _____ her smile.
20. In those days, skirts were made to stand _____ from the body.
21. I'm not going to stand _____ and see her hurt. 22. The young
people talked _____ length about their experiences. 23. Aid
agencies have been unable to get _____ the thousands of refugees
stranded on the border.

VIII. Say the same, using a suitable word or phrase from
the list of word combinations and phrases instead of the words
in bold type:

1. Try to reach Malcolm and ask him if he can advance the
project. 2. Her letters were the only thing that gave me hope and
strength to continue living while I was in prison. 3. I saw him
reading my private letters. 4. He is being looked for by the police
for the murder of a teenage girl. 5. She did not help me much in
organizing the trip. 6. Rescue crews were ready to act in case of a

373
breakdown. 7. We've already discussed the subject in detail. 8. Can I
depend on you to deliver this message on time? 9. Jane is in good
mood today. 10. We were driving fast across the desert.

IX. Use the phrasal verbs from the list on the right to fill
the gaps in the sentences on the left. Remember to use the
verbs in the correct form:

1. Unable to swim, she ___________ helplessly while
the child drowned.
2. All plants like to ___________ towards the sunlight.
3. She felt a tear on her cheek, and _____ it _____
with the cuff of her coat.
4. _____ the washing _____, it's raining.
5. Edward parked by the river and we all ___________.
6. Painting the house is tiring, but if you___________,
the results are worth the effort.
bring in

grow up
hold on

pile out
stand by
wipe away



X. Translate the sentences into English using the essential
vocabulary:

1. Коли бувалий солдат Нік, звільнившись із служби, поверну-
вся в свій будинок, він зрозумів, що на нього чекала хороша бій-
ка. 2. Один із шляхів вирішення професійних проблем більшість
молодих працівників бачать у зверненні за допомогою до досвід-
чених працівників та керівництва. 3. Мейсон був страшенно по-
калічений, його ноги були паралізовані, а внутрішні органи по-
шкоджені. 4. За визначенням Конвенції ООН про статус біженців,
біженці – це особи, що були змушені залишити свою країну'через
обґрунтовані побоювання, що їх будуть переслідувати через ра-
сові, релігійні, національні причини, за приналежність до визна-
ченої соціальної групи чи за політичні переконання.' 5. Надаючи
першу допомогу, необхідно з'ясувати у потерпілого, якщо він у
свідомості, або в очевидців надзвичайної події, яким чином була
одержана травма. 6. Радикальна тенденція в антиглобалізмі ґрун-
тується на принципах плюралізму. 7. Обидва політики діють ав-
торитарними методами, обидва затикають рота своєму народові,
обидва перетворили вибори у фарс. 8. Великобританія, що є уча-

374
сницею Європейської конвенції про захист прав людини, не може
депортувати громадян тих країн, де їм може загрожувати страта
або катування. 9. Через вашу бурхливу реакцію підліток може
остаточно замкнутися і замість союзника побачить у вас ворога.
10. З термінових рахунків не можна зняти гроші раніше терміну,
визначеного умовами внесків. 11. Одним з найбільш відомих тво-
рів І. Нечуя-Левицького є його повість 'Микола Джеря', головним
героєм якої є селянин-кріпак, бунтар проти панського гніту.
12. Ціль гри здається простою – першим розташувати в ряд п'ять
фішок одного кольору.


Exe r c i s e s t o t he Te xt

I. Write a précis of the text in about 100 words.

II. Make a plan of the text, dividing it into logical parts.
Give each part a title. Discuss your plans with other students,
trying to reach consensus about the structure of the story.
Give a summary of each part.

III. Describe the situation in Darfur as Daoud Hari does it in the
text. Read the commentary and find more information about the
conflict in Darfur on the Internet. Compare the information you
find about the conflict with Daoud Hari's description. How do
the facts you know about Daoud Hari's life influence your
perception of his story?

IV. Pick out from the text sentences describing Daoud Hari,
Philip Cox and the rebels' young commander. Give their
character sketches.

V. Retell the text a) as if you were Daoud Hari; b) as if you were
Philip Cox; c) as if you were the commander of rebel forces; d) as if
you were the driver. Will the general tone of the four versions
differ? How and why?

375
VI. Find in the text sentences containing the vocabulary
notes and word combinations and phrases and translate them
into Ukrainian.

VII. Discuss and analyze the text you have read:

1. Comment on the title 'A Call from the Road.' Does it tell you
anything about the story to come?
2. What is the general mood of Daoud's narrative? Does it change
throughout the chapter? Look at the way Daoud writes about the
atrocities of the war in his country and the critical situation he had
survived when he was nearly shot by the rebels' commander. In your
opinion, does the emotional tone of the narrative match the events
described? If no, how can your explain this? What effect does
Daoud's tone of the narration produce on the reader?
3. Are there any emotional peaks in the story? What are they?
Give arguments to support your opinion.
4. Why do you think Daoud begins his story with the sentence 'I
am sure you know how important it can be to get a good phone
signal?'
5. Why do you think Philip Cox was in good humor after a long
week of dusty travel and many emotionally difficult interviews?
6. What does Daoud write about his responsibilities as Philip's
translator and guide? Do you find them in any way different from
normal? Comment on Daoud's words,'It was my job to keep us alive.'
7. What made Daoud Hari a popular guide among foreign
reporters coming to Darfur?
8. Why would the Sudanese government soldiers have killed
Daoud if they had caught him bringing in a reporter? Why might the
Sudanese government want to prevent reporters from coming into the
country?
9. Why was a good phone signal essential for Daoud's mission as
a guide and interpreter?
10. Why was Daoud Hari so anxious for the stories about the
situation in Darfur to'go out to the world'?
11. What does Daoud say about his only reason for living? How
do you understand his words'I was feeling mostly dead inside and
wanted only to make my remaining days count for something'?
Daoud writes,'You have perhaps felt this way at some time.' Have
you ever felt'this way' in your life?

376
12. Daoud uses his language skills to help his people in the only
way he knows how – as a translator. Why is this role so important?
How does this work help the people of Darfur? Others he knows
have chosen to use guns. What do you think of this choice?
13. Can Daoud be called a spy because he brought foreigners to
his country?
14. What have you learnt from the story about the participants of
the military conflict in Darfur, rebel forces in particular? Find the
lines in the text describing them, their weapons and actions.
15. What factors make, as Daoud Hari writes,'the rise of rebel
groups very easy' in Darfur?
16. Comment on the sentence,'When so many guns are pulled
ready at the same time, the crunching sound is memorable.' Why
does Daoud pay attention to the sound at the moment when his life
and the lives of his companions were in immediate danger? What
does it tell us about Daoud and his perception of danger?
17. Why does Daoud call the rebels'walking dead men'? In your
opinion, how does he feel towards these people? How does Daoud
justify their ruthlessness? Do you feel any hostile attitude towards
them on Daoud's part? Pick out the lines from the text to support
your opinion.
18. How does Daoud communicate to the reader the idea which
makes the sense of life for the people deprived of their families and
homes? Comment on the religious background of rebels' mission as
they see it. Comment on Daoud's appeal to the reader,'You can
imagine how you would feel if your hometown were wiped away and
all your family killed ...' What emotional impact does this sentence
produce on the reader?
19. Comment on the sentence,'Nearly half of Africa is covered by
the pastoral lands of herding villages, and much of this land has great
wealth below and poor people above.' How does the paragraph
opening with this sentence help the reader to get a vivid idea of the
causes of Africa's tragedy? Comment on the effect of the
phrase'chess games.'
20. How did the young commander explain why they had to kill
Daoud? Comment on the matter-of-factness of his words. What does
the phrase'the necessary business' refer to? Why do you think the
commander wanted to kill Daoud but had no intention to kill Philip?

377
21. Comment on the choice of epithets Daoud uses when he
writes about the rebels' commander.
22. Comment on Daoud's reaction to the commander's intention to
kill him. How is it revealed in the text? How does Daoud's reaction
to the approaching death characterize him? Why do you think Daoud
renders the commander's intentions to Philip in such plain, matter-of-
fact words,'They think I am a spy, and they are going to shoot the
gun and it will make my head explode, so you should stand away'?
23. Comment on Philip's actions aimed at saving his guide from
death. Was he risking his life?
24. Why do you think the author gives seemingly unnecessary
details of Philip's appearance at the critical moment when the
commander was about to kill Daoud ('Philip wore a well-wrapped
turban; his skin was tanned and a little cracked from his many
adventures in these deserts.')?
25. Analyze Philip's behaviour, manner of speaking, gestures and
facial expressions during his conversation with the rebels'
commander. In your opinion, how did he manage to make the
commander hesitate and listen to him? Why was Daoud happy to
translate Philip's words to the commander?
26. Comment on Daoud's thoughts while the gun muzzle was
pressed against his temple. What helped him take death so casually?
27. Comment on the syntax and the choice of words in Philip's
talk to the rebels. Why did he keep talking while waiting for the call
to go through?
28. Comment on the effect of stylistic devices used in the
sentence'I watched his trigger finger rise and fall like a cobra and
then finally slither away.'
29. How does Daoud describe his feelings after the danger was
over?
30. In the final lines of the chapter both Daoud and Philip use the
word'amazing.' Do they mean the same?
31. Comment on the last sentence of the text. Why did Daoud
translate Philip's words to the driver like that?

378
32. What picture of Darfur, its nature and people do you get from
the text? Is Daoud Hari's narrative an eye-opener to you? What
makes the situation in Darfur so complicated?
33. Can the reader feel Daoud's feelings towards his land and
people between the lines of his narrative? What are these feelings?
How does the author reveal them in the text?
34. While reading Daoud's story, can we feel his attitude towards
Philip Fox? Find the lines in the text which show this attitude. Would
it be right to say that Daoud felt friendly towards foreign reporters
because they were his source of income? Why? Why not?
35. What makes Daoud's story credible? Find the words in the
text which strengthen this effect.


VIII. Discuss some of the problems relating to the story:

1. How do different people deal with emotional stress? How does
our culture tell us to deal with emotional and psychological traumas?
2. People react differently to the news of their close death. In your
opinion, what factors (religious, cultural, psychological, relating to
age, experience, education or something else) determine people's
attitude towards death?
3. What makes the job of a reporter so dangerous nowadays?
Why do journalists and filmmakers go to various hot spots on our
planet, risking their lives? Do you think they do it for money only?
Give arguments to support your opinion.
4. What is the effect of a smile or laugh in establishing
contact with a person? Is smiling always appropriate in human
communication or does it depend on the type of contact, culture,
some other factors?


IX. Imagine you have a chance to interview Daoud Hari,
the author of'The Translator.' In small groups, decide on the
five questions you would ask him. Explain your choice of
questions.

379
X. In the appendix to his book, Daoud Hari writes that'Arabs and
indigenous Africans have gotten along for thousands of years in
Sudan. But the drumbeat of Arab superiority began separating the
hearts of the Arabs from their indigenous African neighbors.'
Individually or in small groups, find and research another
twentieth century conflict in which peaceful coexistence gave way to
violence or war. What were/are the factors in the change? Are the
problems economic, religious, and/or cultural? With the class,
discuss each conflict. Are there similarities between them? What
are the important differences?

XI. Write an essay of 250–300 words to give your opinion
on one of the following statements:

An interpreter is often more than just a person who changes
spoken words from one language into another.
It is ordinary people who suffer most when politicians play
their'chess games.'
There are situations in life when it is very important to get a good
phone signal.
Contact with the Western civilization ruined harmonious life of
the indigenous peoples of Africa.
To not get killed is a very good thing.
The choice of words, the manner of speaking, gestures and facial
expression play a significant role in people's communication.


S E C T I O N В

TOPICAL VOCABULARY

Personal contact:

to contact sb.; to be/get/stay/keep in contact (with sb.); to put sb.
in contact with sb.; to put a personal ad in a newspaper or magazine;
to advertise for sb.; to write to sb.; to write back; online dating; to

380
meet online; to post a profile; to appeal to sb.; to be clear about one's
values and interests; to be compatible to sb.; to approach sb.; one's
social/business circle; to flirt with sb.; blind date; body language;
facial expressions; tone of voice; to communicate by e-mail;
emoticon; to turn sb. on/off; to misrepresent oneself; to punch up
one's image; to suggest a face-to-face meeting; to ask sb. for a drink
(coffee, to dinner); to develop a particularly good connection with
sb.; to suggest/accept a lift home; to reveal personal information to
sb.; sexual contact; to hang out with sb.; loner

Social and business contact:

to be introduced to sb.; mixer; (to do) networking; to participate
in group activities; to be visible; business associate; to socialize; to
schmooze; to mingle with sb.; to make new acquaintances; to have a
firm handshake; be a social butterfly; to pass out one's business card;
to ask sb. for a card; to have your business cards at you finger tips; to
judge a person; to be an effective conversationalist; to dominate the
conversation; to follow up on a contact; to meet a new business
contact; not to leave anything to chance; to leave a good impression
on sb.; to look professional; to pass the visual scrutiny; to make snap
judgements; to maintain good eye contact.

Contact in a broader context:

encounter with sb./sth; to come into conflict; conflict of
interests/values/ideas; to be confronted with/by; confrontation; sb.
versus sb.; culture shock; to get in touch with sb./sth.; face-off; to
come face to face with sb./sth.; to clash with sb.; rendezvous; to
assimilate; to adjust; alien


Te xt s f or Re adi ng and Di s c us s i on

I. Today people across the globe tend to look at the Internet as
an easy way to find a partner. In your opinion, why is Internet
dating growing in popularity? Have you ever looked for a partner
on the Internet? Share your experience with other students.


381
II. Look at the title of the article below. Before reading it,
in pairs or small groups, make a list of advantages and
disadvantages of Internet dating as you see them. Come up with
some recommendations for people who look for new friends or
partners on the Internet.

III. Read the article. Does it mention anything that you already
have on your lists?


INTERNET DATING:
ADVANTAGES, DISADVANTAGES
AND ADVICE

By Nicholas Boothman, author of
How to Make Someone Love You Forever
in 90 Minutes or Less

In 1727, Helen Morrison, a lonely spinster in Manchester,
England, placed the first lonely hearts personal, advertising for a
husband in the local weekly newspaper. In response, the town mayor
committed her to a lunatic asylum for a month. But in hindsight,
Helen Morrison was a pioneer. Exactly 240 years later, and just a
few miles away, the Beatles recorded'Sgt. Pepper's Lonely Hearts
Club Band.' One year earlier, their'Eleanor Rigby' ('All the lonely
people / Where do they all come from?') had half the world humming
to Helen Morrison's dilemma. The Beatles were pioneers too. Flash
forward 30 years, and the explosion of online dating services has
created a new way for lonely hearts to wait at the window, looking
for true love. It sounds pathetic when you phrase it like that, but
people sitting alone in front of their computer screens is only one
side of the coin. On the other, I've heard about many happy couples
who met online.
Internet dating is here to stay, and it's only going to grow. Here
are some thoughts to take into consideration. First we'll run through
the advantages and disadvantages, then I'll suggest some maxims for
making your search more productive.

382
Adv ant age s

There's no question that everyone on the site is looking to meet
someone. So, there's none of the awkwardness and uncertainty you
have in some social situations, where a person's relationship status or
even sexual orientation may not be obvious.
• By reading people's profiles closely, you can quickly weed out
people whose interests, age, values, religion or whatever else don't
appeal to you. Ditto when posting your own profile. Describing
yourself honestly and being clear about your values and interests
makes it more likely that someone compatible will write to you.
• Typically, a photo or even multiple photos will accompany a
person's profile. The eyes truly are the windows of the soul, and
being able to pair a face with the words in the profile definitely helps
give you a clearer idea of the person you're writing to.
• The initial anonymity of the 'Net empowers shy people to
approach people and make moves that they never would in person.
• You can meet people you wouldn't otherwise meet because your
social and/or business circles don't intersect, or because you don't
frequent the same places.

Di s adv ant age s

• You can get hung up on Internet flirting: it's addictive and it's
easy, and it's a short-term remedy for loneliness or boredom. But it's
essentially blind: our instincts about a person are based not just on
what ideas they want to communicate, but on appearance, body
language, facial expressions and tone of voice – all subtleties that are
lost when communicating via computer, no matter how many
emoticons you use. Unless you get beyond the e-mail stage, the
Internet will do you no good at all.
• Internet dating is limiting in the sense that you'll only be
meeting folks who spend time on the Internet, which excludes a
whole raft of people.

Ad v i c e

Here are a few good rules that should help those just getting their
feet wet with Internet dating and also those who may have been
using a service but haven't gotten the kind of results they'd hoped for.

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• All Internet dating sites are not created equal. Just like bars
or clubs, different sites tend to attract different types of people, but
that isn't often obvious until you've read a number of profiles.
• Make sure your profile serves you well. You want your profile
to reflect your best self, so invest the time to make it well written and
lively. Also take the time to get a good photo of yourself. A survey
commissioned by ThirdAgePersonals.com asked,'When looking at
someone's online profile, what makes you want to contact them?'
Men rated a great smile, a good sense of humor, and a good
figure/physique as the top three turn-ons. For women, a good sense
of humor and similar taste in music, movies, books, etc. took the top
two spots, with strong family values and a great smile sharing third
place. When it came to turn-offs, both men and women listed people
looking to cheat, negative attitudes, couch potatoes and poor spelling
or grammar as the worst offenses. And regarding the photo, the
survey found that weight matters more to men than women; tacky
clothes and a bad haircut matter more to women than men.
• Be honest when creating your own profile, and keep your
radar up when reading others'. Many, many people have told me
that when they finally meet someone they've been writing to, they
find that person misrepresented him- or herself. Men seem to be the
greater culprits in this regard. One woman I spoke with spent several
weeks e-mailing with a man who claimed to be 40, but when they
finally met he was closer to 60. His explanation?'Younger women
didn't write to me when I put my real age.' Well, duh! When reading
others' profiles (and their e-mails, if you start to correspond),
imagine you're reading their resume. Does anything read strangely?
Any mysterious gaps? Does anything just give you a funny feeling
about the person? As for creating your own profile, resist the urge to
punch up your image. Instead, just say who you are and what you're
looking for in life. After all, you want someone who'll be attracted to
you, not to some mythical person you've invented.
• Save yourself from your own imagination: make a date as
soon as you decide you might like someone. Often, people will
e-mail for weeks before one of them suggests a face-to-face meeting,
and during that time they can build up mental images of each other
that bear no resemblance to the real people. As I said above, a

384
person's appearance, body language, facial expressions and tone of
voice are the real primal elements of attraction, not whether your
taste in movies and books match. So, when you meet someone online
and feel a twinge of attraction, act. Ask the person for a drink or
coffee, or to dinner if you've developed a particularly good
connection. Consider this part of the first simple rule I've written
about before:'Arrange dinner or an outing once a week.' (Caveat:
Because Internet dates are essentially blind dates, but without
common friends who could vouch for the other person, it's wise to
err on the side of caution, especially if you're a woman. Arrange your
first encounter at a public place like a cafe, and don't accept a lift
home until you've gotten to know the person well.)
• Don't fall into window-shopper syndrome. When you do a
search and find 800 possible matches, it's very easy to start collecting
people in your favorites folder, then end up never writing to any of
them. Be bold: when you see someone whom you think you'd like to
meet, write to him or her immediately. All it takes is a few sentences,
because they'll be able to read your online profile to get the bigger
picture. And remember, not everyone you write to will write back,
just as you probably won't respond to everyone who writes to you.
As in the real world, your odds of meeting people improve the more
you put yourself out there.
• Practice discretion. Don't reveal your full name, phone number
or address in the early stages of a relationship.

IV. Discuss the advantages and disadvantages of Internet
dating mentioned in the article. Relate them to your personal
experience or that of your friends.

V. In class, discuss the following:

1. Why was Helen Morrison committed to a lunatic asylum? In
your opinion, has it become easier to find a friend or partner since
Helen Morrison's time? Give arguments.
2. Do you agree with the author of the article that Internet dating
is only going to grow? Why? Why not?

385
3. Do you believe it is possible to find your future husband/wife
on the Internet dating sites?
4. Do you think people go in for cyber dating because they do not
feel themselves confident in real communication and do not want to
bear responsibility for their actions? Give arguments.

VI. Comment on the picture. How can people protect
themselves from online liars? How would you start and carry
on a conversation online to minimize the risk of being cheated?



VII. Read the article below and choose a heading, A-F, for each
paragraph, 1–6. Give reasons for your choice:

A. Be prepared
B. Look professional
C. Think carefully about your first words
D. Tone of voice
E. Use people's names
F. Work on your body language


HOW TO BUILD BUSINESS CONTACTS

BY BOB R. STEVENSON

First impressions count and if yours is poor, you might not get a
second chance. Therefore, when you meet a new business contact, you
have got to get it right first time. Every little detail is important, from

386
the quality of your business card printing to the shine on your shoes.
Make sure you don't leave anything to chance and follow our tips to
make sure you leave a good impression on everyone you meet.
1. People make judgements very quickly when they meet new
people and the vast majority of those judgements have nothing to do
with what is said. Whether we realise it or not, most of us are driven
by visual cues. If you look scruffy and unkempt, your business
contact will assume, whether consciously or not, that this is reflected
in your business. A smart professional appearance gives a good
impression and encourages people to do business with you, or at the
very least listen to what you have to say.

2. Once you have passed the visual scrutiny, or if you are making
your first contact by telephone, you can rest assured that the quality
of your product or service is all that matters, right? Wrong. Your
tone of voice is the second most important factor in creating a good
impression. Make sure that when you meet someone for the first time
your tone reflects confidence, enthusiasm and professionalism. If this
doesn't come naturally to you, it is well worth practising as it could
make the difference between a new client and a rejection.

3. Once you have your appearance and tone of voice sorted, you can
finally begin to think about what you are actually saying, and think
about it you must. People tend to make snap judgements based on the
first few moments of an encounter. The first sentence or two that you
utter are likely to be the most influential, so make sure that they count.

4. Body language is a powerful tool. Make sure that yours
matches what you are saying. If it doesn't, people may not trust what
you are saying. It is hard to judge your own body language, so it is a
good idea to ask a colleague to observe and appraise you.

5. People love to hear the sound of their own name. When you are
introduced to someone, make sure that you use his or her name
during the ensuing conversation. It will make them feel valued, and
instantly create the sense of a relationship between the two of you. It
is also a great technique to help you remember names, so it serves
another purpose too.

387
6. Always be prepared for a meeting, whatever situation you are
in. This means having business cards and company brochures at you
finger tips so that you can always make new contacts and show the
business off. You may only have a brief opportunity to promote the
products or services you offer, so the printed material your contacts
take away is extremely important. Use high quality booklet printing
to ensure that your brochures continue to impress your contacts long
after your meeting is over.

VIII. Can you find words in the article with these meanings
(the paragraph number is given in brackets)?

a signal for something else to happen (1)
dirty and untidy (1)
careful and thorough examination (2)
the act of not accepting (2)
to judge (4)
happening after a particular action or event (5)
immediately (5)
to try to make people admire sth. (6)
to help sell sth. by advertising it (6)

IX. Read the poem'The Most of It' by Robert Frost and
discuss in pairs what it is about. Share your opinion with
other students.


THE MOST OF I T

BY ROBERT FROST

He thought he kept the universe alone;
For all the voice in answer he could wake
Was but the mocking echo of his own
From some tree–hidden cliff across the lake.
Some morning from the boulder–broken beach
He would cry out on life, that what it wants
Is not its own love back in copy speech,

388
But counter-love, original response.
And nothing ever came of what he cried
Unless it was the embodiment that crashed
In the cliff's talus on the other side,
And then in the far distant water splashed,
But after a time allowed for it to swim,
Instead of proving human when it neared
And someone else additional to him,
As a great buck it powerfully appeared,
Pushing the crumpled water up ahead,
And landed pouring like a waterfall,
And stumbled through the rocks with horny tread,
And forced the underbrush – and that was all.

X. Discuss these questions:

1. Who do you think'he' refers to? How do you picture the man?
Is he happy? Why?
2. This undefined individual represents a universal emotion:
virtually every human being wants and needs contact with others.
How do you understand the lines'not its own love back in copy
speech, / But counter-love, original response'?
3. Comment on the contrast between the two characters of the
poem, the man and the buck. What makes them different? How is
this difference emphasized by the choice of verbs?
4. What does the man feel at the end of the poem? What is the
result of his encounter with the buck? What is the effect of the last
words of the poem and the dash before them?
5. Why do you think this poem is called'The Most of It'?

XI. You are going to read an article about alien encounters.
Do you believe in the possibility of contact with aliens? Give
arguments to support your opinion.

XII. Read the article and answer the questions which
follow it:


389
STEPHEN HAWKING:
ALIEN CONTACT COULD BE RISKY

In Discovery Documentary,
British Astrophysicist Warns
Alien Life Could Be Hostile

BY KI MAE HEUSSNER
(from ht t p:/ / abcnews. go. com)

Alien encounters may seem like sure-fire
winners to Hollywood, but one of the world's
most famous scientists thinks they may be'too
risky' to be worth seeking.
The world-famous astrophysicist theorizes
that alien life will not be friendly.
In a new Discovery Channel documentary,
British astrophysicist Stephen Hawking said that
communicating with aliens could be a threat to Earth.
Hawking said it is likely that alien life exists, but a visit from
extraterrestrials might be similar to Christopher Columbus' arrival in
the Americas.
'If aliens visit us, the outcome would be much as when Columbus
landed in America, which didn't turn out well for the Native Americans,'
he said.'We only have to look at ourselves to see how intelligent life
might develop into something we wouldn't want to meet.'
In the new program,'Into the Universe with Stephen Hawking,' he
speculated that aliens' capabilities'would be only limited by how
much power they could harness and control, and that could be far
more than we might first imagine.' He said it might even be possible
for aliens to harvest the energy from an entire star.
'Such advanced aliens would perhaps become nomads, looking to
conquer and colonize whatever planets they can reach,' Hawking said.
But don't start worrying quite yet. It's unlikely that those traveling
troublemakers will visit us anytime soon, said space watchers. Jill
Tarter, director of the Center for SETI (Search for Extraterrestrial
Life) Research at the SETI Institute, said that her center uses radio
telescopes and optical telescopes to listen for signals of technology
from extraterrestrial life. So far, after more than 40 years, there has
not been a peep.

390
She said SETI's technology is advanced enough to detect signals
from up to 1,000 light-years away. There are about one million stars
in that zone. A signal could have been sent 1,000 years ago, before
that civilization had any knowledge of Earth.
But she said that as humans have leaked radio and television
broadcasts into space over the past 100 years, it's possible that other
planets could be monitoring Earth.'It's quite reasonable that we might
be on someone's transmission list,' she said. She emphasized,
however, that though it's an effort worth considering, SETI doesn't
actively transmit messages to space. So far, it has only listened.
'The question of whether or not we should transmit is a question
that deserves a global conversation, and we're trying to figure out
how to have that,' Tarter said.
Ian O'Neill, space producer for Discovery News, an ABC News
partner, said that humans didn't start leaking transmissions into space
until the first radio broadcasts about 100 years ago. Given that our
galaxy alone is 100,000 light years across, relatively speaking, he
said, those signals haven't traveled too far.'We've only tapped into
our cosmic neighborhood recently,' he said.'That time scale is huge.'
He also said that though scientists believe that life exists across
the universe, there's no actual evidence of it yet. It could be
hundreds, if not thousands, of years, he said, before human messages
get an extraterrestrial response. And if aliens do visit Earth, who
knows what they would be like, he said.
'This is all complete speculation,' he said.'Hawking's point is very
much one-sided. There's an equal chance of meeting a friendly race,
like our own.'
Tarter, asked about Hawking's vision of aggressive aliens, said
there's a'huge range of possibilities and lots of speculation.'
'Stephen's is one and though he's a brilliant man, I'm not quite
sure that his opinion has any more authority over mine or anyone
else's,' she said.'It's just a question. We don't know the answer.'
1. Do you find this article objective or biased?
2. What does Stephen Hawking mean by saying,'We only have to
look at ourselves to see how intelligent life might develop into
something we wouldn't want to meet.' Do you share his dark feelings
about the present state of human civilization?
3. What arguments does Jill Tarter give to reassure people who
feel anxious about the possibility of alien encounters?

391
4. Do Jill Tarter and Ian O'Neill share Stephen Hawking's views
on encounters between humans and aliens? Comment on the way
they express their opinions.

XIII. Explain the meaning of the underlined words in the
article.

XIV. Surf the Net to find more information about alien
contacts. Summarize the most interesting facts you have found
in a five-minute talk in class.

XV. Give Ukrainian equivalents of these proverbs and
sayings. How can their moral be taken into account when
establishing contact with other people?

All doors open to courtesy.
Appearances are deceitful.
Bad beginning makes a bad ending.
Barking dogs seldom bite.
Be swift to hear, slow to speak.
Before you make a friend eat a bushel of salt with him.
Better be alone than in bad company.
Caution is the parent of safety.
Drunkenness reveals what soberness conceals.
Evil communications corrupt good manners.

XVI. Choose a project topic from the list. Gather information
on the topic and prepare a 15-minute talk for your group. Make
a PowerPoint presentation for your talk. Allow five minutes for a
question / answer session:

• Human contact and affection are powerful stress reducers.
• In the history of humanity, contact between two civilizations has
always resulted in the less technologically-advanced civilization
succumbing to the other civilization, regardless of its intentions.
• Social networking harms interpersonal communication.

392
• Touch is what makes us all human.
• Contact with aliens: be careful what you wish for, you just
might get it.


S E C T I O N C

GUIDELINES FOR WRITING AN EVALUATION



If you want to write an effective evaluation essay the first thing to
do is identify what exactly it is you're evaluating; this will determine
the style of your essay. If your assignment calls for an evaluation of
something you'd experience in your daily life at the university, such
as the cafeteria food, your essay might be a tongue-in-cheek review
about what you like and don't like and how things could get better. If
you're being asked to review a literary work by a renowned author
like Shakespeare, however, your tone will be dramatically different.
Whatever your subject for evaluation is, remember to keep the
context in mind at all times to help the flow of your writing. Writing
an evaluation requires thorough knowledge of the topic which you
are being asked to evaluate. You need to provide an overview of the
topic and then provide detailed discussion resulting in a balanced
presentation.

Way s t o Ev al uat e

(Besides I Love It or I Hate It!)

Once you've decided (or your professor has decided for you in
most cases) what you will be evaluating in your essay, it's time to
determine just how you are going to evaluate it. One way to do so is
using the method of compare and contrast. This tool is handy in
almost every subject area, as few things are one of a kind and
existing alone without competitors or counterparts. A few examples
of ways to use this method:


Find more information at http://www.essaycoursework.com; http://www.
tailoredessays.com; www.ehow.com

393
Evaluation Essay about Robert Frost's poetry: compare and
contrast his work to other historical poets of the era, or go even
further by examining just one of Frost's poems and comparing it to
his other works.
Evaluation Essay about your university system of communication
with students: compare and contrast this to how other universities
communicate issues to their students. Or, compare and contrast the
various media to communicate, such as email blasts, phone chains, etc.
Another way to evaluate your subject is with help from other
people. If you're evaluating something that's close to you, like how
well the student services office plans activities for the students, do a
quick survey of other students to gauge their thoughts. They could
share with you something you don't know. If you're reviewing a new
movie or an album, check out what the critics are saying. This extra
knowledge will serve you well when it's time to write your essay.

Prepari ng t o Wri t e an Eval uat i on

Before you begin, look carefully at the subject you are being
asked to evaluate and plan what you might want to say about it. This
need only be done in note form and is really just to crystallise your
thinking.
Next, you should begin to organise your ideas into a sort of 'for
and against' list. Doing this helps you to write a balanced evaluation.
Ensure that you are compiling the evaluation exactly according to
the specifications of the question you are addressing. It might be that
you are being asked to evaluate in a specific way or with a particular
idea in mind and this will have an influence on the way you evaluate,
so be sure to familiarise yourself with the nature of the evaluation.

Wri t i ng an Eval uat i on

An evaluation is an academic essay and as such follows the same
basic structure of other academic essays i.e.:
introduction
main body
conclusion.

394
There is a difference in the content and style when writing an
evaluation, however, as you are not being asked to formulate an
argument, so much as present an assessment. This influences the
construct because you need to follow through the evaluation with
greater objectivity and need not take so firm a stance as you would in
the average academic essay.
The introduction to an evaluation should provide an overview
rather than a thesis statement. You would give some brief indication
of the contents of the topic/text to be evaluated together with an
indication of the methodology that you intend to adopt during the
writing of your evaluation. End your introduction with a sentence
that links to the opening paragraph of the main body of the
evaluation.
The main body of your evaluation should be a series of linked
paragraphs each one dealing with a different aspect of the evaluation
whilst remaining connected to the central theme. It is a good idea at
the planning stage of writing your evaluation to give each of the
paragraphs of the main body a working subtitle which you may or
may not choose to include in your final evaluation. This is particularly
useful because you will find the collation of your thoughts and
evidence more precisely defined if you work in this way.
The conclusion to writing an evaluation is very important and
should be considered at the initial planning stage. As in the
introduction you provided an overview of the text/topic to be
evaluated, here in the conclusion you need to provide a summation of
the evaluation. You need to provide, also, a synthesis of your
thinking together with some indication of what you feel might have
been omitted from your evaluation suggesting reasons why this was
done and also what might be attempted in the future under different
criteria, perhaps. By including this in the conclusion to writing your
evaluation, you are acknowledging its limits and indicating to the
reader your awareness of them.

General Ti ps on Wri t i ng an Eval uat i on

Be objective! Any deep personal feelings or preconceived
opinions toward your subject can taint your writing.

395
The importance of presenting any academic essay in clear, well-
structured and coherent English cannot be overestimated and this is
as true of writing an evaluation as elsewhere.
Ensure that you proof-read your evaluation very thoroughly to
avoid any possibility of errors in punctuation, grammar, spelling
and/or punctuation.
It is often a good idea to read your work aloud or ask a friend or
colleague to proof-read your work before you submit it.
It goes without saying that when writing an evaluation, as
elsewhere, you should never deliberately plagiarise: it is illegal,
immoral and you are bound to be discovered. So do not be tempted!

Wri t e an eval uat i on essay
on one of the students' talks delivered in class.
Fol l ow t he st eps bel ow

1. Select a talk to evaluate. If possible, select a talk that is of
interest to you and on a topic about which you are knowledgeable.
Having previous knowledge about the topic makes it easier for you
to judge the information conveyed through the talk.

2. Record the talk. If you are evaluating a live talk, record the
performance if you can. It is difficult to evaluate the effectiveness
and consider the nuances of the talk after hearing it only once. A
recording allows you to revisit the talk as you move through the
completion of the essay.
3. Start your essay by describing the topic of the talk. Briefly
explain the topic at hand to ensure that the readers of your evaluation
fully understand it.
4. Explore the supports used if the talk was argumentative in
nature. Explain how the speaker backed up his/her claims, and
discuss the validity of any evidence the speaker used to illustrate
why his/her stance was appropriate.
5. Explore the clarity of the steps if the talk was instructional in
nature. If instructions are not clear, listeners can't complete the task
described. If the steps were not clear, explain how the clarity could
have been improved.

396
6. Discuss whether the speaker clearly enunciated and adjusted
pitch and tempo throughout the talk. Listeners must be able to
understand the talk for it to be effective. Discuss whether the speaker
slurred his words or didn't speak clearly. Also, explain any problems
in the areas of pitch and tempo. If the speaker spoke too quickly,
point that out in your evaluation. An overly rapid rate of speech can
make the speech itself less comprehensible.
7. Point out any areas where there was room for improvement.
Explain how the problem areas could have been improved upon. By
pointing out possible solutions, you prove that the issues you
presented are real problems that could have been remedied and not
just style choices with which you do not agree.
8. Evaluate the overall effectiveness of the talk. Conclude your essay
by making a clear statement regarding the effectiveness of the talk as a
whole. By clearly stating the degree to which the talk was effective, you
leave your audience with a clear understanding of your opinion.

397
Uni t t hr e e

EMOTIONS



S E C T I O N A

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. What role do emotions play in your everyday lives? Is there a
day free from emotional reaction?
2. What are the usual sources of emotions for you?
3. We often place emotional vs. rational. Do you agree they are
opposites?
4. Comment on the following adage:
'The advantage of the emotions is that they lead us astray, and the
advantage of science is that it is not emotional.' Oscar Wilde, The
Portrait of Dorian Gray
How do you cope with your own emotional state? Do you rule
emotions or they rule you?
5. Is your interaction with people based on emotions or reason?
What is your comment to the following quote:
'They may forget what you said, but they will never forget how
you made them feel.' Carl W. Buechner.
6. What emotions do your family members stir in you? How do
you deal with negative emotions in your families?


Spe e c h pat t e r ns

She would toss her head and push it back
with her hand, but its natural position seemed to be before her face.

Occasionally one animal would stop and bellow loudly.
He would come to the shore and stare into the distance.

398
I would dream of the castles I never saw.

Its staring, wicked eyes seemed to be always looking back at her.

His voice was always ringing in my ears warning of the dangers
and temptations.
You are always busy when I need you most.
The teenagers are always looking for trouble.
People are always telling lies for no reason.

There breathed from his clothes, and accompanied him continuously,
an odour repulsively animal – the smell of the cowyard.

There remained only one pleasure for me – the loneliness of the island.
There came a time when even the smallest pleasure was a luxury.
There burst an ugly noise of a brass-band into the cool marble air
of the terrace.

'She is afraid of the bull, Mick.'
'Afraid, is she!'

You are a coward, my boy! – A coward, am I! After protecting
you from the crowd!
We started in time! Did we! I give you my word for it.
You're lying! – Am I! Just because you love him you don't
believe me, your mother!
I won't marry him! – Will you not, young lady! You'll do what
your father says.

What with her howling and running every time it comes near,
it'll never be safe.

What with all that commotion about jazz and dances, who sees
anything indecent in it now?
What with all the screaming and crying over his new job, he did
not listen to any word of wisdom.
What with all you fuss over the guest of honour? He didn't look
once sat you!

399
Her powerless eyes never left his face.

He never winced or faltered and his speech did not betray the
agitation inside him.
I never forgot to catch her glance and check my every word with
her nod or smile.
They never felt a moment of peace with the boy around.

Round the paddock they went.

Further she flew, away from the crowd of gaping faces.
Up he climbed, in hot pursuit of the voice and promises.
Down he fell, noiselessly and instantly, into the dirty pitch.
Onwards he ran, dragging us behind him and following his instinct.


Ex e r c i s e s

I. Study the speech patterns and translate the examples
into Ukrainian.

II. Come up with three sentences of your own with each speech
pattern. Make sure they can be used when discussing relations
between people.

III. Fill in the gaps with a suitable speech pattern:

1. I am so annoyed. You …………. leave your shoes in the way.
2. …….. of the room he darted to escape the imminent public
exposure. 3. Her voice ……… faltered and she didn't betray her
doubt and indecision. 4. We'll never surrender, we are proud! ……..
indeed so much keen of losing lives for the glory of the general!
5. ………… this new mayor, he'll never be as good as I used to be
in my day! 6. She ……….. be quiet for days, all sulky and moody.
7. ………….. stirred one leaf, another one and a sudden gust
rushed through the park like an invisible pirate robbing the tree of
their treasures.

400
IV. React to the statements below using the appropriate
speech pattern:
1. I'm sorry I'm late, I promise this is the last time. 2. They is so
much activity before the world cup. 3. Our team is the best, I know
they'll win! 4. He was such a wonderful child. 5. What frightened
you so much in broad daylight? 6. Be concentrated during the
operation. 7. Did you see the accident? How did it happen?

IV. Translate from Ukrainian into English using speech
patterns:
1. Діти усе каталися з гори вниз, з гори вниз, поки не стемніло
на дворі. 2. Ти постійно шукаєш привід не робити домашньої робо-
ти, ніби ти не смітиш, не брудниш посуд та одяг! 3. Зрозуміє він
мене, як же, ця бездушна істота, яка нікому не здатна співчувати!
4. Я непорушно стояв на місці, я б ніколи не дозволив їм мене
помітити на місці злочину. 5. З усіма нашими протестами, мар-
шами і страйками ми ніколи не приведемо економіку у порядок.
6. Професор говорив годинами про свої експерименти з атомом.
7. Щука шубовснула прямо у воду і всі зрозуміли, що винуватий
залишився не покараним. 8. Розпочалося таке народне піднесення
після оголошення фальшивих результатів виборів!

V. Make up short dialogues demonstrating different attitudes to
emotions or dealing with a certain emotional state. Be sure to use
speech patterns.

VI. Read the following text.

FROM BULLS

BY ALAN MARSHALL

Alan Marshall (2 May 1902 – 21 January
1984) was an Australian writer, story teller and
social documenter. His best known book, I Can
Jump Puddles (1955) is the first of a three-part
autobiography. The other two books are This
is the Grass (1962) and In Mine Own Heart
(1963).


401
When Alan Marshall was six years old he contracted polio
leaving him with a physical disability that grew worse as he grew
older. From an early age, he resolved to be a writer, and in I Can
Jump Puddles he demonstrated an almost total recall of his childhood
in Noorat. The characters and places of his book are thinly disguised
from real life.
Alan Marshall wrote numerous short stories, mainly set in the
bush. He also wrote newspaper columns and magazine articles. He
travelled widely in Australia and overseas. He also collected and
published Indigenous Australian stories and legends.
The little girl ran quickly from the shed and stood listening.
Again she heard his voice, loud and menacing:
'
Bring up those cows, blast you!'
She darted back and hid a tin of mud beneath a loose board on the
floor. She wiped her hands on her stained, blue dress and ran towards
the paddock gate calling with rising and falling inflection:
'
Ja-ack, Ja-ack!'
A black dog rushed after her, barking excitedly.
'
G'way back!' she commanded, pointing.
The dog sped past her, its flexible body animated with an intense
energy. The little girl picked up a long stick that lay on the ground
and followed, running with short, swift steps.
The cows were scattered across the paddock. Some were lying
down. At the sound of the dog's imperative barking, they rose
laboriously to their feet and commenced to walk towards the track
that led to the cowyard.
The little girl stopped. She leant on her stick, waiting for the dog
to collect those in the far corner. She was seven years old and had
brown skin and smooth, round limbs. Her fair bobbed hair hung in an
untidy mass from her head. When she ran it shook across her eyes so
that she could not see. She would toss her head and push it back with
her hand, but its natural position seemed to be before her face. It was
generally adorned with a dirty ribbon secured by a single knot. The
ends hung to her shoulders, the original bow having disappeared
earlier in the day.
The cows soon collected into a herd that moved slowly towards
the yard at the end of the paddock. Occasionally one would stop and
bellow loudly. The little girl urged the lagging ones by running to

402
and fro, shouting and waving her stick. The dog barked and snapped
at their heels. Some broke into a clumsy trot, their heavy udders
swinging violently from side to side.
A bull walked among the cows. The little girl glanced at it
frequently. As it altered its position she moved so as to keep as far
away from it as possible. This fear was always with her. Frightened
thoughts startled her in the midst of play, like the touch of cold
hands. In the night the bull's head came out of the darkness and
looked at her.
The bull walked with its head held low, swinging it from side to
side with the movements of its body. The tremendous muscles on its
shoulders rose and fell. Its staring, wicked eyes seemed to be always
looking back at her. They were concentrated and intent as if it were
listening to the sound of her feet swishing through the long grass.
The little girl knew that some day it would whirl suddenly and
rush at her with its short, black-tipped horns. It would bellow and
toss her and throw her to the ground and she would never move
again – like the calves her father struck on the head with a piece of
iron. Then the bull would go back to the herd and her father would
milk the cows just the same.
He stood at the open cowyard gate, swearing at the delay. 'Blast
you! Get a move on.'
He was a large man with a heavy, unshaven face. He scowled
continuously. His lips were full and bore small, dry flakes of skin.
His round, obese stomach, confined by a tightly stretched galatea
shirt, bulged over the twisted leather belt that supported his
dungaree trousers. The cuffs were caught up by the tags on the back
of his boots revealing the boots in their entirety like the enormous,
misshapen hooves of some grotesque animal. The untied laces were
almost hidden by an accumulation of pollard, mud and chaff. His
felt hat was stained with milk, and stuck to the grease were
numerous small red hairs from the flaks of the cows against which
he had pressed his head. There breathed from his clothes, and
accompanied him continuously, an odour repulsively animal – the
smell of the cowyard.
The little girl ran backwards and forwards behind the herd. The
dog barked frantically. The cows plunged through the mud which lay
deep round the yard, striving to get away from the snapping teeth.

403
'Hi! Hi!' called the father.
The cows, crowding and jostling, flowed into the first yard, which
was unstoned and knee-deep in black, slimy mud. The little girl
plodded through the morass and closed the bottom gate. Her father
opened the one leading into the small paved yard confronting the
bails. The cows standing near moved forward, lifting their legs high
as they pulled them from the mud, and heaving their bodies as they
clambered on to the stone paving.
The father put two fingers in his mouth and whistled. The dog
appeared and rushed in among the cows. They jammed and pushed in
the gateway, their heads held aloft, forced up by the hindquarters of
those in front of them. They crowded forward, slipping and horning
one another.
'That's enough, Mick,' came a plaintive voice. The little girl's
mother stood at the entrance to a bail holding a bucket. The father
kicked at the cows coming through and forced the gate shut. The
cows nearest the bails walked into their position.
The little girl hurried from bail to bail, pulling the rope that
manipulated the upright securing their heads. She leg-roped them,
pushing hard against their flanks to force them against the rails, and
pulling their legs back into an unnatural rigid position. Their legs
were thick with dripping mud and the ropes became slimy snakes,
horrible to touch.
A bucket made from half a kerosene-tin and a piece of wire hung
from a nail driven into one of the posts. The father lifted it down and
filled it with water. He took a dirty rag that lay on a bench. He went
to each cow and, resting a hand on their flanks, he bent and soused
their udders and teats with splashings of cold water. Many of the
udders had been dragged in the mud. The water became black.
A muddy sediment collected in the bottom of the bucket.
He commenced milking. His pudgy hands pressed and released
the teats tirelessly. They seemed to have an existence apart from his
clumsy body. The milk spurted in rapid streaks. A white froth arose
in the bucket. Where the straight, white stems lost themselves in the
froth, a grey, discoloured circle appeared making an unclean stain
upon the white surface.

404
He often squirted milk on his hands to moisten the grip. Mixed
with mud from the udder, it dripped from his fingers in round, grey
drops. Where the top of his hand pressed against the udder a circular
encrustation of grease and dirt collected.
'Let some more in!' he yelled at the little girl. She ran to the gate
and swung it open. The bull entered with the cows.
'Open a door and let that bull through!' he commanded, The bail
doors were weighted and had to be held open. The bull's body would
brush hers as it passed. The little girl was afraid and made no move
to obey. She stood pressed against the fence, looking first at the bull
and then at her father.
He rose from his milking block in a rage. He pointed at the door
and roared: 'Open that blasted door, I say!'
The little girl took a few faltering steps forward, 'The bull,' she
said weakly. Her powerless eyes never left his face. He put his
bucket on the stone floor and stepped out of the bail. The little girl
shrank back, her clenched hands pressed against her mouth, her
terrified eyes looking upwards.
The head and shoulders of her mother arose from behind a cow.
'She is afraid of the bull, Mick.'
'Afraid, is she!' snarled the father. 'I've told her the bull is
harmless. She's lazy, that's what's wrong with her'. The head and
shoulders of the mother shrank from view.
'Come here!' he shouted, his head thrust forward.
The little girl came to him as a dog would that expects a blow.
'Open that door!' he mouthed, pointing with his hand and looking
down on her.
As she turned to obey him, he struck her heavily between the
shoulders, precipitating her violently forward for a few steps. He
watched her, then walked over to the bull and drove it toward the bail.
The little girl watched it approaching. As it drew near, her eyes
slipped here and there with quick little movements like the eyes of a
bird. It came straight towards her, its head swinging low, its small
black eyes gleaming. She stood very still with one arm outstretched
to the door, the other held stiffly by her side. The bull's head passed
her barely a foot away. She could see the red, curling hair between
its eyes, the texture of its horrible horns, its black slimy nostrils. She
felt its hot breath.

405
Her father returned to his milking, grumbling.
'She'll turn that bull savage, that's what she'll do. You've got to
stand up to them. It knows me. I flogged it once and it's never
forgotten it. What with her howling and running every time it comes
near, it'll never be safe.'
Swish, swish, went the milk in the buckets. The cows, with
heavy, drooping lids, chewed their cuds in silent ecstasy. The milk
sang from the coolers.
Each Monday her father drove to the township five miles away.
Her mother accompanied him. The little girl stayed at home to 'look
after the place'. She played with the dog and built little houses beside
the hay-shed with bags and fencing rails. On one of these days she
sat on the paddock gate watching the bull feeding. A deep hatred of it
stirred her. That morning it had shaken its head at her as it walked
through the bail. She suddenly felt she wanted to hurt it. She
remembered her father's words, 'I flogged it once and it has never
forgotten it.' She would like to flog it too. She pondered on ways of
hurting it, of making it afraid of her.
She climbed from the gate and ran to where a bluish dog with one
wall eye was chained beneath an old gum-tree. Her father used him
when he drove cattle to the saleyards or brought springers from the
dry paddocks. She unfastened the chain from his collar. He bounded
away and tore round the yard, glad to be free. He stopped suddenly
beside a bucket of water and began to drink noisily.
'Here, boy!' she called.
She ran with him to the paddock fence and climbed through, She
walked watchfully towards the bull, then stopped and waving her
hand urged the dog: 'Sool 'im, Bluey! Get hold of him!'
The dog gave a delighted yelp and raced towards the bull. He
dived in, snapped at the animal's hocks and shot past, propping
frantically.
The bull gave a startled jump; then, realising the dog's intention,
commenced trotting down the paddock. Again the dog drove at him,
sinking his teeth into the firm, sinewy legs. The bull broke into a
lumbering gallop. The dog followed, harrying the animal with
vicious, perfectly timed attacks. The bull kicked as it ran. It kept
turning its head from side to side so that it could watch the dog

406
leaping behind it. The dog was an old heeler and squatted low as it
snapped, so that the powerful legs shot over its head. The bull slowed
down, then turned and, lowering its head, made a rush at the dog.
The dog dodged and tried to get behind the bull so that it could
continue its onslaught; but the larger animal kept turning so that its
horns always confronted its antagonist. The dog made short little
jumps towards the bull's head, barking savagely. This continued for
some time. The dog paused and, evading the bull's horns with a
quick bound, dashed in, biting savagely at the bull's legs. The beast
again set off at a gallop.
Later they stopped and repeated the performance.
Occasionally the dog looked towards the little girl for
encouragement. It stood still with one front paw raised, its ears
pricked, its tongue dripping. Her voice: 'Sool 'im, boy. Get to him,'
relieved its dog's mind of any doubt as to the wisdom of this unusual
latitude and it returned eagerly to its persecution.
Round the paddock they went. Long threads of saliva floated
from the bull's mouth. Its shoulders were streaked with shining
strands. Its sunken flanks rose and fell. Blood from its torn hocks
dripped to the ground. At last, almost exhausted, it made a stand in a
corner, its back to the fence, and defied the dog's attempts to rout it.
It pawed the ground, tossing lumps of earth and grass shoulder high
with sullen rage. It dropped to its knees, burying first one horn and
then the other in the earth and flinging its head upwards. Small
lumps of damp soil and grass adhered to the ends of its horns. It
bellowed ominously.
The dog stood in doubt. It looked towards the little girl for
guidance. But a sudden fear smote the little girl and she called
the dog to her and ran swiftly towards the house, her heart
beating rapidly.
When her parents returned her mother hurried her into the
house. Her father wasn't well. He staggered and swore. Her mother
cut the child a thick slice of bread and jam. Her movements were
flurried and nervous. She was a thin woman with tired eyes. Two
bright red smudges of colour high on her cheekbones stood out
from the pallor of her face. She glanced often at the door and urged
the little girl to hurry.

407
'Bring up the cows quickly,' she said. Your father isn't well.'
The little girl trotted across the paddock munching the bread and
jam. She kept as far away from the bull as she could. One of the
cows was standing near it. The little girl was afraid to approach any
closer. She urged Floss to 'fetch her out', but the cow was one that
her father had bought at a sale the week before, and refused to leave
the corner where it stood looking towards some distant hills and
sometimes lowing in a restless, unsettled way.
The little girl looked first towards the house and then towards the
cow. She began to cry. Floss trotted up with wagging tail and pushed
her damp nose against the little girl's limp hand. They both walked
after the rest of the cows which were approaching the yard.
'You haven't brought in the brindle cow, you little fool!' her father
yelled. 'Go and get her.'
'The bull . . .' she began faintly.
Her father spurned the stool back with his booted foot and took
several quick steps forward, but the little girl turned and ran across
the paddock towards the corner in which the bull stood motionless,
its head bent at an acute angle.
When she got half-way there she stopped and looked towards
the yard. Her father was watching her, his big hands resting on the
top of the gate.
'Get a move on there,' came his voice.
She approached a little nearer to the bull then stopped once more.
Again her father's voice bellowed from the yard. She did not move.
He slammed the gate savagely behind him and walked towards
her. The little girl watched him approach, plucking at her skirt with
her fingers. When he was so near that she could see his face she sank
upon her knees in the grass.
'Get up,' he said through his teeth.
She made no effort to obey him but crouched closer to the ground,
her legs drawn beneath her, her elbows close to her sides, her hands
pressed palm downwards on the grass. He kicked her. Anguished
sobs, almost inaudible, shook her. He seized her by the shoulder and
lifted her to her feet. 'You'll come with me, miss,' he said.
He dragged her towards the bull. It stood with stiffened
muscles but, as they approached, it began to bellow menacingly
and shake its head.

408
The father hesitated and released his hold on the little girl. She
darted through the fence like a terrified rabbit. He picked up a dry
clod and hurled it, with a curse, at the animal.
The bull made a sudden, swift rush. It went forward with great
through the valley.
It went forward with great bounds, digging its hooves into the
ground. All the tremendous power of its smooth, rounded muscles
was concentrated in hurling its heavy body at this hated man.
He flung out his arms, took a faltering step backwards, then
turned to run. His eyes were wide open. Curved wrinkles corrugated
his forehead. The muscles of his hanging jaw were loose and flabby.
He cried out with a loud, harsh voice. The enormous head struck
him, a driving horn caught him in the armpit. The bull tossed its
head, lifting the man from his feet and flinging him sideways like a
loosely-filled sack. He fell sprawling to the ground. In a very access
of fury, foam flecked and bellowing, the bull turned and hurled itself
at the recumbent figure. It gored it into the soft grass, using the body
as a pivot round which it circled with its hindquarters. The thing's
passiveness infuriated it the more. It buried its red horns in the
shapeless bulk again, and again, and again. ...

Comment ary

1. Morass – 1) an area of muddy or boggy ground 2) a
complicated or confused situation. If you describe an unpleasant or
confused situation as a morass, you mean that it seems impossible to
escape from or resolve, because it has become so serious or so
complicated. E.g.: I tried to drag myself out of the morass of despair.
2. Township – 1) a small town 2) in the Scottish Highlands and
islands: a small crofting community 3) in the US and Canada: a
territorial area, especially a subdivision of a county: often organized
as a unit of local government 4) formerly, in South Africa: a planned
urban settlement of Black Africans or coloured people.
3. Springer – also called: springing cow – a cow about to give
birth to a calf.
4. Wall eye – a deficiency related to a sore eye when the sight is
impaired and special operational treatment is necessary.

409
5. Heeler – especialy in Australia and New Zealand: a dog that
herds cattle by biting at their heels. This is not a special breed of
dogs but rather a well-trained one.
6. Dungaree trousers – a garment consisting of trousers with a
bib held up by straps over the shoulders, made of calico, denim, or a
similar material and worn as casual or working clothes.
7. Galatea shirt – a strong twill-weave cotton fabric, striped or
plain, for clothing; the origin of the name is metonymic – after the
man-of-war HMS Galatea (the fabric was at one time in demand for
children's sailor suits).


Es s ent i al Vocabul ar y

Vocabulary Notes

1. urge – v., tr. 1) try earnestly or persistently to persuade
(someone) to do something He urged her to come and stay with us.
2) recommend (something) strongly I urge caution in interpreting
these results. 3) – with obj. and adverbial – encourage (a person or
animal) to move more quickly or in a particular direction drawing up
outside the house He urged her inside.
urge someone on smth – encourage someone to continue or
succeed He could hear her voice urging him on.
urge, n, – (often with infinitive) a strong desire or impulse He felt
the urge to giggle.
urgent – adj. 1) requiring immediate action or attention. An
urgent demand for more state funding. 2) of an action or event: done
or arranged in response to an urgent situation. She needs urgent
treatment. – of a person or their manner: earnest and persistent: an
urgent whisper.
urgently – adv, immediately, in a quick manner: The money was
most urgently required.
urgency – n. uncount., persistence, great need, hurry: a matter of
great urgency.

2. smite – v, (smote; smitten) 1) with obj. – strike with a firm
blow. He smites the water with his sword. 2) defeat or conquer
(a people or land). He may smite our enemies. 3) especially of
disease – attack or affect severely. Various people had been smitten
with untimely summer flu.

410
be smitten – be strongly attracted to someone or something. She
was smitten with the boy.
smite – n, archaic: a heavy blow or stroke with a weapon or the
hand. The kirk rang with slaps and smites.

3. shrink – v., (shrank, shrunk) 1) become or make smaller in
size or amount; contract or cause to contract: The workforce shrank
to a thousand . 2) of clothes or material: become smaller as a result
of being immersed in water. 3) move back or away, especially
because of fear or disgust. She shrank away from him, covering her
face. shrink from (shrink away from) often with negative: be
averse to or unwilling to do (something difficult or unappealing)
I don't shrink from my responsibilities.
shrink into oneself – become withdrawn.
shrunken – adj. of a person's face or other part of the body:
wrinkled or shrivelled through old age or illness. A tiny shrunken
face and enormous eyes.
a shrink n, informal – a psychiatrist (from headshrinker, n,
historical – a headhunter who preserved and shrank the heads of his
dead enemies) You should see a shrink.
no shrinking violet – not at all shy. When it comes to expressing
himself he is no shrinking violet.

4. menace, n, count. – a person or thing that is likely to cause
harm; a threat or danger. A new initiative aimed at beating the
menace of drugs. 2) n, uncount. – a threatening quality or
atmosphere. He spoke the words with a hint of menace. 3) n, pl.
(menaces) threatening words or actions. A demand of money with
menaces.
menace , v, tr. – be a threat or possible danger to smb/smth.
Africa's elephants are still menaced by poaching.
demanding money with menaces (Brit, legal) – threaten to cause
harm unless given the money. He denies demanding money with
menaces.

5. rage, n, count / uncount. – 1) violent uncontrollable anger. Her
face was distorted with rage. 2) the violent action of a natural
agency. The rising rage of the sea. 3) in sing.: a vehement desire or

411
passion: A rage for absolute honesty informs much western art.
4) literary: prophetic, poetic, or martial enthusiasm or ardour. rage
of gold and blood. 5) Australian/NZ a lively party. The party was a
rage. 6) anger or aggression associated with conflict arising from a
particular situation. He was jailed for air rage.
road rage – anger or violent behaviour caused by someone else's
bad driving or the stress of being in heavy traffic. A Times reporter
yesterday became another victim of road rage.
(all) the rage – a widespread temporary enthusiasm or fashion.
Computer games are all the rage.
rage, v, intr. 1) feel or express violent uncontrollable anger. He
raged at the futility of it all. 2) with adverbial, of a natural agency or
a conflict: continue violently or with great force. The argument
raged for days. 3) with adverbial of direction, of an illness or fire:
spread very rapidly or uncontrollably. The great cholera epidemic
which raged across Europe in 1831. 4) of an emotion: have or reach
a high degree of intensity. She couldn't hide the fear that raged
within her. 5) Australian/NZ: go out and enjoy oneself socially. Get
ready to rage!

6. hate, v, tr. – 1) feel intense dislike for smb/smth. The boys hate
each other. 2) have a strong aversion to (something). He hates flying.
I'd hate to live there. 3) used politely to express one's regret or
embarrassment at doing something. I hate to bother you… I hate
to say it… I hate to tell you…
hate someone's guts ,informal – dislike very much indeed.
We hate each other's guts.
hate, n, uncount. – intense dislike, feelings of hate and revenge.
I was 17 and filled with a lot of hate. 2) denoting hostile actions
motivated by intense dislike or prejudice. a hate campaign 3) an
intensely disliked person or thing. Richard's pet hate is filling in his
tax returns.
hate speech – a speech disparaging a racial, sexual, or ethnic
group or a member of such a group.
hate mail – unpleasant or threatening letters. The judge suing the
Boston Herald for libel said Tuesday he got piles of hate mail,
including death threats.

412
hatred, n, uncout. – an extremely strong feeling of dislike for
someone or something. My hatred for her is so intense it seems to be
destroying me.
hateful, adj. – 1) arousing, deserving of, or filled with hatred.
That hateful arrogant woman. 2) very unpleasant. a hateful dress.
hate like poison, hate smb. as the devil hates holy water –
idiomatic comparative expressions indicating strong repulsion.
But there's not the faintest doubt - he hated my paintings like poison.

7. savage, adj. – 1) of an animal or force of nature: fierce,
violent, and uncontrolled. Packs of savage dogs roamed the streets.
2) cruel and vicious; aggressively hostile. A savage attack on the
government. 3) of something bad or negative: very great or severe.
The decision was a savage blow for the town. 4) chiefly in
historical or literary contexts: primitive; uncivilized. 5) of a place:
wild-looking and inhospitable, uncultivated.
to turn smb savage – to cause one change from good to bad
mood very quickly.
savage, n, count. –1) chiefly in historical or literary contexts: a
member of a people regarded as primitive and uncivilized. I had to put
up with their conviction that the area was a frozen desert peopled with
uncouth savages. 2) a brutal or vicious person. The mother of one of
the victims has described his assailants as savages. 3) a representation
of a bearded and semi-naked man with a wreath of leaves.
savage, v, tr. – 1) especially of a dog or wild animal: attack
ferociously and maul. Police are rounding up dogs after a girl was
savaged. 2) subject to a vicious verbal attack; criticize brutally. He
savaged the government for wasting billions in their failed bid to
prop up the pound.
(as) savage as a meat axe – infuriated and angry, behaving in an
uncontrolled way.
savagery, n, count. – 1) an uncivilized condition. The sheer
savagery of war. 2) a savage act or nature. Outburst of savagery.
3) savages collectively. A tribe of savages.

8. fury, n, uncount. – wild or violent anger. Tears of fury and
frustration. Rachel shouted, beside herself with fury. 2) n, count.
– a fury – a surge of violent anger or other strong feeling. In a fury,

413
he lashed the horse on. 3) extreme strength or violence in an action
or a natural phenomenon. The fury of a gathering storm. She was
paddling with a new fury.
infuriate, v, tr. – make (someone) extremely angry and impatient.
I was infuriated by your article.
like fury – with great energy or effort. She fought like fury
in his arms.
in a fury –very angry. I had reacted in a fury of grief.
in an access of fury – in a short spell of angry passion.
to vent one's fury on / upon smb. – to let one's anger and
frustration freely on another person.
savage / unbridled fury – a feeling with no restrain.


Word Combi nat i ons and Phrases

to speed past
to break into a trot
just the same
to plunge through
to clamber on to smth
to precipitate smb forward
eyes slip here and there
you've got to stand up to smb
to ponder on ways to do smth
to shake one's head at smb
look for encouragement
to relieve one's mind of any doubt
to release one's hold


Vocabul ary Exerci ses

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian. Find the vocabulary notes in
the text and comment on the meaning and form in which
they are used.


414
II. Find the word combination and phrases in the context.
Provide contexts of your own.

III. Come up with three sentences of your own with each
vocabulary item. Make sure they can be used when discussing
emotional states and reactions.

IV. Match the phrases on the left with the correct definition
on the right:

1. to plunge through
2. to clamber on to smth
3. to turn smb savage
4. to precipitate smb forward
5. to stand up to smb
6. to ponder on smth
7. to relieve one's mind of any doubt
8. to release one's hold
To force smb move fast
To remove one's hands and let smb go
To go overcoming obstacles
To let make the right decision
To cause smb become angry
To think deeply about smth
To climb awkwardly up
To face smth with courage


V. Match the words on the left with their antonyms on
the right:

1. savage fury
2. a savage
3. all the rage
4. hate mail
5. shrink into oneself
6. hate to tell
7. no shrinking violet
8. urgently
9. to shrink
10. hate someone's guts
shy
open one's heart
increase
head over heels
at leisure
out-of-date
civilized
love-letter
patience
happy to mention


VI. Fill in the gaps with the word combinations and phrases
from Essential Vocabulary section:

1. I was ……………….. and boldly spoke for our rights to the
officer but my granny ……………………in silent disapproval of my
disrespectful behaviour. 2. After the defeat at Stalingrad Hitler
………………………on the generals and marshals of his army.

415
3. The ………… need today is to have people ………………… ….
their rights and defend their standards of living and safety. 4. Kids
say school exceed all boundaries of decency nowadays, they demand
for money in an aggressive way and get away with it easily.
5. I ……….. seeing children hurt. When I see children abuse I
instinctively …………. to hug and hide them from the bullies.
6. I did have to put pressure on the students in the last few weeks
before their examination. 7. Most services and supply were halted in
the region as the fire ………… for more than four weeks in forests
and fields. 8. He rose to his feet ………………….. to leave no doubt
about where he stood on the issue.

VII. Paraphrase the following sentences using your Essential
Vocabulary:

1. After seeing so much disregard for herself Lora directed her
emotions inwards and stopped all her relations with people who used
to know her. 2. After the shameful match the coach burst with
terribly strong emotions and the team could not cope with it. 3. This
new Bentley passed us really quickly and hit the other parked car. It
caused the latter one to move further and ultimately hit the young
lady on the sidewalk. 4. Roger was so overcome with the serial killer
he met in the court that he had to see a psychologist to cope with his
emotions. 5. You must hurry the children forward or we'll never get
home. (urge) 6. Oriental Muslim cultures rioted in most European
countries where they had sought shelter from poverty and abuse.
7. The noise of the guns came down on Forrest Gump's ears with
unbearable force. 8. In that historical period the European states
retained a latent capability to threaten Britain's own security.

VIII. Translate the following sentences into Ukrainian. Pay
special attention to the words and word combination in italics:

1. In the fit of unbridled fury Duke nearly beat to death the horse.
His whole life was the stake in those races. 2. The captain urged all
passengers to use the lifeboats to escape the sinking ship. 3. First he
didn't believe it but when he saw John the Terrible as savage as meat

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axe his mind was relieved of any doubt: he had to protect the tsar
from the demons. 4. I plunged through my university years full of
chaotic idea of higher calling for my life and hating the guts of every
professor who gave me homework. 5. She blocked my way and I had
to listen to this hate speech about troubled teenagers. When I
released her hold of me her raging syllables echoed in my mind like
church-bells. 6. Those lawyers did not just negotiate for their client.
They demanded my whole business with menaces. They urged me to
accept the compromise. 7. Professors' pet hate is checking their
students' essays because young people stick to ordinary ideas just the
same. 8. The governments of European countries came up with a
new initiative aimed at beating the menace of drugs. 9. Medieval
Europe was seized by the rage of gold and blood. 10. Rachel
shouted, beside herself with fury and frustration, her hatred for the
girl so intense that she seemed to turn into Fury.

IX. Translate the following sentences into English using the
active vocabulary:

1. У середньовічній Європі лютувала чума і населення різко
зменшилося майже утричі за десять років. 2. Крій пальто був
вражаючий. Останній показ моди розвіяв усі сумніви – це був
останній писк сезону. 3. Ми повільно проходжалися по парку,
але коли пішов дощ ми перейшли на біг. 4. У розпалі гніву я
смикнув закриті двері і розлючений собака накинувся на мене.
5. Сусід по кімнаті любить мене, як чорт ладан, тому, що я не із
сором'язливих і не слухаю його палких гнівних промов проти
глобалізму. А я просто не зриваю власну злість на тому, що все
рівно не зміниться від промов. 6. Інструктор з водіння мене під-
ганяв і я був розчавлений від напруження та відповідальності.
7. Солдати не могли ухилятися від завдання і брели через боло-
то. Вони шукали підтримки у свого командира, а той підбадьо-
рював їх прикладами героїзму та закликав протистояти ворогам.
8. Я роздумував над тим, як у людей прокидається жага грошей
та перетворює їх на дикунів. Така людина занурюється у себе і
ставиться до всіх з погрозою, щоб не відпустити свою жертву
і повністю її підкорити.

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X. Compose short situations in dialogue using Essential
Vocabulary. Pay attention to the intonation of the stimuli and
responses.


Exe r c i s e s t o t he Te xt

I. Summarise the text in a short paragraph of 60–80 words.

II. Write a précis of the text in 20–30 words.

III. Pick up from the text sentences describing the characters.
Give the character sketches and speech and behaviour portraits.

IV. Retell the text a) as if you were the girl; b) as if you were
the girl's mother; c) as if you were the girl's father; d) as if you
were a neighbour. Will the general tone of the four versions differ?
How and why?

V. Make up and practice dialogues between the characters
which are not given in the story.

VI. Put 20 questions to the text, focus on the emotions and motives
of the characters, to connect their behaviour with their inner
emotional state.

VII. Pick out from the text all the words and phrases
describing emotions and emotional reactions in relations between
the characters. Use them in your own situations.

VIII. Write out from the text sentences containing the word
combinations and phrases from Essential Vocabulary section and
translate them into Ukrainian.


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IX. Answer the following questions on the text:

1. What is the first description of emotion in the text?
2. How was the girl dressed?
3. What is her appearance?
4. What were the daughter's household duties?
5. Who helped her in those chores? How do they get along?
6. How does the bull behave when the girl is around?
7. How did the girl feel about the bull?
8. What was her fear like and how did she visualize it?
9. What was the girl's father like? How did his appearance
reflect his nature?
10. How did their farm look like? How does it correspond to the
master's image?
11. What was the girl's part of work during milking?
12. Was milking process effective and attractive?
13. How did the girl react when the bull came in to the milking
cowyard?
14. How did her father react?
15. What was her mother's role in the conversation?
16. What were the girl's feelings when the bull passed her?
17. What was father's way to establish contact with the bull?
18. What desire seized the girl when her parents were away?
19. How did she implement her wish?
20. How did the dog act fulfilling her orders?
21. What was wrong with the father after coming home from
the township?
22. Why didn't the girl go near the bull to get the brindle cow?
23. How did the girl escape the encounter with the bull?
24. How did her father die?

X. Reread the text to answer the following questions on its style
and composition:

• Comment on the title: why is it in plural?
• The author introduces each character in a different way and manner.
How does it reflect their essential features? How do you comment on the
usage of personal names/nicknames? What pronouns does the author use
referring to different (animate and inanimate) characters?

419
• Write out all descriptive words (adjectives, adverbs, verbals)
dealing with emotions and the manner of expressing them. Which
emotions prevail?
• Write out all words that describe the manner and style of father's
communication with his daughter. Pay attention to the syntactic
structure of the sentences which render their interaction.
• Write out all similes that the author uses in different contexts.
What do they render? What is their stylistic purpose?
• Find sentences with inverted word order. What their expressive
value?
• Comment on the means of character representation in the
following passage:
The head and shoulders of her mother arose from behind a cow.
'She is afraid of the bull, Mick.'
'Afraid, is she!' snarled the father. 'I've told her the bull is
harmless. She's lazy, that's what's wrong with her'. The head and
shoulders of the mother shrank from view.
• Read the passage describing the dog's attack, beginning
with'The dog gave a delighted yelp…' up to'The beast again set off at
a gallop.' Comment on the syntactic expressive means used in the
passage.
• Focus on the passages that give detailed descriptions of behavior
and actions of characters. Comment on what emotions guided them
in the following passages:

1. At last, almost exhausted, it made a stand in a corner, its back
to the fence, and defied the dog's attempts to rout it. It pawed the
ground, tossing lumps of earth and grass shoulder high with sullen
rage. It dropped to its knees, burying first one horn and then the other
in the earth and flinging its head upwards. Small lumps of damp soil
and grass adhered to the ends of its horns. It bellowed ominously.

2. Floss trotted up with wagging tail and pushed her damp nose
against the little girl's limp hand. They both walked after the rest of
the cows which were approaching the yard.


420
3. She made no effort to obey him but crouched closer to the
ground, her legs drawn beneath her, her elbows close to her sides,
her hands pressed palm downwards on the grass. He kicked her.
Anguished sobs, almost inaudible, shook her.

4. He cried out with a loud, harsh voice. The enormous head
struck him, a driving horn caught him in the armpit. The bull tossed
its head, lifting the man from his feet and flinging him sideways like
a loosely-filled sack. He fell sprawling to the ground. In a very
access of fury, foam flecked and bellowing, the bull turned and
hurled itself at the recumbent figure. It gored it into the soft grass,
using the body as a pivot round which it circled with its hindquarters.
The thing's passiveness infuriated it the more. It buried its red horns
in the shapeless bulk again, and again, and again. ...


XI. Write a story for your blog, sharing a strong emotion or a
description of an emotional state you have been in.


XII. Write an essay of 2,000 words on one of the following
topics:

1. Alienation of children in the family.
2. Secret fears are seen through open action.
3. Bulls and bullies come down to the same concept.
4. Heart over mind: emotions over intellect.
5. Suppressed emotions lead to violence and aggression.
6. Cope with emotions, cope with everything else in life.


S E C T I O N B

I. Listen to a 5 min piece of music. While listening use adjectives
to write down all changes of your emotional feedback on the piece.
After listening the music write a paragraph describing the impact of
the piece on you.


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II. Study the following items of topical vocabulary and get ready
to work with texts of different genres.


Topi c al Voc abul ar y

Emotion, affection, agitation, anger, ardor, commotion, concern,
desire, despair, despondency, disturbance, drive, ecstasy, elation,
excitement, feeling, fervor, grief, gut reaction, happiness, inspiration,
joy, love, melancholy, passion, pride, rage, remorse, responsiveness,
sadness, satisfaction, sensation, sensibility, sensitiveness, sentiment,
shame, sorrow, sympathy, thrill, tremor, vehemence, vibes, warmth,
zeal; a display of raw emotion; overcome with emotion.

Dealing with emotions: to overcome, to handle, to struggle
through, to thrive on, to step up (to take on a challenge), empower;
Anger – to fire, to provoke, to raise anger; to see red; a burst of
anger; more in sorrow than in anger;
Joy – delight, pleasure; rejoice, gladden; joyousness, joyfulness;
joy juice/joy powder; joy ride;
Fear – awe, reverence, veneration, fright, dread, worry; I'm
shaking (in fear);
Surprise, astonish, amaze, astound; take by surprise; surprise
attack;
Sad, disconsolate, heartbroken, calamitous, deplorable, depressing;
to feel sad, sad looks; sad case;
Happy, resilient, cheerful, buoyant, exuberant.

Idi oms:
love-hate relationship
hate someone's guts
hate someone or something like sin
pet hate
let one's emotions show
leap for joy
bundle of joy and bundle from heaven
happy hour
strike / hit / find a happy medium
happy-go-lucky

422
trigger-happy
sadder but wiser
mad enough to chew nails (and spit rivets) and angry enough to
chew nails; mad enough to spit nails
cool, calm, and collected
frighten somebody out of their wits
worried sick (about someone or something)
worry something out of someone
ravished with delight.

III. Read information from Wikipedia. Comment on what
you have learned from it.


Te x t 1

EMOTIONAL INTELLIGENCE
FROM WIKIPEDIA,
THE FREE ENCYCLOPAEDIA

Emotional intelligence (EI) is an ability, skill or, in the case of the
trait EI model, a self-perceived ability to identify, assess, and control
the emotions of oneself, of others, and of groups. Various models
and definitions have been proposed of which the ability and trait EI
models are the most widely accepted in the scientific literature.
Criticisms have centered on whether the construct is a real
intelligence and whether it has incremental validity over IQ and the
Big Five personality dimensions (openness, conscientiousness,
extraversion, agreeableness, neuroticism).

IV. Read the whole article on the Wikipedia web-page and
give more details on the historical background of the notion,
in particular:

C. Darwin's approach to the role of emotions;
E. L. Thorndike's theory of social intelligence;
H. Gardner's idea of multiple intelligences;
W. Payne's term 'emotional intelligence';
D. Goleman's approach to trait EI model.

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Te x t 2

I. Read the article:


E-MOTIONS = ENERGY IN MOTION- COPING
AND DEALING WITH OUR EMOTIONS

BY MARTI ANGEL,
ANGEL HEALTH AND EDUCATION

E-motions are energy in motion. Unhindered emotions run freely.
They run through our bodies like water runs through the mountains,
creating new patterns and making new paths. Then at times running
with a force so strong that it moves us so deeply within that we
become physically unable to handle them sending us into a tailspin.
This creates fear within us and we begin to suppress these emotions
due to our inability to control them. That is where the problem
begins; these emotions that we suppress begin to create havoc on our
mind, body, and spirit.
In order to stay balanced energetically we must have awareness
along with a knowing of where in the body we feel the energy in
motion. This is when we must embark on our quest to understand or
comprehend this energy in motion. As a yogini, yoga therapist, and
energy healer, it has been my experience that we can identify where
in the body this energy is stuck. We do this by becoming still and
quiet then deeply sensing for subtle stirrings we may feel inside our
body. This usually takes some practice, because many of us are
detached from the true sense of our emotions. It is most effective
when we approach this healing technique with the awe of a child,
becoming aware and curious.
As you begin to practice, you begin to increase in your level of
awareness. Initially, when you begin to do this practice you may not
be able to locate any energy (emotions) but stay with it and you will
be successful. This emotion is simply energy in motion flowing
through and around your body. You may begin to be aware of
sensations moving from place to place in the body. First you may
feel it in your gut then feel it moving quickly into your heart. The
energy can follow the road map of the Chakra system.

424
As a college professor of the Chakra system, and author of the
book'Change your energy, Change your life' I have found it to be my
experience that the Chakra system is a surprisingly accurate guidance
system that can enable you to locate the storing point of these
emotions. The word Chakra means,'wheel' in Sanskrit. The idea of the
human Chakra system has been around in sacred texts belonging to
India's yogic sages since the 1800's. In my Yoga Therapy Practice
I find that all the answers to our seeking come from within our bodies.
We can tap into the inner knowing by simply tuning in to our energy.
It is human nature to avoid painful events and feelings. When we
are infants we are protected by our parents, we are sheltered, learning
how to move through our world with as little confrontation as
possible. Then there comes a point in our lives that we begin to want
answers, this is when we begin our journey on our spiritual path. We
all know that real healing comes in the form of releasing. We must
have the courage to confront our demons. When we confront these
demons, we begin our journey into the world of healing. Healing
from the inside out becomes the necessary road to enlightenment.
The question then becomes' How do we face these demons, tackle
them or conquer them in an effort to release this negative energy?'
We must continue to release and let go until we feel like this energy
is no longer creating havoc in our bodies, mind and spirit.
From a holistic viewpoint, the body, mind and spirit have a
natural propensity to heal. This creates happiness and it is human
nature to want to be in a place of happiness, wholeness and love.
When we begin to allow ourselves to feel, we begin our freedom
voyage away from negative emotions that can harm us. There gently
becomes an openness and healing which creates opportunity to
cultivate a positive relationship with our emotions. This healing
creates an energetic expression of expansion and through this
expansion we begin to emote positivity as it runs through every cell
of our being, healing and loving from within.

II. Find in the article the leading ideas and present them in the
form of clear-cut claims.


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III. Find in the text the claims with which you agree / disagree.
Justify your position.


IV. Discuss the following:

1. What are the two basic emotions that the author is writing
about?
2. When does one understand the energy of emotions?
3. What are the metaphoric images that the author uses to speak
about emotions? How do these images disclose the nature of
emotions?
4. How is yoga useful to handling emotions?
5. What are the basic pieces of advice that we learn about
handling our emotions?


V. Comment on the structure and composition of the text:

• What are the topic sentences of each paragraph?
• Which paragraph shows you the main idea of the text?
• What are the supportive points of the author's viewpoint?
• What is the conclusion the author arrives to?
• Who is the potential reader of the text?
• What is the message of this text? Why was the text written
in the first place?
• How is the main idea developed in the text?
• What stylistic layers of vocabulary are represented in the text?


VI. Prepare to discuss in small and big groups the following:

Work of our body-parts has nothing to do to our emotions.
Yoga is good only for oriental culture.
Emotions are given to us to destroy the body.
Keeping emotions under control is impossible.
Restraining emotions makes one stronger.


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Te x t 3

I. Read the text and answer the questions:


THE ROLE OF EMOTIONS
IN ESTABLISHING MEANING:
IMPLICATIONS FOR INTERPRETING

BY OLGIERDA FURMANEK,
WAKE FOREST UNIVERSITY

Following Cronin's (2002: 388) statement that'if we do not
recognize the specific psychodynamics of orality, then our analyses
of interpreting encounters will repeat assumptions that underlie
depictions of unsophisticated and dissembling native', this work
intends to underline the importance of the external and internal
psychological factors that influence the functioning of the interpreter,
focusing on emotions and meaning. In what follows, I discuss
connections between linguistic performance and emotions and present
a hypothesis of its possible implications for the interpreting activity.
Keywords: interpreting, meaning, extra-linguistic, emotions.

I nt r oduc t i on
A 'turn' in interpreting research is still much needed, and as
claimed by some interpreting scholars (Cronin, 2002), this may be a
cultural turn similar to what happened in Translation Studies.
Interpreting inquiry has concerned itself mostly with discourse and
its functioning. According to Cronin (2002: 1–2), discourse
understood in a broad sense is'everything beyond the sentence, i.e.
social practice that includes extra-linguistic and non-specific aspects
of language.' A turn, be it cultural, psychological, or sociological,
needs to take into consideration the extra-linguistic aspects of the
interpreting process.
The extra-linguistic dimension of the interpreting encounter
includes physical, psychological, and moral elements. Cronin
(2001: 389), outlining a possible future for Interpreting Studies,

427
points out that'a chief question is how to properly understand
illocutionary and perlocutionary acts in interlingual exchanges' and
underlines the necessity to increase the role of anthropology and
ethnography in interpreting research.
Gusdorf (1965: 39) cites Henri Delacroix's provocative comment
that'The word is created each time it is uttered,' which suggests that
the word does not exist outside of the present, outside of its current
meaning. Discourse is created at the same time that one's life
experience is being created. Gusdorf (1965: 39) concurs that
communication revolves not around speech but the speaker, and he
speaks of a continuous reconstruction. Gusdorf (1965: 42) believes
that communicative acts constitute the core of one's existence, since
for him'it is through speaking that man comes into the world and the
world comes into thought.'
In this work, I refer to the communicative act as a multiple act
with several components, as proposed by Austin (1962: 98–100).
First is the locutionary component or act of utterance corresponding
to the utterance itself, its grammatical structure and basic meaning.
Second, there is the illocutionary component or act corresponding to
intention produced by the act of utterance where the context matters
seriously. Finally, the perlocutionary act or perlocution is the
consequential effect deriving from performance of the locutionary
act or perlocutionary act. Caron (1989) underscores the presence of
extralinguistic laws that determine perlocutionary acts, which
confirms the hypothesis that emotions are one of the factors used to
select linguistic parameters, not only in monolingual production but
also in code-switching and foreign language terminology building.
The interpreted encounter overflows with emotions, both at the
level of the parties' interest and the feelings rising in the interpreter
who strives to reconcile and select the meaning to be conveyed. I
intend to demonstrate that without the emotions category, the
conceptualisation of the interpreting process would be fragmentary
and incomplete. In what follows, I discuss connections between
linguistic performance and emotions and present a hypothesis of its
possible implications for the interpreting activity.

428
Emot i ons and meani ng
Emotions imprint themselves in the development of terminology
in the foreign language at any level of proficiency acquisition. The
meaning is established in the learner's dialogue with his own
previous cognitive baggage under specific spatio-temporal and
psychological circumstances.
While the concept of connotation has been gradually replaced in
Translation Studies with the concepts of designation (reference to the
extralinguistic reality) and meaning (conceptual content that depends
on the general knowledge and includes remissions to other
meanings), such meaning construction can also be compared to an
encounter with a text, since a reader recreates the text for her- or
himself. Every reading, even a monolingual reading, is an inter-
relation. The reader re-creates the text at the same time that the text
re-creates the reader. It seems as though this influence is multiplied
or at least duplicates in relation to a text in translation. The text
cannot exist outside the reader and the reader brings it into existence
every time she or he reads it.
According to Paz (1973: 168),

The poem is a verbal mechanism producing meanings only and
thanks to the reader or listener who sets it into motion. The meaning
of the poem is not in what the poet meant but rather in what the
reader says through the poem.
The reader-response theory was particularly applied to the reading
of the literary works; for example, by examining the reactions to the
same poem read by the same person, but in different places and
different moments, with each reading being a new creation. This is
true not only for the reading of a poem, a novel, or a play but also for
any text whatsoever. This may be more evident in the case of
translation, because in order to even initiate the process, the
translator reads the text many times over, and then continues to do so
in different languages – the text in SL and the text that is being
created out of the SL text in TL. The intensity of creation is higher in
translation, because translator's mind is forced to function in a more

429
intense way. The interpreting act involves constant meaning
recreation in an even more intense setting. Meaning construction
during interpreting can be compared to the one in a simple reading
activity, or in a reading for translation, but the reaction to the
conceptual content of an utterance and its extraliguistic remissions
needs to happen much faster.
Barthes (1974: 10–11) asks if it is the reader who creates the
meaning of each word, each sentence, or if it is the text which evokes
meanings in the reader when he writes:
Yet reading is not a parasitical act, the reactive complement of a
writing which we endow with all the glamour of creation and
anteriority. It is a form of work (which is why it would be better to
speak about the lexeological act – even a lexeographical act, since
I write my reading) and the method of this work is topological: I am
not hidden within the text, I am simply irrecoverable from it: my task
is to move, to shift systems whose perspective ends neither at the text
nor at the'I': in operational terms, the meanings I find are established
not by'me' or by others, but by their systematic mark. [...] To read, in
fact, is a labor of a language. To read is to find meanings, and to find
meanings is to name them; but these named meanings are swept
toward other names; names call to each other, reassemble, and their
grouping calls for further naming: I name, I unname, I rename; so the
text passes: it is a nomination in the course of becoming, a tireless
approximation, a metonymic labour.
Although the idea that meaning is established by its systematic
markings is difficult to accept from the linguistic point of view, the
description of calling a text into existence and naming it seems
appropriate. Borrowing from Barthes, and further drawing upon the
reader-response theory, interpreting can be viewed as re-formulating,
not only the pure information in the other language but also re-
enacting that information. In Goffman's (1981) words, this occurs as
an animating or rather re-animating the previously produced utterance,
as elaborated by Kozin (2003). A certain degree of appropriation must
also inevitably occur in this re-animation process. Reading is the act of
work, it is re-writing; similarly, listening is already re-saying. The text

430
is exposed to a multiplicity of meanings that take the reader along;
likewise, the reader lets the text work in his/her cognitive baggage.
This is more so the case for translation, which is, in the words of
Barthes, a strictly lexicographical activity. More than the monolingual
reader, the translator constantly reads and writes, and then reads and
writes again; similarly, so does the interpreter, dealing in a va-et-vient
mode with the conversational moves.
Striking similarities between the work of a reader, especially the
one who reads not for himself but with the purpose of re-telling
(agendas, news, stories etc.), are summarized by Paz (1967: 168)
when he refers to the work of the poet:'The poet is a creation of the
poem, just as the poem is of him.' This locates the issue at the
heart of reader-response theory. The idea of reading as an inter-
relation between both parties is reflected in the criticism of
Rosenblatt (1968), Fish (1980), and Bleich (1994). Fish (1980: 332)
explains further what Paz expressed in his brief and proverbial way:
Thus while it is true to say that we create poetry (and assignments
and lists), we create it through interpretive strategies that are finally
not our own but have their source in a publicly available system of
intelligibility. Insofar as the system (in this case a literary system)
constrains us, it also fashions us, furnishing us with categories of
understanding, with which we in turn fashion the entities to which
we can point.
In his analysis of Rosenblatt, Bleich approximates Barthes. The
reader defines this experience, Rosenblatt (1968: 27) suggests, by
bringing to the work personality traits, memories of past events,
present needs and preoccupations, a particular mood of the moment
and a particular physical condition. These and many other elements
in a never-to-be-duplicated combination determine his response to
the peculiar contribution of the text.
Bleich (1994: 144), by saying that'each reading of a text,
according to these considerations, is actually a different poem, a term
which should designate an involvement of both reader and text,'
continues the same idea of cooperation that was presented by
Barthes. The participation of the reader, the creation of his meanings,

431
is effected both in the text always created anew and at the intellectual
and emotional level of the reader. As mentioned earlier the intensity
of creation is higher in translation, because translator's mind is forced
to function in a more intense way. In those moments, his vision of
the world is further developed, meanings are interspersed, and his
mode of perception is reorganised. Schopenhauer (1992: 34–35)
gives an excellent description of this process when describing how
one learns foreign languages:
'From all this it becomes clear that new concepts are created
during the process of learning a foreign language to give meaning to
new signs. […] Therefore, an infinite number of nuances,
similarities, differences, and relationships among objects rise to the
level of consciousness as a result of learning the new language, and
thus one perceives multiple perspectives of all phenomena. This
confirms that one thinks differently in every language, that our
thinking is modified and newly tinged through the learning of each
foreign language, and that polyglotism is, apart from its many
immediate advantages, a direct means of educating the mind by
correcting and perfecting our perceptions through the immerging
diversity and refinement of concepts. At the same time, polyglotism
increases the flexibility of thinking since, through the learning of
many languages, the concept increasingly separates itself from the
word. [...] This difference does not leave room for a word-for-word
rendering but requires that we melt down our thoughts entirely and
recast them into a different form.'
The interpreter (and the translator) is the one who continues to
learn the foreign language with every project s/he undertakes, and
this is exactly what occurs constantly as one translates. The
interpreter must melt his or her concepts to the primary matter so as
to reformulate them in another language. When this melting occurs,
interpreters (translators) are confronted with their origins and are
forced to ask if the meanings discovered are in reality what they
expected to find in their cognitive networks.
There are various conceptions of establishing meaning dependent
on the received emotional stimuli, from philosophical notions to

432
those found in the field of Translation Studies. Johansen (1993)
presents an interesting'essay on signs and meaning' in the tradition of
dialogical semiotics as viewed mainly from a Peircean perspective.
A great compendium of international views on meaning is found in
the festschrift of the great Polish semiotician Jerzy Pelc, compiled by
Jadecki and Strawinski (1998). Many linguists accept the definition
of meaning as the definition of the thing or idea realised in context.
For example, meaning, according to Silva-Corvalán (2001: 197), has
certain variables: referential or basic, contextual or discursive, and
prototypical discursive. A slightly more psycholinguistic definition
of Altmann (1997: 122) suggests that'the concept associated with
something is the accumulated experience of that something, whether
it is an object, an event (e.g. running, flying), a property (e.g. yellow,
fast, high), or whatever; and in each case, the meaning of the word is
simply a pattern of neural activity that reflects that accumulated
experience,' which adds another layer to our analysis of the extra-
linguistical factors in the interpreter's performance.
Furthermore, meanings are re-created as we live and do not only
emerge already prepared from our conscious or subconscious. They
are created at the exact moment of the reading, listening, and
observing in the here and now. There is a difference between daily
conversation and poetic'conversation.' In the discourse of daily life, we
do not stop to evaluate the meaning of the word; in poetry, on the other
hand, we immediately wonder what kind of connotation enters our
minds upon reading the word. For example, the word'class' in the
context of an utterance like'What time is your class today?' asked by a
colleague is limited to an informational level and evokes nothing more
in the interlocutor's mind. If one reads the same utterance in a
poem'What time is your class today?', his thoughts may carry him
back to memories of grade school, to developments in his life, to
existence, or to the challenges of living, etc. From this point of view,
the oral translation of any text, be it technical or legal, requires a poetic
attitude, one that we could call the supreme conscience of meaning.
In daily life, meaning is enriched and expanded every time one
lives a new experience in the reality associated with a given concept.

433
A girl born in Slovakia associates the word 'mountains' with
the Tatras. While a university student, she takes trips through
Switzerland, France, and Spain, after which she will reformulate her
concept of mountains by adding the Alps and Pyrenees to the Tatras.
If she moves to Colorado in the United States, the Rocky Mountains
will influence her concept of the mountain. The image of Tatras
dominates over her associations when she hears the word
'mountains,' and is not due to the order of her experiences but rather
because her ideo-linguistic experiences of childhood have a higher
emotional charge (Gonzalez, 2001). This hypothesis requires more
research, and would include exploring such questions as: What does
the intensity of the most current meaning depend on? Which of the
past experiences is predominant? Or is the most current meaning
actually the vector of all previous experiences?
Is it possible that if the Slovakian girl falls in love next year with
a Peruvian during an excursion in the Andes that her concept of the
Andes (due to its intense emotional charge) will predominate in her
association with the word'mountains' from now on? Cognitive
linguists offer us a wider range of research in terms of the production
of meaning, functioning of the brain, and the relationship between
thought, emotions, and discourse.
Meanings depend on the experience of the person in a particular
language. They are not only the linguistic denotation of a dictionary
put into practice, realised in intra-linguistic (utterance) and extra-
linguistic (conditions of utterance – time, space, feelings, etc.)
contexts. The creation of meaning upon reading/hearing a new word
in a non-native language can be divided into two components:
assimilation and creation per se, the formulation of new
connotations. Assimilation occurs in most of the cases. One either
recognises the images linked to the word, or interprets them by
situating them in known areas of one's cognitive network of the
native language as equivalences. Therefore, mountains = hory (in
Slovak): the connotation of the Tatras is equivalent to the word
'mountains' in English for a Slovakian who has learned English in
Slovakia. One must refer the new linguistic form to a known

434
concept. According to Burnshaw (1970: 108),'for the human nature,
when confronted with anything strange instantly, almost by a reflex
of the organism, begins to assimilate it to the known, to his world
of the familiar; to make ordinary meanings from the message.
Humankind, unable to bear much uncertainty, must relate them to
what it knows.'
Creation of new concepts means introducing denotation along
with the connotation of new words into the vocabulary of the
person by means of dictionaries or other sources of information on
the foreign language. In this case stołówka (in Polish) = the place
where students in Poland eat; and cafeteria (the word is a loan word
in English, although that does not matter here) = the place where
students in the U.S. eat. For a Polish person learning English or this
new word in the U.S., the two are not equivalent because both
eating places, although each serving food for college students, are
entirely different in each case and no equivalency can be
established. In the case of the'mountains' where assimilation took
place, there are so many characteristics in common between the
concepts of mountains in the mind of the Slovakian who has never
seen other mountains than the Tatras that the words'mountains'
and'hory' can be equivalent.
In the case of the interpreted event, where the conscience of the
meaning construction, due to its immediacy factor, is significantly
lower than during the translating activity, the construction remains
even more dependent on current and/or previous emotional
experience of the interpreter.

Co n c l u s i o n

I would underscore that linguistic effects caused by emotions
undoubtedly influence various dimensions of interpreting activities.
The emotional charge of the interpreter's connotations determines his
or her terminological options and creates a particular background and
mood for his or her work. The resistance of interpreters to use
terminology in certain fields, the types of their most common errors,
and their preference for some expressions not entirely appropriate for

435
the register required by the situation, depend not only on the level of
their linguistic competence and professional experience but also on
their linguistic-emotional baggage. More acute awareness of this
phenomenon would improve the quality of interpreting activity
where immediacy of the situation usually does not allow for low
emotional impact that would be decreased with time. What remains
is to examine closely and describe the correlations between emotions
and interpreting and, once understood, to find the methods that
would allow this phenomenon to yield more effective translation
instead of blocking it.

1. What does the author imply by the 'turn in Translation Studies'?
2. Who states that extralinguistic laws that determine
perlocutionary acts?
3. What is the author's hypothesis?
4. How are meaning construction and text interrelated?
5. What is the role of reader-response theory in meaning
reconstruction?
6. How is meaning constructed in the process of reading?
7. How do readers and translators process the meaning?
8. What is Schopenhauer's idea of interpreter's processing of a text?
9. What is the variety of approaches to meaning and concept?
10. What are the basic questions of the author about meaning
intensity?
11. How does assimilation refer to meaning in the author's viewpoint?
12. What languages and which words does the author use to support
her ideas?
13. What conclusion does the author arrive to?


II. Discuss the following:

• Do you agree that the interpreter's emotional feedback to the
word's meaning influences the reconstruction of the word's content?
• How does an interpreter incorporate emotional component into
the lexical framework of a word?

436
• Can you give examples of emotionally coloured words of your
native language and comment on the peculiarities of their translation
into English?
• How are personal emotional reactions can affect the process of
interpreting?
• In your opinion, what is the best way to incorporate emotions
into interpreter's work?


HOPE AS SEEN BY POETS

I. Read the poems and discuss them:

HOPE
BY EMILY DICKINSON

'Hope' is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale - is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –
I've heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.


THE INSTINCT OF HOPE
BY JOHN CLARE

Is there another world for this frail dust
To warm with life and be itself again?
Something about me daily speaks there must,
And why should instinct nourish hopes in vain?
'Tis nature's prophesy that such will be,

437
And everything seems struggling to explain
The close sealed volume of its mystery.
Time wandering onward keeps its usual pace
As seeming anxious of eternity,
To meet that calm and find a resting place.
E'en the small violet feels a future power
And waits each year renewing blooms to bring,
And surely man is no inferior flower
To die unworthy of a second spring?


HOPE AND FEAR

BY ALGERNON CHARLES SWINBURNE


Beneath the shadow of dawn's aërial cope,
With eyes enkindled as the sun's own sphere,
Hope from the front of youth in godlike cheer
Looks Godward, past the shades where blind men grope
Round the dark door that prayers nor dreams can ope,
And makes for joy the very darkness dear
That gives her wide wings play; nor dreams that fear
At noon may rise and pierce the heart of hope.
Then, when the soul leaves off to dream and yearn,
May truth first purge her eyesight to discern
What, once being known, leaves time no power to appall;
Till youth at last, ere yet youth be not, learn
The kind wise word that falls from years that fall –
'Hope thou not much, and fear thou not at all.'

1. What characteristic qualities does Emily Dickinson ascribe to
'Hope'?
2. What are the typical actions of 'Hope'?
3. What are the relations of 'Hope' with other creatures and
objects of reality?
4. What are the author's relations with 'Hope'?


438
1. What epithets does John Clare select to describe 'Hope'?
2. What are the actions of people and of 'Hope' that the poet
emphasises?
3. How does the author respond to 'Hope' and embrace it in
his life?
4. How does the instinctive reaction to 'Hope' work?

1. How does Algernon Charles Swinburne combine two notions
in one poem?
2. What are the verbs and adjectives that apply to 'Hope'? How
are they contrasted to 'Fear'?
3. What other emotional states or reactions does the poet
mention? How do they relate to the basic concepts of the poem?
4. How is 'Hope' animated / personificated in this poem?


II. Discuss / do the following:

• Compare the three poems and find what similarities the poets
indicate about one notion of 'Hope'.
• Focus on the actions that 'Hope' is capable of in all poems. How
does hope affect human reactions and influence on emotions?
• Pay attention to the stylistic devices in the poems – how do they
contribute to the difference in the perception of 'Hope'?
• Comment on your personal emotional reaction to each poem –
what feelings does each one stirred in you? How do you account on
your reaction?


III. Comment on the following sayings and quotes about
emotions:

There are hundreds of languages in the world, but a smile speaks
them all.
'When one door of happiness closes, another opens; but often we
look so long at the closed door that we do not see the one which has
been opened for us.' Helen Keller


439
'Speak when you are angry and you will make the best speech you
will ever regret.' Ambrose Bierce
'Anger makes dull men witty, but it keeps them poor.' Elizabeth I
'Most of us believe in trying to make other people happy only if
they can be happy in ways we approve.' Robert Lynd


IV. Choose a project topic from the list. Prepare a 15-minute
PowerPoint presentation on it and present it to the group. Allow 5
minutes for a question / answer session:

If you can't be good, be careful.
Laugh and the world laughs with you, weep and, you weep alone.
Pride comes before a fall.
All work and no play makes Jack a dull boy.
'Time you enjoy wasting, was not wasted.' John Lennon
'A man can be happy with any woman as long as he does not love
her.' Oscar Wilde
'Grief can take care of itself, but to get the full value of a joy you
must have somebody to divide it with.' Mark Twain



S E C T I O N C

HOW TO SOUND EMOTIONAL


I. Match the emotions and the colloquial phrases and multiword
verbs which express them:

1. If someone really annoys you, they …
2. If you get so excited that you exaggerate you …
3. If you stop feeling angry or upset you …
4. If something makes you feel better, it …
5. If something really depresses you it …
6. If you completely lose your temper you …

440
a. freak out
b. gets you down
c. get to you
d. calm down
e. get carried away
f. perks you up


II. Use the expressions in the following sentences. You'll need to
put verbs and pronouns in the appropriate form:

1. I hate it when there's someone with an Ipod and you can hear
the music – just that awful tinny terum terum. It really
.....................................................
2. My mother really ..................................... when she saw the
state of the house and realised we'd had a party while she was away.
It took her about three weeks to ................................
3. I don't like my job much. My boss is really critical and there
are times when it ............................................... a bit.
4. I had a really heavy cold and felt dreadful. But when my boss
told me I was going to be promoted it ...................................
considerably!
5. Don't .................................. and think you're a wonderful driver
just because you've passed your test!


III. Play a game using the following situations.

First ask if the other student has that emotion and then ask about
the reason. You have to match both reason and emotion to get the
point. Create your own situation for your group-mates to guess.
When asking about emotion, choose from any of the possible
synonym for the emotion.
e.g., S1: Are you sad (upset, depressed)? Are you sad because
your best friend is moving to another city?
S2: Yes, I am. (Or: No, I'm not.)/I'm depressed because my land-
lady doubled my rent.

441
а) b)





c) d)





442
e) f)




IV. Chose the correct answer to the expression in the bold type:

1. I can't stand it when you talk to me like that! Stop doing that!
a) want to fall
b) feel like sitting down
c) want to be disobedient
d) despise

2. I can't wait to hear about your English class.
a) am eager to
b) am late to
c) am indifferent
d) am happy to

3. I am glad I was able to be there for my friend when her mom died.
a) to cry with
b) to offer support in time of need for
c) to visit
d) to travel with

443
4. You've got me head over heels!
a) angry at you
b) impatient
c) in love with you
d) disappointed

5. I love you bunches!
a) a little
b) a lot
c) too much
d) less than before

6. I wish I could trust you again, but all that you ever did to me
was to let me down.
a) to make me cry
b) to make me angry
c) to despise me
d) to disappoint me

7. I love you from the bottom of my heart.
a) deeply
b) truly
c) madly
d) abundantly

8. The truth is that you don't care about me or my feelings.
a) are careful of
b) are perceptive
c) are inconsiderate
d) are selfish towards

9. I would like to apologize for what I said to you the other day. I
was very insensitive to you. Will you forgive me?
a) compassionate
b) sympathetic
c) pathetic
d) harsh

10. It's taking a long time for Jenna to get over the death of her mom.
a) fall back from
b) recover from
c) regret
d) laugh of

444
V. Read the following explanation and study the meanings
of emoticon:

EMOTICONs – are a group of keyboard characters (as :-)) that
typically represents a facial expression or suggests an attitude or
emotion and that is used especially in computerized communications
(as e-mail).


A
(.V.) Alien
O:-) Angel
X-( Angry

B
~:0 Baby
(*v*) Bird
:-# Braces
</3 Broken
Heart

C
=^.^= Cat
*<:o) Clown
O.o, :-S
Confused
B-) Cool
:_(, :'( Crying
|_P Cup of
Coffee

D
*-* Dazed
:o3 Dog
#-o Doh!
:*) Drunk

E
//_^ Emo

F
<>< Fish
() Football
:-(, :(, :-( Frown
=P, :-P
Frustrated


G
8-) Glasses
$_$ Greedy
:-> Grin

H
=), :-) Happy
<3 Heart
{ } Hug

I
:-| Indifferent

J
X-p Joking

K
\VVV/ King
:-)*, :-*, (-}{-)
Kiss

L
=D Laughing
Out Loud
)-: Left-handed
Sad Face
(-: Left-handed
Smiley Face
<3 Love

M
=/ Mad
:-)(-: Married
<:3 )~ Mouse


N
~,~ Napping
:-B Nerd

O
^_^ Overjoyed

P
<l:0 Partying
:-/ Perplexed
=8) Pig
\&&&/ Princess

Q
\%%%/ Queen

R
@~)~~~~ Rose

S
=(, :-(, :( Sad
:-7 Sarcastic
:-@ Screaming
=O, :-o Shocked
O[-<]: Skateboarder
:-Q Smoking
:> Smug
:P Sticking
Tongue
Out
:o Surprised

T
(:| Tired
:-J Tongue in
Cheek
:-& Tongue
Tied

U
=-O Uh-oh
:-\ Undecided
**== US Flag

V
:-E Vampire

W
;-), ;) Winking

Y
|-O Yawn

Z
Z Zorro

445
VI. Insert the appropriate emoticon into the contexts:

1. Fishing was great! Mine was the biggest! 2. I failed the test, my
vocation is wasted! 3. She's got a new car! Where did the money
come from? 4. You are a traitor! I'll never forgive you. 5. See you
soon, my love to your mo). 6. Did you see the snake too? Terrible!.
7. My boss has a new task for me! He's killing me! 8. Congrats! You
scored the final goal, boy! 9. Is there a bigger beauty than you, my
darling? 10. Guess who is my new pet? 11. I saw them in the movies
yesterday. Guess what they were doing? 12. I'm hosting a student for
the Euro-2012 from ... 13. Please don't leave me! 14. Will you be at
John's place? We'll have fun. 15. Let's take a break. How about ..?

446
Uni t f our

FEELINGS



S E C T I O N А

PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. What is the role of feelings in our life? Do you agree that
feelings make us what we are – human beings?
2. What feelings make people happy and what – unhappy? Do
you think people would be happier if they did not have some of the
feelings they have today? What feelings would you like to get rid of?
3. Does the ability to feel change over one's life? Do people feel
differently in their childhood, youth and mature age?
4. Do you think men and women express their feelings
differently? Illustrate your opinion.
5. Love is one of the most powerful human feelings. People feel
love for God, their motherland, family, friends, partners etc. How do
these types of love differ from each other?
6. How do you know that what you feel towards another person is
love?
7. Do you remember when you first had a romantic feeling
towards another person? Did that feeling make you happier?

Speech Pat t erns

I'll have to go put my shoes on.
(American English, not in past tenses)

Go wash your hands.
I'll go speak to the manager.
Would you go get me a glass of water?
Go jump in a lake!

447
How come you're in a bad mood?

'I didn't even eat lunch today.'Really? How come?'
How come you've ended up here?
'She's moving to Alaska.'How come?'
How come the sky is blue?

I could barely make out her face
and the dull color of her hands in the darkness.

She could barely understand English.
The fog was so bad that we could barely see the road in front of us.
The student is so nervous, he can barely get through his words.
Robyn could barely think, let alone string coherent words
together to form an answer.

We both grew restless and uncomfortable.

Donna has grown tired of being a model.
Gradually, Fiona's eyes grew used to the darkness.
The sound was growing louder.
I'd been waiting for forty minutes and I was beginning to grow
uneasy.


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own for each speech
pattern.

III. Say the same using the speech patterns:

1. Her tastes have changed as she's become older. 2. Why is Dave
home? Isn't he feeling well? 3. She was very old and able to walk
only with great difficulty. 4. He used to long for his holidays and
become deeply depressed when they drew to an end. 5. The children

448
were so excited it was difficult for them to speak. 6. Fiona was
becoming tired of being treated in this way. 7. Why is it that I can't
make her happy? 8. Go and talk to Jim – he wouldn't listen to me.
9. Why does the vast majority of the population appear to want to
play make-believe? 10. Mary could save only just enough money to
live on. 11. Quick! Go and fetch a doctor. 12. How did you manage
to get back so early?

IV. Complete the sentences using the speech patterns:

1. I'll have to go _________________________. 2. How come
you _______________________________? 3. My mom could
barely ________________________ when she saw me in tears.
4. With time, her tastes grew _____________________________.
5. I think she has just grown __________________________.
6. How come they _________________________________? 7. My
boss could barely ________________________ when he heard the
news. 8. Please go ___________________________. 9. The sound
of footsteps grew _____________________________. 10. He was so
exhausted he found he could barely ________________________.

V. Translate from Ukrainian into English using the speech
patterns:

1. Я почував себе так погано, що ледве розумів, чого від мене
хотіли. 2. Як трапилося, що ти не з'явився на щорічну співбесіду
з президентом компанії? 3. Будь ласка, піди принеси мені льоду
із холодильника. 4. Мені набридло чекати, і я пішов додому. 5.
Цей рукопис такий старий – я ледве можу розібрати, що тут на-
писано. 6. Їхня родина стала лише заможнішою під час війни,
отримавши величезні прибутки від продажу зброї. 7. Я працюю
по дванадцять годин на добу. Чому ж я ледве заробляю, щоб
утримувати сім'ю? 8. Піди запитай батька сам – він не хоче го-
ворити зі мною. 9. Якщо уряд не вживатиме рішучих заходів для
покращення ситуації в країні, соціальна напруга лише зростати-
ме. 10. Як так трапилось, що я зустрічалася з Томом цілий рік, а
освідчився він тобі?


449
VI. Make up a conversation using the speech patterns.

Te x t

FROM FIRST LOVE AND OTHER SORROWS

BY HAROLD BRODKEY

Harold Brodkey (1930–1996) was raised in
University City, Missouri outside St. Louis.
After graduating from Harvard University in
1952, Brodkey began his writing career by
contributing short stories to The New Yorker and
other magazines. His stories have won him two
first-place O. Henry Awards. In 1993 Brodkey
announced in The New Yorker that he had
contracted AIDS. He later wrote This Wild
Darkness about his battle with the disease. At the
time of his death in 1996, he was living in New
York City with his wife, novelist Ellen Brodkey.
Brodkey is most famous for his long-awaited novel A Party of
Animals, which was eventually published (perhaps only in part) as The
Runaway Soul (1991).

The Cullens' porch light was on, in the next block, and I saw Mr.
and Mrs. Cullen getting into their car. Eleanor Cullen was in my
class at school, and she had been dating Joel. Her parents were going
out, and that meant she'd be home alone– if she was home. She might
have gone to the library, I thought as the car started up; or to a
sorority
1
meeting. While I stood there looking at the Cullens' house,
the porch light went off. A minute later, out of breath from running, I
stood on the dark porch and rang the doorbell. There was no light on
in the front hall, but the front door was open, and I could hear
someone coming. It was Eleanor.'Who is it?' she asked.
'Me,' I said. 'Are you busy? Would you like to come out for a little
while and talk?'
She drifted closer to the screen door and pressed her nose against
it. She looked pale without makeup.

450
'Sure,' she said. 'I'll have to go put my shoes on. I'm not in a good
mood or anything.'
'That 's all right,' I said. 'Neither am I. I just want to talk to
somebody.'
While I waited for Eleanor to come out, Mattie Seaton appeared,
striding along the sidewalk. He was on the track team. 'Hey, Mattie,'
I called out to him.
'Hi,' he said.
'What 's new?'
'Nothing much,' he said.'You got your trig
2
done?'
'No, not yet.'
'You going with her?' he asked, pointing to the house.
'Naw,' I said.
'Well, I got to get my homework done,' he said.
'See you later,' I called after him. I knew where he was going:
Nancy Ellis's house, two blocks down.
'Who was that?' Eleanor asked. She stepped out on the porch. She
had combed her hair and put on lipstick.
'Mattie Seaton,' I said.
'He's pinned to Nancy,' Eleanor said. 'He likes her a lot. . . .' She
sat down in a white metal chair. I sat on the porch railing, facing her.
She fumbled in her pocket and pulled out a pack of cigarettes.'You
want a cigarette?' she asked.
'No. I'm in training.'
We looked at each other, and then she looked away, and I looked
down at my shoes. I sat there liking her more and more.
'How come you're in a bad mood?' I asked her.
'Me? Oh, I don't know. How did you know I was in a bad mood?'
'You told me.' I could barely make out her face and the dull color
of her hands in the darkness.
'You know, I think I'm not basically a happy person,' Eleanor said
suddenly. 'I always thought I was. . . . People expect you to be,
especially if you're a girl.'
'It doesn't surprise me,' I said.
A breeze set all the leaves in motion again. 'It's going to rain,' I said.
Eleanor stood up, smoothing her yellow skirt, and threw her
cigarette off the porch; the glowing tip landed on the grass. She
realized I was staring at her. She lifted her hand and pressed it

451
against her hair. 'You may have noticed I look unusually plain
tonight,' she said. She leaned over the porch railing beside me,
supporting herself on her hands. 'I was trying to do my geometry,'
she said in a low voice. 'I couldn't do it. I felt stupid,' she said. 'So I
cried. That's why I look so awful.'
'I think you look all right,' I said. 'I think you look fine.' I leaned
forward and laid my cheek on her shoulder. Then I sat up quickly,
flushing.
'I don't like to hear you being so dissatisfied with yourself,'
I mumbled. 'You could undermine your self-confidence that way.'
Eleanor straightened and faced me, in the moonlight.'You're
beautiful,' I burst out longingly. 'I never noticed before. But
you are.'
'Wait,' Eleanor said. Tears gathered in her eyes. 'Don't like me
yet. I have to tell you something first. It's about Joel.'
'You don't have to tell me,' I said. 'I know you're going with him.
I understand.'
'Listen to me!' she said impatiently, stamping her foot. 'I'm not
going with him. He –' She suddenly pressed her hands against her
eyes. 'Oh, it 's awful!' she cried.
A little shudder of interest passed through me. 'O.K.,' I said. 'But
I don't care if you don't tell me.'
'I want to!' she cried. 'I'm just a little embarrassed. I'll be all right
in a minute.
'We went out Sunday night . . .' she began after a few seconds.
They had gone to Medart's, in Clayton, for a hamburger. Joel had
talked her into drinking a bottle of beer, and it had made her so
drowsy that she had put her head on the back of the seat and closed
her eyes.'What kind of car does Joel have?' I asked.
'A Buick,' Eleanor said, surprised at my question.
'I see,' I said. I pictured the dashboard of a Buick, and Joel's
handsome face, and then, daringly, I added Eleanor's hand, with its
bitten fingernails, holding Joel's hand. I was only half listening,
because I felt the preliminary stirrings of an envy so deep it would
make me miserable for weeks. I looked up at the sky over my
shoulder; clouds had blotted out the moon, and everything had got

452
darker. From the next block, in the sudden stillness, I heard the
children shouting, uttering their Babylonian cries as they played
kick-the-can
3
. Their voices were growing tired and fretful.
'And then I felt his hand on my –' Eleanor, half-drowned in
shadow, was showing me, on her breast, where Joel had touched her.
'Is that all?' I said, suddenly smiling. Now I would not have to die
of envy.'That's nothing!'
'I – I slapped his face!' She exclaimed. Her lip trembled.'Oh,
Ididn't mean – I sort of wanted – Oh, it 's all so terrible!' she burst out.
She ran down the front steps and onto the lawn, and leaned against
the trunk of an oak tree. I followed her. The pre-storm stillness filled
the sky, the air between the trees, the dark spaces among the
shrubbery.
'Oh, God!' Eleanor cried.'How I hate everything!'
My heart was pounding, and I didn't know why. I hadn't known
I could feel like this – that I could pause on the edge of such feeling,
which lay stretched like an enormous meadow all in shadow inside
me. It seemed to me a miracle that human beings could be so
elaborate.'Listen, Eleanor,' I said,'you're all right! I've always liked
you.' I swallowed and moved closer to her; there were two moist
streaks running down her face. I raised my arm and, with the sleeve
of my shirt, I wiped away her tears.'I think you're wonderful! I think
you're really something!'
'You look down on me,' she said.'I know you do. I can tell.'
'How can I, Eleanor. How can I?' I cried.'I'm nobody. I've been
damaged by my heredity.'
'You, too!' she exclaimed happily.'Oh, that's what's wrong with me!'
A sudden hiss swept through the air and then the first raindrops
struck the street.'Quick!' Eleanor cried, and we ran up on her porch.
Two bursts of lightning lit up the dark sky, and the rain streamed
down. I held Eleanor's hand, and we stood watching the rain.'It's a
real thundershower,' she said.
'Do you feel bad because we only started being friends tonight?
I mean, do you feel you're on the rebound and settling on the
secondbest?' I asked. There was a long silence and all around it was
the sound of the rain.

453
'I don't think so,' Eleanor said at last.'How about you?'
I raised my eyebrows and said,'Oh, no, it doesn't bother me at all.'
'That's good,' she said.
We were standing very close to one another. We talked
industriously.
'I don't like geometry,' Eleanor said.'I don't see what use it is. It's
supposed to train your mind, but I don't believe it. . . .'
I took my glasses off.'Eleanor –' I said. I kissed her, passionately,
and then I turned away, pounding my fists on top of each other.
'Excuse me,' I whispered hoarsely. That kiss had lasted a long
time, and I thought I would die.
Eleanor was watching the long, slanting lines of rain falling just
outside the porch, gray in the darkness; she was breathing very
rapidly.
'You know what?' she said.'I could make you scrambled eggs. I'm
a good cook.' I leaned my head against the brick wall of the house
and said I'd like some.
In the kitchen, she put on an apron and bustled about, rattling
pans and silverware, and talking in spurts.'I think a girl should
know how to cook, don't you?' She let me break the eggs into a
bowl – three eggs, which I cracked with a flourish.'Oh, you're
good at it,' she said, and began to beat them with a fork while I sat
on the kitchen table and watched her. 'Did you know most eggs
aren't baby chickens?' she asked me. She passed so close to me on
her way to the stove that, because her cheeks were flushed and her
eyes bright, I couldn't help leaning forward and kissing her. She
turned pink and hurried to the stove. I sat on the kitchen table,
swinging my legs and smiling to myself. Suddenly we heard a
noise just outside the back door. I leaped off the table and took up
a polite position by the sink. Eleanor froze. But no one opened the
door; no one appeared.
'Maybe it was a branch falling,' I said.
Eleanor nodded. Then she made a face and looked down at her
hands. 'I don't know why we got so nervous. We aren't doing
anything wrong.'
'It's the way they look at you,' I said.

454
'Yes, that's it,' she said. 'You know, I think my parents are
ashamed of me. But someday I'll show them. I'll do something
wonderful, and they'll be amazed.' She went back to the stove.
'When are your parents coming home?' I asked.
'They went to a double feature
4
. They can't possibly be out before
eleven.'
'They might walk out on it,' I said.
'Oh no!' Eleanor said. 'Not if they pay for it . . .'
We ate our scrambled eggs and washed the dishes, and watched
the rain from the dining-room windows without turning the light on.
We kissed for a while, and then we both grew restless and
uncomfortable.
Her lips were swollen, and she went into the kitchen, and I heard
her running the water; when she returned, her hair was combed and
she had put on fresh lipstick.'I don't like being in the house,' she said,
and led me out on the porch. We stood with our arms around each
other. The rain was slackening. 'Goodbye, rain,' Eleanor said sadly. It
was as if we were watching a curtain slowly being lifted from around
the house. The trees gleamed wetly near the street lamps.


Comme nt ar y

1. sorority – a chiefly social organization for women students at
some American colleges and universities, usually designated by
Greek letters, into which members are initiated by invitation and
occasionally by a period of trial known as hazing. Similar
organizations for male students are called fraternities. The typical
Greek-letter society owns or rents a house that is used as a residence
hall for members and as a center for social activities. Some Greek-
letter societies have only one local organization or chapter; others are
nationally organized with chapters in several institutions.
2. trig – trigonometry
3. kick-the-can – (also known as Tip the can) a children's game
in which players have to find and chase the others
4. double feature (American English) – a cinema performance in
which two films are shown one after the other

455
Es s e nt i al Voc abul ar y

Vocabulary Notes

1. drift v [intransitive] 1) to move slowly on water or in the air:
The rubber raft drifted out to sea. 2) to move, change, or do
something without any plan or purpose: Jenni spent the year drifting
around Europe. I just drifted into teaching, really. The conversation
drifted from one topic to another. 3) to gradually change from being
in one condition, situation etc. into another without realizing it: She
was just drifting into sleep when the alarm went off. 4) if values,
prices, shares etc. drift, they gradually change: The dollar drifted
lower against the yen today. 5) let something drift to allow sth.,
especially sth. bad, to continue in the same way: He couldn't let the
matter drift for much longer. 6) drift apart if people drift apart, their
relationship gradually ends: Over the years my college friends and I
have drifted apart. 7) drift off to gradually fall asleep
drift n [countable] 1) a large pile of snow or sand that has been
blown by the wind 2) [singular] a slow change or development from
one situation, opinion etc. to another: a drift towards longer working
hours 3) [singular, uncountable] a slow movement of large numbers
of people that has not been planned: the drift from the countryside to
the cities 4) the general meaning of what someone is saying: She
didn't quite get my drift, did she? 5) [uncountable] the movement of
a ship or plane from its original direction because of the movement
of the wind or water 6) [uncountable] very slow movement, esp. over
water or through the air
2. undermine v [transitive] to gradually make sb. or sth. less
strong or effective: The constant criticism was beginning to
undermine her confidence.
ant. reinforce, strengthen, buttress, encourage, support,
forward, aid, help
3. shudder n [intransitive] 1) to shake for a short time because
you are afraid or cold, or because you think sth. is very unpleasant
(syn. tremble, shiver, quiver): I shudder with embarrassment
whenever I think about it. She shuddered at the thought that she
could have been killed. 2) if a vehicle or machine shudders, it

456
shakes violently (syn. shake, rattle, vibrate, judder, jolt): The
car shuddered briefly as its engine died. 3) I shudder to think
(spoken) used to say that you do not want to think about
something because it is too unpleasant: I shudder to think what
they'll say when they see the mess the house is in. 4) shudder at
sth. to think that something is very bad or unpleasant: He
shuddered at the thought of the conflict ahead.
shudder n [count., usually singular] a shaking movement: The
building gave a sudden shudder.
4. drowse v [intransitive] to be in a light sleep or to feel as though
you are almost asleep: I was drowsing in front of the television when
you called.
drowsy adj 1) tired and almost asleep: The drug can make you
drowsy. 2) so peaceful that you feel relaxed and almost asleep: a
drowsy summer afternoon
syn. sleepy
drowsily adv
drowsiness n [uncount.]
5. stir v 1) [transitive] to move a liquid or substance around with
a spoon or stick in order to mix it together: She stirred her coffee
with a plastic spoon. Stir a cup of cooked brown rice into the
mixture. 2) [intransitive and transitive] to move slightly or to make
something move slightly: The crowd began to stir as they waited for
the band to start. 3) [intransitive] to leave or move from a place: He
hadn't stirred from his chair all morning. 4) [transitive and
intransitive] to make someone have a strong feeling or reaction or to
begin to feel: The poem succeeds in stirring the imagination.
Excitement stirred inside her. 5) [transitive] to make someone start
doing something: The incident stirred students to protest. 6) be
stirring (it) (British English, informal) to cause trouble between
people by spreading false or secret information: Ben's always
stirring! 7) stir sb./sth. up to deliberately try to cause arguments or
bad feelings between people (syn. incite, provoke): John was always
stirring up trouble in class.
stir n [count., usually singular] 1) a feeling of excitement or
annoyance: Plans for the motorway caused quite a stir among locals.
2) an act of stirring something: Give that pan a stir, will you?

457
stirring adj producing strong feelings or excitement in someone
(syn. rousing)
stirringly adv
stirring n [count.] an early sign that something is starting to
happen: the first stirrings of spring
stir-crazy adj (informal) extremely nervous and upset, esp.
because you feel trapped in a place: I'm going to go stir-crazy if
I don't get out of this house.
stir-fry v [transitive] to cook small pieces of food quickly by
moving them around continuously in very hot oil
6. elaborate adj 1) having a lot of small parts or details put
together in a complicated way: pure silks embroidered with
elaborate patterns 2) carefully planned and organized in great detail:
a very elaborate telecommunications network
syn. complicated, complex, intricate, involved, convoluted
elaborately adv
elaborate v [intransitive and transitive] 1) to give more details or
new information about something: He said he had new evidence, but
refused to elaborate any further.
elaboration n [uncount. and count.]
7. heredity n [uncount.] the process by which mental and
physical qualities are passed from a parent to a child before the child
is born
hereditary adj 1) a quality or illness that is hereditary is passed
from a parent to a child before the child is born (syn. inherited,
inheritable, inborn, congenital, innate) 2) (British English) a
hereditary position, rank, or title can be passed from an older to a
younger person in the same family, usually when the older one dies:
a hereditary peer
8. slacken v [intransitive and transitive] (written) 1) (also slacken
off) to gradually become slower, weaker, less active etc., or to make
sth. do this (syn. slow down, abate, ease, weaken, relax, reduce,
lessen, decrease; ant. quicken, increase, accelerate): The heavy
rain showed no signs of slackening off. 2) to make sth. looser, or to
become looser (ant. tighten): He did not let her go, but his grip on
her slackened.

458
9. fumble v (also fumble around) [intransitive and transitive]
1) to try to hold, move, or find sth. with your hands in an awkward
way: She dressed, her cold fingers fumbling with the buttons.
I fumbled around in my bag for a cigarette. 2) if you fumble with
your words when you are speaking, you have difficulty saying
something: Asked for an explanation, Mike fumbled for words. The
second candidate fumbled her lines. 3) to drop a ball after catching
it: Quarterback Rattay was hit and fumbled the ball.
10. pound v 1)[intransitive and transitive] to hit sth. very hard
several times and make a lot of noise, damage it, break it into smaller
pieces etc.: He began pounding the keyboard of his computer. Waves
pounded against the pier. Green pounded his fist on the counter.
2) [intransitive] if your heart or blood is pounding, your heart is
beating very hard and quickly 3) [intransitive] if your head is
pounding, it feels painful, esp. because you have a headache or you
have been using a lot of effort 4) [intransitive and transitive] to walk
or run quickly with heavy loud steps: I could hear him pounding up
the stairs. Runners will be pounding the pavement this weekend
during the London Marathon. 5) [transitive] to attack a place
continuously for a long time with bombs: Enemy forces have been
pounding the city for over two months. 6) pound sth. out to play
music loudly: The Rolling Stones were pounding out one of their old
numbers.
pounding n [singular, uncount.] 1) the action or the sound of sth.
hitting a surface very hard many times: the pounding of the waves on
the rocks below 2) the action or sound of your heart beating
take a pounding 1) to be completely defeated: Manchester
United took a real pounding. 2) to be hit or attacked many times and
often badly damaged: The ship had taken a pounding on the rocks.


Word Combi nat i ons and Phrases

to be pinned to sth./sb.
to be in training (for sth.)
to talk sb. into sth. (doing sth.)
to blot sth. out

to be on the rebound
to bustle about
to make a face
to walk out on sth.


459
Voc abul ar y Exe r c i s e s

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Come up with three sentences of your own with each
vocabulary item.

III. Explain the meaning of the words and phrases in bold
type in the context. Translate the sentences into Ukrainian:

1. Idly she let her eyes drift over his desk. 2. The kidnappings
undermined several months of delicate peace negotiations. 3. We
were content to drowse in the warm sunlight on the beach.
4. I shuddered to think of my son all alone in New York. 5. I was
just drifting off when the phone rang. 6. The road is blocked with
massive drifts of snow. 7. Stir the paint to make sure it is smooth.
8. I follow your drift, but I just don't believe it. 9. Elaborate murals
had been painted on three of the four walls. 10. The party has
experienced a drift toward the right in the last two years.
11. Relying on math formulas or drills in class, the study suggests,
bores many students and undermines their performance. 12. Nothing
stirs, either in the offices or at the crossroads. 13. Len had drunk too
much wine, and he felt cosy and drowsy in spite of the coffee.
14. The train shuddered to a halt at the station. 15. I held him in my
arms as he clutched at me, then relaxed, then shuddered into sleep.
16. A gentle breeze stirred the curtains. 17. He fumbled down a
wall and pushed open a door. 18. Looking at the photographs stirred
childhood memories of the long hot summers. 19. Jessica felt her
heart pounding but forced herself to remain calm. 20. Chinese
peanut oils are perfect for stir-frying. 21. Cho and Lee celebrated
their new partnership at an elaborate banquet. 22. The prevailing
theory held that protein was most likely the material conveying
heredity. 23. She had prepared an elaborate excuse for her absence.
24. Guy slackened his pace as he approached the gate. 25. This
argument will be elaborated more fully in the next chapter.
26. Workers can be trained to do other tasks when sales slacken.
27. Army cannons continued to pound the city from the hillsides.

460
IV. Say the same using the essential vocabulary instead of
the words in bold type:

1. Here the loose earth had been made flat by thousands of feet.
2. She ran, her heart beating fast in her chest. 3. Some forms of
deafness are passed from parents to their children before they are
born. 4. The constant criticism was beginning to weaken her
confidence. 5. You shouldn't drive after taking these pills – they can
make you feel sleepy. 6. All the roads to Denver were blocked by
large piles of snow. 7. If you love skiing but think the cost is too
high, take advantage of our superb family offer. 8. It was an exciting
place to visit but maybe you wouldn't want to live there. 9. He has an
intricate tattoo of an eagle on his left shoulder. 10. Asked for an
explanation, the soldier had difficulty saying something. 11. The
heavy rain showed no signs of ceasing. 12. It was 3 o'clock before
I finally fell asleep. 13. I don't want to think how much this meal is
going to cost. 14. Add the grated cheese to the sauce and mix it in.
15. She was trying to find some coins in her pocket. 16. My German
isn't very good, but I got the main idea of what she said.


V. Answer the questions using the essential vocabulary:

1. What would you say to a person if you can't understand what
he/she is driving at? 2. What is the impact of inflation on economy?
3. How do you feel after a long day of hard work? 4. What happens to
houses that stand close to a railway? 5. How would you characterize
music that produces strong feelings in you? 6. What diseases are
passed from a parent to a child before the child is born? 7. While
driving a car, what should you do when you are approaching a
crossroads? 8. What does your heart do when you are very nervous or
excited? 9. What would you call a complicated and well-organized
plan? 10. What would you do if you had to find something in the
darkness? 11. What would you say about a player who dropped a ball
after catching it? 12. What can sensational news produce in a small
town? 13. How can constant, especially unfair, criticism affect a
person? 14. Why do roads have to be cleaned in winter?

461
VI. Fill the gaps in the sentences below with a suitable
preposition or postposition from the box:

apart at away for in into of

off on out out on round to up with

1. The speaker fumbled _____ the right word to answer the
question. 2. The two small boats drifted _____ in the storm and lost
each other. 3. I shudder _____ embarrassment whenever I think
about it. 4. She stirred her coffee _____ a plastic spoon. 5. As
children grow up, they drift _____ from their parents' views.
6. McDonald refused to elaborate _____ his reasons for resigning.
7. In the storm the boat drifted _____ to sea. 8. House sales in this
city usually slacken _____ during our severe winters. 9. So what's
the drift _____ the argument? 10. She shuddered _____ the thought
that she could have been killed. 11. Stir a cup of cooked brown rice
_____ the mixture. 12 Blinded by the soap, he had to fumble about
_____ his glasses. 13. How can we stir the government _____
improving prison conditions? 14. Thomas pounded _____ the door
with his fist. 15. The opposition are trying to stir _____ feelings of
dissatisfaction among the voters. 16. I was fumbling _____ the key
as I couldn't see where the lock was in the dark. 17. The tree fell,
pinning him _____ the ground. 18. She's _____ training for the
Olympics. 19. Madge bustled _____ the room, putting things away.
20. 'I never walk _____ a deal,' Dee said. 21. He first met me when
I was _____ the rebound, after splitting up with Mark. 22. Thick
white smoke blotted _____ the sun. 23. My husband talked me
_____ going skiing.

VII. Say the same, using a suitable word or phrase from the
list of word combinations and phrases instead of the words
in bold type:

1. Five years later she suddenly left Matthew and their two boys.
2. See if you can persuade Father to lend us his car tomorrow.
3. The mist has hidden the view. 4. Can you fasten this to the notice
board? 5. She's preparing for the New York Marathon. 6. She
quarrelled with Paul and then married Peter, still affected by her

462
previous relationship. 7. I remember my grandmother always
moving busily in the kitchen. 8. He can't do without Mary, they are
considering getting married next month. 9. How did you manage to
persuade your husband to take you out to this place? 10. She said
she took drugs to try to forget her problems. 11. The government
has been charged with failing to fulfil its election promises.
12. Servants and porters moved around quickly, looking very busy.

VIII. Use the phrasal verbs from the list on the right to fill
the gaps in the sentences on the left. Remember to use the
verbs in the correct form:


1. Tina used to ___________ with my brother.
2. The anti-virus icon should appear whenever you
___________ your computer.
3. I get up as soon as the alarm clock ___________ at 7:15.
4. I thought you were in when I saw that the light ___________.
5.'Is there anybody there?' he ___________, but there was no
reply.
6. ___________, dear, the sight is not fit for your eyes.
7. At first, I couldn't ___________ what I was seeing.
8. ___________ straight and put a cushion behind your lower
back.
9. The whole crowd ___________ laughing.
10. Actually he was a very nice man, cheerful and good-
natured, but the other side of him ___________ it all
___________.
11. I didn't want my wife ___________ on me, leaving me
looking a fool!
12. Charlie was ___________ his shirt when the phone rang.


be on
blot out

burst out
call out
go off

go out
look away
make out

sit up
start up


take off

walk out

IX. Translate the sentences into English using the essential
vocabulary, including word combinations and phrases:

1. Не розумію, куди він хилить. Він така непередбачувана
людина. 2. Вона зазирнула до кімнати, відчуваючи, як серце ко-
лотиться у неї в грудях. 3. Як тобі вдалося умовити Тома взяти
участь у пісенному конкурсі? 4. Мати метушилася на кухні, го-

463
туючи святковий обід. 5. Вона думала, що СНІД – це спадкова
хвороба, і зробила аборт, щоб вона не передалась її дитині.
6. Якщо ви розумієтеся на міфології, раджу вам дослідити дуже
майстерно зроблену різьбу на цьому саркофазі – зможете дізна-
тися багато цікавого. 7. Зростаючі обсяги імпорту підривають
вітчизняну економіку і призводять до збільшення зовнішнього
боргу країни. 8. Коли ти зателефонував мені, я дрімав перед те-
левізором і не одразу почув дзвінок. 9. Здається, буря вщухає,
і незабаром ми знову побачимо сонце. 10. Світло вимкнули, коли
Джулія піднімалась у ліфті, тому їй довелось намацувати кнопку
виклику ліфтера у повній темряві. 11. Вона здригнулася від дум-
ки, що її могли обшукати у присутності рідних. 12. Рішен-
ня про підвищення плати за навчання змусило студентів вийти
на вулиці та вдатися до масових протестів. 13. Побоюючись, що
чоловік піде від неї назавжди, Андреа не наважувалася почати
розмову про його зраду.


Exe r c i s e s t o t he Te xt

I. Write a précis of the text in about 100 words.

II. Make a plan of the text, dividing it into logical parts.
Give each part a title. Discuss your plans with other students,
trying to reach consensus about the structure of the story.
Give a summary of each part.

III. Make up character sketches of the boy and Eleanor. Use
lines from the text to support your opinion of them.

IV. Analyze the main characters' communication strategies
throughout their date. Look into their communication goals at each
stage of their conversation and try to make out the motives behind
their words and actions. Are their goals and motives similar? Are
the boy and Eleanor successful in achieving their goals?


464
V. Retell the text a) as if you were the boy; b) as if you were
Eleanor Cullen.

VI. Find in the text sentences containing the essential vocabulary
and translate them into Ukrainian.

VII. Discuss and analyze the text you have read:

1. Comment on the title'First Love and Other Sorrows.' Does it
tell you anything about the story to come?
2. What is the setting of the story? Can you identify the time?
3. What is the general mood of the boy's narrative? Does it
change throughout the story? Are there any emotional peaks in the
story? What are they? Give arguments to support your opinion.
4. Does the story contain any hints as to the main characters' age,
family and social background?
5. What effect does the first-person narration have on the reader?
Do you think stories about feelings are easier told in the first person?
6. What was the boy thinking about while he was watching
Eleanor's parents driving away?
7. Why do you think the boy decided to meet Eleanor knowing
that'she had been dating Joel'? What was his primary intention: did
he want to start a relationship, was he looking for someone to discuss
his problems, or just to keep him company, or something else?
8. How is the boy's emotional state before seeing Eleanor
rendered by the author? Is it described directly or indirectly? How
does the language contribute to our understanding of his feelings?
9. Why do you think Eleanor told the boy right from the start that
she was'not in a good mood or anything?' Why did she agree to go
out and meet the boy?
10. Comment on the boy's short talk with Mattie Seaton. Were
both boys frank with each other? Why do you think they were talking
about their homework in trigonometry, though neither of them cared
much about it at that moment?
11. Comment on the sentence'We looked at each other, and then she
looked away, and I looked down at my shoes.' Why did they both look
away after looking at each other? What might they have seen in each
other's eyes? What is the role of eye contact in expressing feelings?

465
12. How do you understand the boy's words'I sat there liking her
more and more'? Eleanor was in his class at school, which means
they knew each other well. Nevertheless, he says that he began to
like her more and more, even though he could barely see her face in
the darkness. Do the boy's words sound credible to you? Do you
understand his feelings?
13. Who shows more initiative in their conversation: the boy or
Eleanor? Prove your point.
14. Why do you think Eleanor decided to share her intimate
feelings with the boy? In your opinion, why did she think she was
not basically a happy person? Do you think she sincerely thought so
or she was acting a part in the boy's presence, trying to stir his
sympathy?
15. Do you believe Eleanor when she says that she cried because
she could not do her geometry? What was the real reason behind her
crying?
16. How did the boy react to Eleanor's confession that she was not
happy? How did he try to comfort and encourage her?
17. Comment on Eleanor's words'Don't like me yet.' How does
her determination to tell the boy about what had happened between
her and Joel characterize her? Why do you think she insisted on her
telling the boy about the incident in Joel's car even though she was
ashamed of it?
18. Comment on the boy's feelings regarding Eleanor's
relationship with Joel. How did his feelings develop from the
initial point when he took it for granted that Eleanor'had been
dating Joel?'
19. Why did the boy smile and feel happier when Eleanor told
him that Joel had put his hand on her breast?
20. Comment on Eleanor's words'Oh, God! How I hate
everything!' In your opinion, what did she mean she hated?
21. How do you understand the boy's words'I hadn't known
I could feel like this – that I could pause on the edge of such feeling,
which lay stretched like an enormous meadow all in shadow inside
me.'? What feeling was it? What did he mean by pausing on the edge
of this feeling?

466
22. What do you think the boy meant by saying that he had been
damaged by his heredity? How did Eleanor react to his words? What
is the role of social background in human relations?
23. What does Eleanor's phrase'We aren't doing anything wrong'
tell us about her upbringing and moral code of behaviour? How do
you understand the boy's words 'It's the way they look at you'?
24. Comment on Eleanor's words'I think my parents are ashamed
of me.' Why could she have had such a feeling?
25. Did the boy and Eleanor equally show their feelings towards
each other? Read out lines from the story to illustrate your point.
26. Why did the teenagers'grew restless and uncomfortable' after
eating and kissing?
27. Why do you think Eleanor said'Goodbye, rain' sadly?
28. The action of the story takes place in the middle of the 20
th

century. Do you think the main characters would behave differently
today? Explain your point.
29. Pick out the words in the story that show the main characters'
feelings and emotions. Comment on the author's technique of
conveying the characters' feelings.
30. What stereotypical patterns of teenagers' behaviour and
communication are shown in the story? Have they changed over the
past decades?
31. Do you find any places in the story that sound funny to you?
32. How does the description of nature and weather match and
intensify the main characters' feelings?

VIII. Discuss some of the problems relating to the story:

1. Do you believe people should always express their feelings
openly, even if by doing so they can confuse or upset another
person?
2. Do you approve of people dating others without true feelings?
Give arguments to explain your opinion.
3. Can a boy or a girl date two girls/boys at the same time? What
is your attitude to two-timers?
4. Do you share the common opinion that men tend to be more
secretive about their feelings than women? Is it harder for men to
talk about their feelings and emotional experiences? Why?

467
5. Do people always understand and interpret their own feelings and
feelings of other people correctly, especially when they are in love?
6. Do you believe that people should look for love among people
of their social class? Does the story of Cinderella seem realistic to
you today?
7. Do you believe that friendship can transform into love? When
can it happen?

IX. Write an essay of 250–300 words to give your opinion
on one of the following statements:

Love and sorrow often go hand in hand.
People expect you to be happy, especially if you are a girl.
Human feelings are elaborate and not easy to interpret.
The temple of love can only be built on the foundation of
sincerity and trust.


S E C T I O N В

TOPICAL VOCABULARY

abandoned, abused, accepted, affectionate, afraid, agitated,
alarmed, alienated, amazed, amused, angry, anguished, annoyed,
anxious, appreciative, ashamed, at ease, awful, awkward
baffled, battered, belittled, belligerent, bewildered, bitter,
blue, bored, bottled up, branded, broken
calm, capable, cast off, cheapened, cheerful, competent,
confident, confused, constrained, contented, criticized, crushed
debased, defeated, deficient, dejected, demoralized, depressed,
desolate, desperate, despised, despondent, destroyed, discontented,
discouraged, discredited, disgraced, disinterested, disliked, dismal,
displeased, dispassionate, dissatisfied, distressed, distrustful,
disturbed, done for, doubtful, downhearted, downtrodden, dreadful
ecstatic, elevated, embarrassed, empty, enraged, enthusiastic,
envious, euphoric, exalted, excited, excluded, exhausted, exhilarated,
exposed
fantastic, fearful, fine, fit, foolish, forlorn, forsaken, frantic,
friendly, frightened, frustrated, furious, futile

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glad, glorious, good, grand, grateful, gratified, great, guilty
happy, hateful, helpful, helpless, hesitant, hindered, hopeless,
horny, horrible, humble, humiliated, hurt, hypocritical
ignored, ill at ease, impaired, impatient, impotent, imprisoned,
inadequate, incapable, incompetent, ineffective, inferior, inflamed,
insecure, insignificant, intimidated, irritated
jazzed, jealous, jilted, jittery, joyful, jumpy
laughed at, left out, lonely, lonesome, loved, loving, lousy, low
mad, maligned, miffed, miserable, mistreated, misunderstood
needed, negative, neglected, nervous, numb
obsolete, offended, on edge, oppressed, optimistic, ostracized,
outraged, overlooked, overwhelmed
panicky, passionate, perplexed, pleased, positive, powerless,
pressured, proud, put down, puzzled
reborn, rebuked, regretful, rejected, rejuvenated, relaxed, relieved,
resentful, restless, revengeful, ridiculed, ridiculous, rotten, run down
sad, satisfied, scared, selfish, sensual, serene, shaky, shocked,
sickened, skeptical, slandered, spiteful, startled, surprised,
suspicious, swamped
tearful, tense, terrible, terrified, threatened, thrilled, tormented,
transcendent, trusting
uncertain, uncomfortable, uncooperative, underrated, understood,
uneasy, unhappy, unimportant, unloved, unqualified, unsatisfied,
unsure, upset, uptight
wanted, warmhearted, washed up, whipped, worried, worthless,
worthy

I. Sort the topical vocabulary into pairs of synonyms and
antonyms.

II. Play a guessing game. Describe in words or mime a feeling
and have other students guess it.

III. Use the topical vocabulary to identify the feelings:

1. feeling sad and disappointed, especially because you have
tried to achieve something but have failed
2. feeling that you have no good qualities or useful skills

469
3. deliberately nasty to someone in order to hurt or upset them
4. not willing to work with or help someone
5. very excited, happy, and pleased
6. very calm or peaceful
7. very silly or unreasonable
8. very nervous and anxious
9. feeling hopeful and confident, and thinking about what is
good in a situation rather than what is bad
10. feeling that you get too little attention or care
11. showing or involving very strong feelings of sexual love
12. extremely unhappy, for example because you feel lonely,
cold, or badly treated
13. feeling ill
14. feeling anxious or nervous
15. feeling extremely happy, excited, and full of energy
16. not feeling at all confident about yourself, your abilities, or
your relationships with people
17. feeling very sad and lonely
18. feeling very unfriendly and wanting to argue or fight
19. feeling slightly angry
20. feeling tired and not healthy


Te xt 1

I. Do you like to talk about your feelings? Do you like when
other people talk about their feelings to you? Read a
therapist's advice concerning how to talk about feelings and
say whether you find it useful.


HOW TO TALK ABOUT FEELINGS
BY TONY SCHIRTZINGER
(FROM WWW. ENOTALONE. COM)

Tony Schirtzinger is a licensed therapist in Milwaukee. He works
with a wide variety of people dealing with any topic, rather than
specialize in any one field. He offers e-mail advice and telephone
counseling as well as in-person therapy in his Milwaukee clinic.

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How can we talk about our feelings?
How much is too much?
How much is not enough?


THREE DECISIONS

Whenever we talk to anyone, we make three quick decisions.
We decide: 1. Whether to SAY what we feel. 2. Whether to
EXPRESS the feelings. 3. Whether to WORK AT PROBLEM
SOLVING.
We usually make these decisions automatically or subconsciously.
It can be very helpful to make them consciously instead.


WHETHER TO SAY WHAT WE FEEL

Here are some different ways we state what we feel, and my
thoughts about when each is appropriate.
'LEAVE ME ALONE' statements...
'I'm OK.'
'Can't complain.'
'Doing fine!'
'Average...'
'Nothing special'
Use these when you are with people you don't trust, or whenever
you want to refuse to talk about feelings. Another way to convey
this'leave me alone' message is to simply answer'yes' or'no,' or to
only say a few words which barely answer the question.
'ASK ME AGAIN' statements...
'Been better.'
'Fair to middling.'
'Kind of good, kind of bad.'
Use when you don't know if you want to talk about feelings
or not, and when you want the other person to encourage you
to say more.
'I DON'T WANT TO KNOW' statements...
'I'm just stressed.'
'I'm just out of sorts.'
'Something's wrong but it's OK.'
Use when you are afraid to state (or know...) exactly what you feel.

471
'I KNOW WHAT I'M FEELING BUT I DON'T KNOW WHY'
statements...
'I'm angry, but I don't know why.'
'Depressed again.'
'My feelings are hurt.'
Use when talking to a therapist.
It's a therapist's job to help you figure out why you feel what you
feel. It's not a lover's job or a friend's job. When non-therapists try to
respond to this, there is almost always a disagreement.


WHETHER TO EXPRESS WHAT WE FEEL

A sad person can just look sad and say nothing at all, or cry fully
for a long time.
An angry person can just sit and glare, or cuss and scream and
throw things.
A happy person can smile quietly or dance jubilantly.
We feel better the more we EXPRESS what we feel. The only
important factor is:'How SAFE am I to express it now with this
person?'
'READY TO LET MY FEELINGS OUT' statements...
'I'm really pissed at Jim, my boss! Nag, nag, nag! Artificial
deadlines just to harass me! Playing favorites with his girlfriend
again...!!!'
Use when you are with someone who will let you'vent' for a few
minutes.


WHETHER TO WORK AT SOLVING A PROBLEM

The natural order of things is to FEEL FIRST, THEN THINK,
AND THEN DO. We can FEEL our feelings quite well with anyone
safe who cares about us. We can even do this well enough alone
(although it can take longer that way). We can do some thinking and
problem-solving with our friends, but GOOD problem-solving
requires that the other person be more'detached' than close friends
can be. So, when friends aren't enough to help you, or you can tell
you are trying your friends' patience, do your thinking and problem-
solving with a therapist.

472
'READY TO FEEL AND THINK WITH YOU' statements...
...' I was thinking about this and I think it has something to do
with how my mom and dad got along.... She was always using sex to
manipulate him...'
Use when you want to vent and think things through to solve a
problem. This is necessary in all close relationships occasionally –
but not appropriate as a regular way of communicating except in
therapy.
'READY TO FEEL AND THINK AND ASK CLEARLY FOR
WHAT I WANT statements...' [Same as the previous one PLUS...]
'So, I think it's all about my parents and that time when she beat
me and he took my side until she seduced him... How do I decide
what to do about all of this now? What would be the best way to get
over this so it doesn't get in my way anymore...?'
Use mainly in therapy. (Very seldom seen anywhere, even in
therapy...!)


PUTTING IT ALL TOGETHER

State and express your feelings as fully as you can, preferably
with friends but alone if necessary.
When you feel stuck about what to DO about your feelings and
about the problems that created them, see a therapist.


II. Sum up the advice given by Tony Schirtzinger. Do you
agree with everything he writes?

III. Discuss the following:

1. Do Ukrainians often turn to therapists for psychological advice
when they experience problems? Why?
2. Do you agree that it's a therapist's job to help you figure out
why you feel what you feel, but not a lover's job or a friend's job?
3. Does talking about your feelings help you feel better? Give
your arguments.
4. Do you have a person who will let you'vent' when you feel
annoyed, angry or frustrated? How does he/she help you?

473
5. Do you share the opinion that'friends aren't enough to help
you'? Why is it sometimes easier to talk about your feelings to a
stranger than to a relative or friend?


Te x t 2

I. Read one more text to find answers to these questions:

1. Why is it important to be able to express your feelings?
2. Do different cultures equally encourage people to express their
feelings?
3. How does understanding your feelings help to cope with life
problems?

The ability to be aware of and express one's feelings is an
important emotional foundation. Often merely recognizing and
expressing a feeling is enough to lessen it, control it, accept it, or
shift one's attention away from it. The creative aspect of expressing a
feeling is to tune in to exactly how the feeling'wants' to come
through. Expressing a feeling is just another strategy to avoid the
experience of feeling it directly.
In some Asian cultures, to express one's feelings is, in fact, seen
as selfish and is highly discouraged. This reluctance to express
one's feelings is actually a sign of maturity in Japan. It is thought
that only selfish and immature people have to tell everyone how
they are feeling.
In other parts of the world families that maintain healthy intimate
relationships with each other are based on freedom to express one's
feelings. It seems like the unwillingness or inability to express one's
feelings is the downfall of a lot of family relationships and personal
relationships; sometimes before they even get started.
Finding the ability to know and express one's feelings is important
to survivors of trauma and abuse, and to people facing change. There
is no doubt that having an opportunity to talk with someone, to express
one's feelings, is a safeguard against loneliness, depression and
isolation. To separate feelings of frustration from feelings of anger,

474
and feelings of disappointment from loneliness aids in the process
of getting a handle on being emotionally healthy. The more people
use appropriate concepts to discuss their feelings, the more
sensitive they can be to the complexity of life. Getting in touch
with one's real feelings is obviously a worthwhile objective, and the
ability to acknowledge and express one's feelings is clearly needed
for a healthy life.
In this age where communication can be done through gadgets
and the Internet, the magic that letters can do to express one's
feelings is an important vehicle. Having the words to express one's
feelings is essential to discussion of those emotions. The importance
of becoming more emotionally aware, including the ability to better
recognize and express one's feelings is not limited to children. To
become more emotionally aware is to become more emotionally
mature and emotionally healthy.
Expressing feelings opens up a whole new world. People who
understand their feelings have a way of coping with both positive
and difficult situations. They feel more empathy for others and are
better able to cooperate and to learn from them.
To express one's feelings is unquestioned in many psychotherapies
and to express one's feelings is to give clues to one's feelings. The
ability to express one's feelings is of itself a great help, even if a
solution to the problem is not found.
Sadly, it seems in our materialistic world that to express one's
feelings is considered too sentimental or foolish. Inability to express
one's feelings is one facet of emotional immaturity. Not having
feelings is an unhealthy response to situations.
Indeed, being able to express one's feelings is essential to well-
being and it is acquired through social interaction. To express one's
feelings is definitely a learned thing. To learn it, you have to be taught.

(Abridged from www.articlesbase.com)


II. Write a précis of the text, giving its main idea in
100–120 words.


475
III. Comment on the pictures below. What are the artists'
messages?


Lucas Cranach the Elder
(1472–1553)
Cupid Complaining to Venus



IV. Read the poem'The Broken Heart' by John Donne and
discuss in pairs what it is about. Share your opinion with
other students.


THE BROKEN HEART
BY JOHN DONNE

He is stark mad, whoever says,
That he hath been in love an hour,
Yet not that love so soon decays,
But that it can ten in less space devour;
Who will believe me, if I swear
That I have had the plague a year?
Who would not laugh at me, if I should say
I saw a flask of powder burn a day?
Ah, what a trifle is a heart,
If once into love's hands it come!

476
All other griefs allow a part
To other griefs, and ask themselves but some;
They come to us, but us love draws;
He swallows us and never chaws;
By him, as by chain'd shot, whole ranks do die;
He is the tyrant pike, our hearts the fry.

If 'twere not so, what did become
Of my heart when I first saw thee?
I brought a heart into the room,
But from the room I carried none with me.
If it had gone to thee, I know
Mine would have taught thine heart to show
More pity unto me; but Love, alas!
At one first blow did shiver it as glass.

Yet nothing can to nothing fall,
Nor any place be empty quite;
Therefore I think my breast hath all
Those pieces still, though they be not unite;
And now, as broken glasses show
A hundred lesser faces, so
My rags of heart can like, wish, and adore,
But after one such love, can love no more.


V. Analyze the poem:

1. Why does the poet write that only a stark mad person can say
he has been in love for an hour? How do you understand the words'it
can ten in less space devour'?
2. The poem is remarkable for its unusual conception of love.
What does the poet want to say by comparing love to plague and a
flask of powder?
3. According to the second stanza, how does love differ from
other feelings and'other griefs'?
4. What do the pronouns'it' in the third stanza refer to?

477
5. What happens to a heart after it has been shattered by the force
of love? Comment on the last line of the poem. What does the poet
mean by it?

6. Comment on the image of Love created by the poet. Why did
he portray Love as a fierce destroyer of hearts, a heart-eater? How do
the metaphors'chain'd shot' and'tyrant pike' contribute to this image?


VI. Read the story about feelings and discuss its moral in
class. Explain the relationships between Love and other feelings as
they are shown in the story:

Once upon a time, there was an island where all the feelings
lived: Happiness, Sadness, Knowledge and all of the others including
Love. However, one day it was announced to the couples that the
island would sink, so all the feelings prepared their boats and left.
Love was the only one who stayed. Love wanted to stay until the
island started sinking.
When Love was almost sinking, he decided to ask help. Richness
was passing by Love in a beautiful boat. Love said 'Richness, can
you take me with you?' Richness answered, 'No. I can't. There is a lot
of gold and silver in my boat. There is no place here for you.'
Love decided to ask Vanity who was also passing by,'Vanity,
please help me!'I can't help you, Love. You are all wet and can
probably damage my boat,' Vanity answered.
Sadness was close by so Love asked for help,'Sadness, let me go
with you.'Oh .. Love, I am so sad that I prefer to go alone!'
Happiness passed by Love too, but she was so happy that she did
not listen when Love called her!
Suddenly, there was a voice,'Come, Love, I will take you.' It was
an elderly. Love became so happy that he even forgot to ask the
name of the elderly.
When they arrived to the other side, Love asked Knowledge who
that elderly was.'It was Time.'Time? But why did Time help me?'
'Because only Time is capable of understanding such a great
Love.'

478
VII. Organize a story-telling contest in your group. Make up
your own stories about feelings and present themin class. The jury
can give awards in several categories, e.g. the most touching story,
the most thought-provoking story, the funniest story etc.

VIII. Put the paragraphs of the story below in a logical order.
Paragraph 1 is the opening paragraph of the story:


OVERCOMING SHAME:
THE STORY OF REBECCA

BY MAX LUCADO

1. Rebecca Thompson fell twice from the Fremont Canyon
Bridge. She died both times. The first fall broke her heart; the second
broke her neck.
2. But the dawn never came for Rebecca. Oh, the sun came up,
and she was found. The physicians treated her wounds, and the
courts imprisoned her attackers. Life continued, but the dawn never
came. The blackness of her night of horrors lingered. She was never
able to climb out of the canyon. So in September 1992, nineteen
years later, she returned to the bridge.
3. Against her boyfriend's pleadings, she drove seventy miles-per-
hour to the North Platte River. With her two year-old daughter and
boyfriend at her side, she sat on the edge of the Fremont Canyon
Bridge and wept. Through her tears she retold the story. The
boyfriend didn't want the child to see her mother cry, so he carried
the toddler to the car. That's when he heard her body hit the water.
And that's when Rebecca Thompson died her second death. The sun
never dawned on Rebecca's dark night.
4. So nineteen years later she went back to the bridge. Canyons of
shame run deep. Gorges of never-ending guilt. Walls ribboned with
the greens and grays of death. Unending echoes of screams. Put your
hands over your ears. Splash water on your face. Stop looking over
your shoulder. Try as you might to outrun yesterday's tragedies –
their tentacles are longer than your hope. They draw you back to the
bridge of sorrows to be shamed again and again and again.

479
If it was your fault, it would be different. If you were to blame,
you could apologize. If the tumble into the canyon was your mistake,
you could respond. But you weren't a volunteer. You were a victim.
5. Why? What eclipsed the light from her world? Fear? Perhaps.
She had testified against the men, pointing them out in the courtroom.
One of the murderers had taunted her by smirking and sliding his
finger across his throat. On the day of her death, the two had been up
for parole. Perhaps the fear of a second encounter was too great.
Was it anger? Anger at her rapists? Anger at the parole board?
Anger at herself for the thousand falls in the thousand nightmares
that followed? Or anger at God for a canyon that grew ever deeper
and a night that grew ever blacker and a dawn that never came?
Was it guilt? Some think so. Despite Rebecca's attractive smile
and appealing personality friends say that she struggled with the ugly
fact that she had survived and her little sister had not.
Was it shame? Everyone she knew and thousands she didn't had
heard the humiliating details of her tragedy. The stigma was tattooed
deeper with the newspaper ink of every headline. She had been
raped. She had been violated. She had been shamed. And try as she
might to outlive and outrun the memory . . . she never could.
6. She was only eighteen years of age when she and her eleven-
year-old sister were abducted by a pair of hoodlums near a store in
Casper, Wyoming. They drove the girls forty miles southwest to the
Fremont Canyon Bridge, a one-lane, steel-beamed structure rising
112 feet above the North Platte River. The men brutally beat and
raped Rebecca. She somehow convinced them not to do the same to
her sister Amy. Both were thrown over the bridge into the narrow
gorge. Amy died when she landed on a rock near the river, but
Rebecca slammed into a ledge and was ricocheted into deeper water.
With a hip fractured in five places, she struggled to the shore. To
protect her body from the cold, she wedged herself between two
rocks and waited until the dawn.
7. Whether private or public, shame is always painful. And unless
you deal with it, it is permanent. Unless you get help– the dawn will
never come.
8. Sometimes your shame is private. Pushed over the edge by an
abusive spouse. Molested by a perverted parent. Seduced by a
compromising superior. No one else knows. But you know. And

480
that's enough. Sometimes it's public. Branded by a divorce you didn't
want. Contaminated by a disease you never expected. Marked by a
handicap you didn't create. And whether it's actually in their eyes or
just in your imagination, you have to deal with it – you are marked: a
divorcee, an invalid, an orphan, an AIDS patient.

X. Find words with these meanings in the text above (the
paragraph number is given in brackets).

to continue to exist, be noticeable etc. for longer than is usual or
desirable (2)
the influence or effect that something has on other people or
things (4)
someone who does something willingly (4)
to try to make someone angry or upset (5)
permission for someone to leave prison, on the condition that they
promise to behave well (5)
a strong feeling in society that being in a particular situation or
having a particular illness is something to be ashamed of (5)
to block (the light) (5)
to take someone away by force (6)
a criminal, often a young person, who does violent or illegal
things (6)
a deep narrow valley with steep sides (6)
to change direction when hitting a surface at an angle (6)
to force something firmly into a narrow space (6)
to attack or harm someone, especially a child, by touching them
in a sexual way or by trying to have sex with them (8)
to persuade someone to have sex with you (8)
a man or woman who is divorced (8)


X. In the text above, find the key sentence(s) containing the
author's message to the reader. In class, discuss what the story of
Rebecca teaches us. In your opinion, who bears the primary
responsibility for her death: Rebecca herself, the men who raped
her, mass media people, her boyfriend? Give arguments to
support your opinion.


481
XI. Explain the meaning of these proverbs coming from different
cultures of the world and give their Ukrainian translation:

A buffalo does not feel the weight of his own horns (Indian
proverb).
A woman is like a blanket: If you cover yourself with it, it bothers
you; if you throw it aside you will feel the cold (Ghanaian proverb).
A woman will be twice bound when her chains feel comfortable
(Egyptian proverb).
Every tree feels the force of the wind (Afghan proverb).

XI. How do you understand these words of famous people? Do
they somehow relate to your life experience?

Do not give in too much to feelings. A overly sensitive heart is an
unhappy possession on this shaky earth (Johann Wolfgang von
Goethe).
Don't let anyone tell you that you have to be a certain way. Be
unique. Be what you feel (Melissa Etheridge).
Feelings are like chemicals; the more you analyze them the worse
they smell (Charles Kingsley).
Feelings are much like waves, we can't stop them from coming
but we can choose which one to surf (Jonatan Mårtensson).
Few are those who see with their own eyes and feel with their
own hearts (Albert Einstein).
For it was not into my ear you whispered, but into my heart. It
was not my lips you kissed, but my soul (Judy Garland).
Good manners are the techniques of expressing consideration for
the feelings of others (Alice Deur Miller).
Happiness comes of the capacity to feel deeply, to enjoy simply,
to think freely, to risk life, to be needed (Storm Jameson).
He disliked emotion, not because he felt lightly, but because he
felt deeply (John Buchan).
He who cannot give anything away cannot feel anything either
(Friedrich Nietzsche).
I feel that there is nothing more truly artistic than to love people
(Vincent van Gogh).

482
I have said nothing because there is nothing I can say that would
describe how I feel as perfectly as you deserve it. (Kyle Schmidt)
I like when a guy makes me feel like a woman and a little girl at
the same time. (Tara Reid)

XIII. Choose one of the quotations above for a project topic.
Gather information on the person who said these words and
their life. If possible, find out the context when the words were
said or written. Your primary task is to relate the quotation to
the person's life, activities and experiences and to show how the
quotation reflects their personality and life style. Summarize
your findings in a 15-minute talk for your group. Make a
PowerPoint presentation for your talk. Allow five minutes for a
question / answer session.


S E C T I O N C

EXPRESSING COOPERATION / CONFRONTATION



The language we use can make us appear confrontational or
cooperative.

Confrontational language sends the following messages:
• you are absolutely certain you are right
• you are unwilling to consider the other person's position
• you challenge the other person to back up what they say
• you sound harsh, even aggressive
• you don't leave the other person any choices
• you tend to blame the other person
• the other person is expected to follow your commands.

When you use confrontational language you will tend to
encourage the other person to also use confrontational language. This
generally causes the situation to escalate, as each of you increases the
force and energy used in the conversation.


from www.ehow.com; en.wikipedia.org

483
Cooperative language sends the following messages:
• you are willing to consider the other person's position
• you recognize you COULD be wrong (but not likely)
• you invite the other person to discuss rather than challenge
• your tone is mild and cooperative
• you leave the other person room for choice
• you tend to blame nobody
• you help the other person to save face.

Using cooperative language helps your interlocutor to realize that
you are interested in finding a solution or compromise and caring
about their opinion. Your interlocutor also realizes you are trying to
work WITH them, on the same side, to help deal with the problem,
or make the best of a bad situation.


I. Read more about communication strategies to resolve
conflict in the article below:


COMMUNICATION STRATEGIES
TO RESOLVE CONFLICT
BY CINDI PEARCE,
from www.ehow.com


Yel l i ng i s not t he best st rat egy
for resol vi ng confl i ct

If there is conflict in your company, your home or on your team it
can undermine happiness, success and productivity. Learn effective
communication strategies that will help you resolve conflict.

Ac t i v e Li s t e ni ng

Engage in active listening. Partially listening or pretending to
listen but not hearing a thing that has been said won't work. You
have to listen intently and be able to respond to what is being said. If
someone is angry, listen to what he has to say. Try to respond in a
productive fashion that does not undermine how he's feeling but, on
the other hand, does not add fuel to the fire. It is very important to

484
validate what the person has said and how he is feeling even if you
don't agree. You can express interest and concern while not
necessarily agreeing with them.

Conf r ont t he Si t uat i on

Ideally, you need to confront the situation, not the person. Do
your best to understand the other person's position and, when
responding, take your time. Do not rush into saying something that
you will regret. Think. Let the person know that you value them.

Body Language

Be cognizant of your body language. You may be trying to appear
neutral and concerned but if you are in fact very angry you will
convey this through gestures, such as crossing your arms in front of
your chest, which is a defensive posture, clenching your jaw or
giving certain looks with your eyes. Most of our communication is
done non-verbally. Take note of your body language and correct it.

Don' t Pos t pone

Although some people try their best to avoid or postpone dealing
with conflict, this is not a good idea, according to Dianna Booher,
author of the article 'Resolving Conflict Without Punching Someone
Out.' The longer the issue goes unaddressed, the bigger it is going to
become. Nip it in the bud. Talk.

Compr omi s e

Sometimes, you and the other person or persons may have to
compromise. This technique results in a resolution that is acceptable
by all parties, although every party may not get exactly what it
wants.

Yi e l d

If the conflict is over something that is not important to you but
very important to the other person, yield or accommodate them.

Us e of Language

Use statements that include the word ' I' . For example, say, 'I am
disappointed that this project wasn't done as well as I expected it to
be done' rather than saying,'You did not do a good job supervising

485
this project.' When you use the word'I' you are taking away
accusation and blame, which means the recipient of your words is
less likely to become defensive and react negatively.

II. In social science generally and linguistics specifically, the
cooperative principle describes how people interact with one
another. As phrased by Paul Grice, who introduced it, it states,
'Make your contribution such as it is required, at the stage at
which it occurs, by the accepted purpose or direction of the talk
exchange in which you are engaged.' Though phrased as a
prescriptive command, the principle is intended as a description
of how people normally behave in conversation.

Put more simply, people who obey the cooperative principle in
their language use will make sure that what they say in a
conversation furthers the purpose of that conversation. Obviously,
the requirements of different types of conversations will be
different.
The cooperative principle can be divided into four maxims,
called the Gricean maxims, describing specific rational principles
observed by people who obey the cooperative principle; these
principles enable effective communication.
Do a research on Grice's maxims and discuss your findings
in class.

III. Role-play a discussion to practise cooperative and
confrontational language. Choose the topic and setting for your
discussion (it can relate to anything that seems interesting to
you – business, politics, crime, education etc.) and distribute
roles, designating people who will be pursuing the lines of
confrontational and cooperative behaviour. Preparing for the
role-play, plan your communication strategies and think over the
language means to realize them.


486
Uni t f i v e

ATTITUDES



S E C T I O N А
PRE-READING ACTIVITIES

To start thinking about the topic, discuss the following questions,
drawing on your experience:

1. Have you ever seen anyone holding a negative attitude towards
someone's ethnicity? What were his / her arguments?
2. Negative racial or ethnic attitudes are often based on
stereotypes. Recall and discuss some of them.
3. Do you always try not to develop negative racial attitudes?
What motivates you?
4. Would you marry a person of a different ethnicity?
5. What identity type is, in your opinion, most important for
forming relationships (ethnic, social, cultural, gender, etc)?
6. Read the passage below and select the statement best
summarizing its main idea:
a. Students who look Asian must be foreign-born.
b. We can all make false assumptions, and nobody should be
punished for them as they do not hurt anybody.
c. Negative ethnic attitudes are often caused by lack of
communication and knowledge about each other.
d. Most Asians suffer from negative ethnic attitudes in the United
States.


Spe e c h Pat t e r ns

Every year Alex assumed it would wear off by October,
but it never did.

I waited for the phone to ring, but it never did.
I asked her to come and get me out of foster homes but she never did.
Sally tries and gets him to do his homework, but he never does.

487
We think we understand each other, but we never do.

Another TA actually told her to compare foreign students' spoken English
with their written English, to make sure they weren't plagiarizing.

When you are done, make sure you click the Submit button. Your
reply will not be posted until you click the Submit button.
To make up for them not going out, we made sure they had plenty
of toys to play with as well as places to hide.
Janice, could you possibly go over and make sure everything's all
right?
We'll just wait for a few minutes to make sure she doesn't wake up.

She always had trouble ending conversations with students.

Steven was running late and had trouble finding a parking place.
If you have trouble sorting out what your exact goals are, try
thinking back to some time in your childhood when you had dreams
and aspirations.
As a child, did your son have trouble getting along with teachers?

I did acknowledge that in her previous schooling
she likely hadn't been asked to speak much.

If the hijackers took the controls at high altitude and a long
distance from their targets, then they likely had considerable training
in Boeing 767 or 757.
By noon I realized that I had likely lost part of myself that day. I
likely had lost one of the people I cherish most in life, someone who
understood me, inspired me and was part of my being.
Had Obama been a darker-skinned black man, he likely would
have faced greater difficulty in escaping the'dangerous black man'
characterizations that are part of the white racial frame.

… in failing to recognize something,
you could harm it or kill it or at least fail to save it.

But in fact I was, in failing to come to terms with this total reality,
only creating further confusion for myself.

488
The driver was accused of negligence in failing to wear a seatbelt.
The teacher alleged that her employers had been negligent in
failing adequately to protect her.


Exe r c i s e s

I. Study the speech patterns and translate the examples into
Ukrainian.

II. Come up with three sentences of your own with each speech
pattern. Make sure they can be used to discuss attitudes to other
ethnic backgrounds and races.

III. Fill in the gaps with a suitable speech pattern:

1. The airship……….. taking off, but eventually I saw it go up.
2. Alf said he had taken the money to pay the debt but………..!
3. There is no shame in being wrong, only……….. to correct our
mistakes. 4. Hollywood almost always does badly in Olympic years,
and ……….. this year. Once the games start, audiences drop
considerably. 5.'He rang the following day, or the day after,' says
Lynsey.'I said I was busy and would call him back. But ………...'
6. Pierre is young and single, strong-minded, and very taken with
your sister. I think he will ……….. she stays in France. 7. If you
……….. operating your PC, don't despair, the cure might be simple
and cheap.

IV. Translate from Ukrainian into English using the speech
patterns:

1. Якщо вам складно заснути, спробуйте підготувати тіло до
сну за допомогою спеціальних заспокійливих технік, як, напри-
клад, йога чи медитація. 2. Крім того, слідкуйте за тим, щоб не
зловживати їжею чи напоями (не їсти чи пити надто багато)
безпосередньо перед сном (близько до часу сну). 3. Рівень без-
соння, ймовірно, підвищується з віком, особливо у жінок.
4. З іншого боку, люди з ожирінням, як і ті, хто випиває більше
4-х напоїв з кофеїном протягом дня, більш схильні до безсоння.
Вони лягають спати з надією якнайшвидше заснути, але це в них

489
не виходить. 5. В 1992 р. більше половини дорослого населення
США страждало від безсоння, не в змозі заснути відразу, а потім
вранці почуватися свіжими й сконцентрованими.

V. Respond to the statements below using a suitable speech
pattern:

1.You are over 30 minutes late! What kept you so long?! 2. I'm
not at all sure I will manage the children without you. 3. How come
my e-mail wasn't posted?! 4. It was a very warm connection and
I thought they became best buddies. 5. Can you just tell me in plain
words what you expect from me? 6. We expected to see Paul at the
meeting, but he never turned up! 7. I don't believe my eyes! Are you
eating cakes?


Te x t

FROM PAINTED OCEAN, PAINTED SHIP

BY REBECCA MAKKAI

[mə' kaI]


Rebecca Makkai is a modern American
writer whose fiction has appeared in The
Best American Short Stories for three
consecutive years – 2008, 2009 and
2010. Her work has also been published
in magazines such as New England
Review, The Threepenny Review, Shenandoah,
and The Iowa Review.


In 2009 Rebecca Makkai was awarded Shenandoah's Goodheart Prize
for fiction for her story 'Exit, Pursued.'
She holds an MA from Middlebury College's Bread Loaf School of
English and a BA from Washington and Lee University.
She lives near Chicago with her husband and daughter.

490
'Painted Ocean, Painted Ship' (2009)
is a sleekly written and beautifully
developed short story. It's part comedy-
of-errors tale, part character study. The
protagonist is Alex Moore, a young
English professor teaching 19th Century
British literature at Clement College.
She suffers one mishap after another.
The experience, though, forces her to
reassess everything about herself: her
attitudes, her relationships, even her
views of her own career. She comes out
the other end wiser – more aware of her
own faults and what's worth holding
onto in her life.


…She taught Coleridge
1
that fall. It was an unfortunately dull
section of 222, half frat boys who only took classes as a pack, a
bunch of foreign students, mostly Korean, who never spoke, and a
freshman English major named Kirstin who made every effort to turn
the class into a private tutorial.
Kirstin compared the poem to The Scarlet Letter
2
and one of the
boys moaned, apparently traumatized by some high school English
teacher. Alex wished someone else would talk. Poor Eden Su, for
instance, in the front row, was one of those Korean students. She
wrote astonishing papers, better by a mile than Kirstin's, and yet she
never spoke in class unless Alex asked her something directly, and
even then, she whispered and pulled her hair across her mouth. Like
everyone else in the department, Alex counted class participation as
a chunk of the final grade, and Eden, who deserved a high A, would
get a B. Before class, Alex asked her to come to her office later, and
now Eden was tearing apart a cheap ballpoint pen.

***

The problem, the source of all her snippiness was that since they'd
gotten engaged nine months ago he had not once, not a single time
except during sex, which absolutely didn't count, called her beautiful.

491
…Of course she'd known the staring-into-her-eyes thing wasn't going
to last forever, and it had been a crazy year, with the Australia trip
and her getting stuck there, and his dissertation, but nine months and
nothing. Not that she was counting, but she was.
She had been so caught up in being engaged and close to tenure
and publishing her articles and generally getting everything she
wanted that it wasn't until those weeks in the Adelaide hotel, alone
with Australian TV and her own thoughts, that she started wondering
if she could live with Malcolm the rest of her life, never seeing
beauty reflected back at her. And she wondered, if she felt like this
now, what she'd feel like at nine months pregnant. Or fifty years old.
Or twenty pounds overweight. Or terminally ill.
She felt regressive and petty and uneducated for caring about
beauty, but she did. God help her, it was closely tied to her self-
esteem and probably had been since about fourth grade.
Here was Eden, showing up like a prophecy, knocking with one
knuckle on the open office door. Alex motioned her in. Eden's eyes
had that glazed, jetlagged look common to all the foreign students.
Every year Alex assumed it would wear off by October, but it never
did. She'd mentioned it once to Leonard, and of course he'd had a
theory.'You know why, right? They stay up all night texting their
friends back home. Refuse to adjust to American time.'
Eden sat on the edge of the chair, her red backpack on her lap. It
almost reached her chin – a kind of canvas shield. 'Eden, I just
wanted to check in with you.' No response. 'You've been getting
solid A's on your papers, but I need you to understand that twenty
percent of your final grade is class participation.'
'Okay.' She said it through her hair, barely audible. If it hadn't
been a cultural issue, Alex would have worried about depression.
'Do you feel you are participating?'
She shrugged.
'Hello? Do you?' Which was harsh. She was mad at Malcolm, not
this poor girl.
Eden shrugged again.'What else could I do?' It was the most
words Alex had ever heard her string together, and she was pleased
to note that the English was okay. When she'd been a TA
3
, another
TA actually told her to compare foreign students' spoken English

492
with their written English, to make sure they weren't plagiarizing.
The implication being that they were more likely than native
speakers to do so, something Alex had never seen borne out.
'There's nothing else you can do,' she said to Eden. 'You need to talk.'
'Okay.'
'Look, I understand that back in Korea you weren't supposed to
talk in class, but you're at an American university now, and part of an
American education is talking. Not just writing about literature, but
engaging. Out loud.' She always had trouble ending conversations
with students, especially ones who wouldn't look her in the eye. 'Is
that something you think you can do?'
Eden shrugged and nodded, but she seemed upset, staring at the
bookshelf behind Alex. She looked, for once, like she wanted to say
something. But she didn't, just stood up and left.

***

That Friday it wasn't even Leonard who called her in, but Miriam
Bach, the Dean of Faculty. Alex was offered a glass of water, asked
to take a seat on the soft leather couch. She wanted to compare the
experience to being called to the principal's office, but that had never
happened to her.
'So we received a letter from a student named Eden Su,' Miriam
said. She had nothing on her desk, nothing at all except her picture
frames and her closed computer, and she rested her hands in her lap.
'It was a request to drop your class.'
'I think I know what this is about,' Alex said. It had been one of
about ten scenarios she'd rehearsed since receiving Miriam's e-mail,
and she felt her best strategy was to turn this into a friendly debate
about how hard to push foreign students, and whether the class
participation component was out of order.
'I'm not sure you do. Tell me what you know about Miss Su.'
'She does seem borderline depressed to me, although I question
whether that's cultural, just a matter of reserve. She's not an English
major.' Miriam was staring at her, so she kept talking. 'I think she's a
sophomore. Very good writer.'
'Yes, her writing is excellent. Tell me something: You mentioned
a cultural issue. What did you mean by that?'

493
'Oh, I wouldn't call it an issue. She's just very quiet, and I'm sure
that's what the letter is about, that I asked her to speak more in class.
I did acknowledge that in her previous schooling she likely hadn't
been asked to speak much. I hope that didn't upset her.'
Miriam opened a desk drawer and pulled out a paper. It wasn't
folded – so it was a Xerox of the letter, and who knew how many
copies were out there, and why. Miriam glanced through it.'In this
exchange, did you refer to her schooling in Korea?'
'Right.' And then her stomach turned to a wave of acid. Miriam
had asked it so casually, but no, this was the whole point.'Oh God, is
she not –'
'No, she's not. She's from Minnesota, fifth-generation American.
And her ethnic background is Chinese.'
Alex stared stupidly forward. Could she really have mistaken a
whispered Minnesotan accent for a Korean one? She started to
explain that Eden never spoke, that she looked so jetlagged, but she
stopped herself; it might only make things worse. She put her hand to
her mouth to show that she was properly horrified, that she felt
terrible on behalf of the girl. When really all she felt was horrified
for herself.
Miriam looked at the letter again. 'The issue, of course, is the
presumption that a student who looks Asian must be foreign-born.
She's quite angry, and it seems she's involved the Minority Student
Council. She says her father is very upset, but we haven't heard from
him yet.'
'May I please see the letter?' Alex held out her hand.
'Not at the moment, no, I'm afraid not.' Miriam slid it back in the
desk drawer. 'But you'll see it soon. And I want you to know that I do
understand how we make assumptions about all our students –
background, socioeconomic status. I really do understand. If it were
up to me, it would end with this conversation.'
Alex didn't know what to do, and she realized some principal's
office experience would have come in handy here. Did one grovel
now? Burst into tears? Make a joke? It was hot, so she rolled up
her sleeves.
'What's going to happen next is that the Dean of Students will
recommend Miss Su take this to the Grievance Committee
4
, and you'll

494
just have to do a written statement. I predict that they'll discuss this
briefly and dismiss it. And if there's no disciplinary action, it won't
come up in your tenure review
5
. That's my very strong prediction.'

***

On the way to her car, she called Malcolm and canceled dinner,
saying she had a monstrous headache and ten phone calls to make.
She'd just have seethed silently, and she couldn't bear his asking
what was wrong, trying to guess if it was something he'd said or
done. Usually, it was.
That night she drank an entire bottle of red wine, stared at A Night
at the Opera
6
with the sound too low to hear, and attempted to catalog
any racist thoughts she'd ever entertained. When she was five, walking
in Boston, she'd grabbed her mother's hand because there was a black
man coming toward them on the sidewalk. But she was so young, and
she'd grown up in New Hampshire
7
, for Christ's sake.
More recently, she hated the way any reporter using Spanish
words would roll out the thickest accent possible, just to prove to the
stationmaster and the listening public that his ten years of Spanish
class had paid off and that he was down with the people. 'It's going to
be a big issue with Ell-a-dim-no voters,' for instance. In a way he'd
never refer to'the francais community' or 'Deutsch immigrants.'
And there was a journalism professor, Mary Gardner, whose
creamy brown skin Alex once stared at in a faculty forum, becoming
(profoundly, inexcusably) hungry for chocolate.
But that was it. Honest to God, that was it. A resentment of over-
zealous reporters, a perverse admiration of Mary Gardner's
complexion, a small child's ignorance.
It occurred to Alex, lying drunk on the couch, that if all she
could summon up was one incident of someone else's vague racism,
while she could pin three on herself – no, four, let's not forget the
big one – that made her the most racist person she knew. By three
hundred percent.

***

On Monday, she ended class fifteen minutes early, bought a
grilled cheese to absorb some of the alcohol, and went back up to put
her head on her desk until her afternoon class.

495
***

Bill Tossman found her on a bench outside the library. She was
sitting very, very still, her hands clasped around a paper cup of
coffee she didn't think it wise to drink. 'There she sits,' he said,'as idle
as a painted ship upon a painted ocean.' She tried to laugh or smile,
but it must have come out a grimace.
If she had learned anything from Eden Su, it was that sitting there
mutely doesn't get you anywhere. Tossman was right – she was idle,
a ship frozen in a sea of trouble – and that would never do.

***

In future years, when she told that story, she left the part about
Malcolm. It became instead the story of why she left Clement
8
, of
how sweet Tossman had been to her, that year before he killed
himself. But where had the signs been? There had been no signs: just
poor Tossman, slumped on the steps of the music building at
midnight, gun in his hand. And no one seemed to know why. And
really, she barely knew him. She'd only read half his books.
She'd tell the story to younger colleagues, starting with Eden Su,
ending with Tossman, whom they all knew about already. The point,
the moral, was how easy it was to make assumptions, how deadly
your mistakes could be. How in failing to recognize something, you
could harm it or kill it or at least fail to save it. But she wondered,
even as she told the story, if she wasn't still missing the point. If
maybe it wasn't something, after all, about love – something she was
too cold to understand.
The telling was an attempt, of course, at penance. It never did
work; penance so rarely does.

Comme nt ar y

1. Coleridge: Samuel Taylor Coleridge (1772–1834), English
lyrical poet, critic, and philosopher, whose Lyrical Ballads (1798),
written with William Wordsworth, started the English Romantic
movement. The title of R. Makkai's story is obviously an allusion
to S.T. Coleridge:

496
Day after day, day after day,
We stuck, nor breath nor motion
As idle as a painted ship
Upon a painted ocean.
– S.T. Coleridge, The Rime of the Ancient Mariner
2. The Scarlet Letter: The Gothic Romance The Scarlet Letter
(1850) was written by the famous American author Nathaniel
Hawthorne (1804–1864). The novel is a psychological exploration of
the themes of sin, repentance, and morality.
3. TA: teaching assistant, an individual who assists a professor or
teacher with instructional responsibilities.
4. Grievance Committee: a group of people designed to provide
fair means of dealing with student complaints regarding a specific
action or decision made by the faculty or a faculty member. Students
who believe they have been treated unfairly, discriminated against,
or have had their rights abridged may initiate a grievance. Thus, the
University Grievance Committee seeks to protect the rights of
students and faculty, and to create an academic environment that
promotes the frank and open discussion of ideas.
5. Tenure review: an evaluation process conducted to determine
whether or not an academic should be granted tenure. Tenure is an
employment status that limits the circumstances under which
someone can be dismissed. Once a faculty member is offered tenure,
it is very difficult to remove that faculty member from a teaching
position. There are a number of reasons why colleges and
universities use a tenure system. One of the most important is the
desire to protect academic freedom by ensuring that faculty members
cannot be dismissed for holding controversial or unpopular opinions.
In a tenure review, a number of facets of performance are
considered. Evaluations from students and other faculty are weighed
along with the faculty member's publishing credits and other
accomplishments.
6. A Night at the Opera: an American musical comedy (1935)
that is universally considered to be the Marx Brothers' best and most
popular film.
7. …she'd grown up in New Hampshire: New Hampshire
[nu:'hæmp∫ə] is a state in the New England region of the
northeastern United States of America. According to the U.S. 2010

497
Census, 93.9 % of the state's population are white (or Caucasian),
2.2 % are Asian-Americans, and only 1.1 % are Afro-Americans.
8. Clement: Clement College where the main character used
to teach.


Es s e nt i al Voc abul ar y

Vocabulary Notes

1. chunk n 1) a thick solid piece that has been cut or broken off
something: a chunk of bread/meat/ice/wood, etc; 2) INFORMAL a
fairly large amount of something: I've already written a fair chunk of
my article.
chunky adj 1) having a short strong body: a chunky football
payer; 2) thick and solid: chunky jewellery/furniture; 3) consisting of
or containing thick pieces: chunky marmalade; 4) (Brit) (of clothes,
esp knitwear) made of thick, usually woolen, material: a chunky
sweater.
2. dismiss v [transitive] 1) to remove someone, esp an employee,
from a position: The workers have been unfairly dismissed from
their jobs. Syn: fire, sack, expel (from university); 2a) to put
thoughts, feelings, etc out of one's mind: He tried to dismiss the
suspicions from his mind; 2b) to consider something not worth
thinking or talking about: She was dismissed as a mere dreamer;
3) to send someone away, to allow someone to leave: The class was
dismissed at 2 o'clock; 4) (law) to reject a case: The court / judge
dismissed his appeal.
dismiss someone from something: You like my mother and
yet you will be content to dismiss her from your life?; dismiss
something as something: Allegations of corruption were dismissed
as ridiculous.
dismissal n 1a) [uncount] the action of dismissing someone: The
workers accused the company of unfair dismissal; 1b) [count] an
instance of someone being dismissed: The dismissals led to a strike.
dismissive adj of somebody/something showing in a rude, brief
and casual way that something is not considered worth thinking or
talking about: a dismissive gesture/tone.

498
1. petty adj DEROGATORY 1) small or trivial, unimportant:
petty details, petty crime/theft; 2) unkind or mean: petty jealousy, a
petty desire for revenge.
pettish adj DEROGATORY 1a) (of a person) bad-tempered, like
a child that is not allowed to do what it wants to do: He ought to be
jolly, but in fact he's a bully, pettish, pampered like a Roman
emperor; 1b) (of a remark or an act) said or done in a bad-tempered
or unreasonable way: Nicholas had made a pettish departure and
was sulking somewhere, awaiting apology or forgiveness.
2. seethe v [intransitive] 1) FORMAL (of liquids) to move
around, making bubbles or waves as if boiling: The grey ocean
seethed beneath them; 2) to be extremely angry about something but
try not to show other people how angry you are: She seethed silently
in the corner; to seethe with something (at something): She was
seething with rage at his remarks; 3) FORMAL seethe with
something (of a place) to be full of a lot of people or animals,
especially when they are all moving around: The resort is seething
with tourists all year round.
3. perverse adj (of people or their actions, intentions, etc)
showing deliberate determination to behave in a way that most
people think is wrong, unacceptable or unreasonable: She finds a
perverse pleasure in upsetting her parents.
perversion n 1) [uncount] behaviour that most people think is not
normal or acceptable, especially when it is connected with sex:
sexual perversion; 2) [count] the act of changing something that is
good or right into something that is bad or wrong; the result of this:
the perversion of justice.
pervert v [transitive] 1) to change a system, process, etc. in a bad
way so that it is not what it used to be or what it should be: Art
should be used to perfect rather than pervert nature. All six soldiers
deny attempting to pervert public justice and obstructing
investigations; 2) to affect somebody in a way that makes them act or
think in an immoral or unacceptable way: Some people believe that
television can pervert the minds of children.
pervert n DEROGATORY a person whose sexual behaviour is
not thought to be normal or acceptable by most people: Many people
today still see Freud as some kind of sexual pervert, taking his
theories to be rather far-fetched.

499
4. acid n 1) (chemistry) a chemical, usually a liquid, that contains
hydrogen and has a pH of less than seven: ascorbic acid; Fruits and
vegetables contain acids that aid the absorption of calcium; 2) any
sour substance: 3) SLANG LSD.
acid house a type of electronic music with a strong steady beat,
often played at parties where some people take harmful drugs: The
debate brought demands for the Government to ban'acid house'
parties.
acid rain rain that contains harmful chemicals from factory gases
and that damages trees, crops and buildings: We must safeguard the
ozone layer, combat acid rain, tackle the problem of global warming.
acid test a way of deciding whether something is successful or
true: The acid test of a good driver is whether he or she remains
calm in an emergency.
acid adj 1) (technical) containing acid or having the essential
characteristics of an acid: Trees and shrubs colour better on acid
soils; 2) having a bitter sharp taste: A lemon is an acid fruit; 3) (of a
person's remarks) critical and unkind: His acid tone confirmed my
worst suspicions.
acidity n [uncount] the state of having a sour taste or of
containing acid: individuals with low stomach acidity.
acidly adv in an unpleasant or critical way: 'Thanks for nothing,'
she said acidly.
5. mile n (1) a unit for measuring distance equal to 1.6 km:
20-mile drive to work; an area of four square miles; 2) miles (plural)
a large area or a long distance: I'm not walking – it's miles away;
3) (plural) INFORMAL very much; far: I'm feeling miles better
today, thanks. I'm miles behind with my work; 4) the mile a race over
one mile: He ran the mile in less than four minutes.
be miles away INFORMAL to be thinking deeply about
something and not aware of what is happening around you: The
actor's mind was miles away, thinking about anything but the
performance he was giving.
go the extra mile (for somebody/something) to make a special
effort to achieve something, help somebody, etc: Krause deserves a
lot of credit for going the extra mile to do this story.

500
miles from anywhere INFORMAL in a place that is a long way
from a town and surrounded only by a lot of open country, sea, etc:
We broke down miles from anywhere.
run a mile (from somebody/something) INFORMAL to show
that you are very frightened of doing something: I'd normally run a
mile from any fast-food restaurant, but for the next week I'm going to
have to visit McDonald's for every breakfast, lunch and dinner as
part of what my editor calls an'interesting experiment.'
see, spot, tell, smell, etc. something a mile off INFORMAL to
see or realize something very easily and quickly: After twenty years
in the police she could smell a liar a mile off.
stand/stick out a mile to be very obvious or noticeable: It stood
out a mile that she was lying.
give somebody an inch (and they'll take a mile/yard) SAYING
if you allow some people a small amount of freedom or power, they
will see you as weak and try to take a lot more.


Word Combi nat i ons and Phrases

to show up (infml)
to be getting straight / solid A's
to drop a class / a course (vs pick up a course)
to be foreign-born
to make / give / provide / submit / do a written statement
to pay off (infml)
to be a big issue with somebody
to pin something on somebody / oneself


Vocabul ary Exerci ses

I. Study the vocabulary notes and translate the illustration
examples into Ukrainian.

II. Come up with three sentences of your own with each
vocabulary unit. Make sure they can be used to discuss attitudes to
other ethnic backgrounds and races.

501
III. Consult a dictionary, transcribe the following words
and practice their pronunciation:

prophecy, adjust, component, acknowledge, Xerox, plagiarize,
scenario, rehearse, presumption, overzealous, pervert (v), pervert (n),
grovel, socioeconomic, Minnesota, New Hampshire, Grievance
Committee.


IV. Fill in the gaps with Essential Vocabulary units:

1. Does this place always ………… with tourists? 2. It stands out
a ………… that you are lying! 3. 'The class is …………' said the
professor. 4. Don't be as ………… as a spoilt child. 5. Are you
finished with your article? – Not yet, a decent ………… is still left.
6. Trees, crops and buildings around the world are damaged by
………… rain. 7. When your children want to ask questions,
encourage them. If you are ………… or always say you are too busy,
they may stop wanting to share their thoughts and feelings. 8. The
typical British beef animal is very short-legged and ………… in the
body. 9. According to the doctor, his health problems are caused by
high stomach ……. . 10. Some extremists have an exaggerated and
………… notion of independence. 11. This soup is good hot or cold,
completely pureed or a little……… . 12. 'What are you doing here?
'I was just passing.'Just passing? You live ………… away!'


V. Match the words on the left with their antonyms on
the right:

1. chunky
2. dismiss
3. petty
4. seethe
5. perverse
6. acid
7. miles away
8. down-to-earth, practical, pragmatic
9. important, major, significant
10. natural, normal, reasonable
11. appoint, employ, engage, hire
12. skinny, slender, slim, thin
13. rejoice, triumph, be happy
14. kind, nice, sweet

502
VI. Paraphrase the following sentences using your
Essential Vocabulary:

1. The court rejected our case. 2. The way to decide if this is true
friendship is whether friends stand beside you when you are down on
your luck. 3. Ivor made a special effort to win the first prize. 4. When
the crisis broke out, many workers lost their jobs. 5. Can you just
leave out all these insignificant details? 6. What you are saying is an
intentional distortion of truth! 7. If you allow him a small amount of
freedom or power, he will take advantage of it. 8. Astronomers from
California said they found a big piece of ice and rock in the solar
system larger than Pluto.

VII. Translate the following sentences into English using
the Essential Vocabulary:

1. Ти вважаєш, що цей шахрай отримав по заслугах? В тебе
якесь збочене уявлення про справедливість. 2. Диспут – це не об-
мін їдкими зауваженнями, а спроба вирішити проблему. 3. Або
Ви вчасно закінчите свій шмат роботи, або Вас буде звільнено з
посади! 4. Це був чистий лимонний сік, такий кислий, що його не
можна було пити. 5. Ви їй заздрите, це видно за версту. 6. Справа
не здавалася судді дрібною, але він гнав від себе усі підозри.
7. Фрукти й овочі містять кислоти, які допомагають засвоєнню
кальцію. 8. Від різких зауважень опонента його охопив гнів.

VIII. Write out sentences from the text containing the
word combinations and phrases given above and translate
them into Ukrainian.

IX. Fill in the gaps with the Word Combinations and
Phrases:

1. We waited for an hour and a half, but Mary never …………..
2. The little girl was a ………….... pupil. 3. Though the bum was
innocent, the police …………. 4. Students asking for an additional
time-off must ………... 5. According to a recent study, by 2050 one
in five Americans will be ……….... 6. Security is now a ………..
with airport authorities. 7. Alec is among the top students in his
group – always getting …………… 8. Hard work and persistence
always ……….. in the long run.

503
X. Translate the following sentences into English using the
Word Combinations and Phrases:

1. Він поставив на карту усе своє майно, й ризик окупився
сторицею. 2. Ви запізнилися й мусите написати пояснювальну
записку. 3. Мені можна записатися на новий курс? 4. Для твор-
чих людей задоволення від роботи – питання надзвичайної важ-
ливості. 5. Поліція опитала усіх можливих свідків у пошуках
хлопця, коли раптом через три дні він об'явився сам. 6. Навіть
якби менеджер був ні в чому не винний, цей провал усе одно
повісили б на нього. 7. Не дивно, що вона стала такою знамени-
тістю – вона отримувала в школі суцільні п'ятірки.


Exe r c i s e s t o t he Te xt

I. Answer the following questions on the text:

1. The story starts with Alex accidentally shooting and killing an
albatross while duck-hunting with her half-brother in Australia. So
the albatross provides one of the options for Alex's closing
comments on her penitential telling of the story to friends later: 'The
point, the moral, was how easy it was to make assumptions, how
deadly your mistakes could be. How in failing to recognize
something, you could harm it, kill it, or at least fail to save it.'
Who provides the other two options?
2. The misadventure with the albatross just begins Alex's
troubles (as she has to deal with the Australian authorities, as well as
pay a hefty fine). What other mishaps does she have to deal with?
3. Is the ending of the story entirely happy?
4. What is your reaction to the flash-forward at the end,
especially Alex's admission about attempts at penance rarely
working?
5. In an interview, the editor of The Best American Short Stories
2010 Richard Russo says,'It's a story about how deeply we need for
others to see us as we see ourselves, even as day to day, we're
making mistakes in the way we view others.' Do you agree with
Russo's summary of this story? To which of the characters does his
statement apply?

504
6. The summary preceding the story characterizes'Painted ocean,
painted ship' as a comedy of errors. Whose errors are they? Who, in
your opinion, behaves inadequately in the story?
7. Can you find instances of humour in the extract? Who is its
object?
8. Is the author supportive or critical of Alex?
9. What is the cause of Alex's bad luck?
10. Reread S.T. Coleridge's lines in the Commentary after the
text. What does Alex have to do with 'a painted ship upon a painted
ocean'? Where is she stuck?

II. Reread the text to answer the following questions on
its style:

1. Does the author employ formal or informal vocabulary to
communicate his ideas to the reader? How does the vocabulary used
correlate with the characters or events, and the author's attitude to
them: does it emphasize the grandness and formality of the occasion,
create an informal and even intimate atmosphere or produces a
humorous effect? Due to the vocabulary used, is the author's tone dry
and objective, or emotional and subjective?
2. Who do the epithets below refer to?
• glazed, jetlagged look;
• creamy brown skin;
• a crazy year;
• a whispered Minnesotan accent;
• a monstrous headache.
How do they characterize the personages? What other lexical
expressive means and stylistic devices contribute to creating the
personages' images?
3. The author consistently employs detached constructions in the
story, e.g.:
• And she wondered, if she felt like this now, what she'd feel like
at nine months pregnant. Or fifty years old. Or twenty pounds
overweight. Or terminally ill.
• … part of an American education is talking. Not just writing
about literature, but engaging. Out loud.

505
• … that made her the most racist person she knew. By three
hundred percent.
Who do all of them refer to? Find more examples of this
syntactical stylistic device.
4. What peculiar linkage characteristic of the story is employed in
the sentence below?
She felt regressive and petty and uneducated for caring about
beauty.
Provide more examples. Do syntactical stylistic devices analyzed
in questions 3 and 4 correlate with the lexical expressive means and
stylistic devices on the one hand, and with the author's tone on the
other hand?
5. What is the author's message in the story? Do you find the
story instructive, philosophical or purely entertaining?

III. Summarise the text in a short paragraph of 60–80 words.

IV. Write a précis of the text in 20–30 words.

V. Retell the text as if you were: a) Alex; b) Eden Su; c) Miriam
Bach, the Dean of Faculty. Will the general tone of the three versions
differ? How and why?


S E C T I O N В

I. Read the quotes below and list the notions related to
attitudes:

• Ability is what you're capable of doing. Motivation determines
what you do. Attitude determines how well you do it.
Lou Holtz (a famous American football coach, and active
sportscaster, author, and motivational speaker).
• Any fact facing us is not as important as our attitude toward it,
for that determines our success or failure.
Norman Vincent Peale (a XXth century US spiritual leader).

506
II. Study the scientific definition of attitudes and expand the list
of notions they are related to:

Attitudes are usually defined as a disposition or tendency to
respond positively or negatively towards a certain thing (idea, object,
person, situation). They encompass, or are closely related to, our
opinions and beliefs and are based upon our experiences. Attitudes
often relate in some way to interaction with others.
– Greg Kearsley


III. Study the Attitude Vocabulary and use it to describe:

a. how you feel and behave in class;
b. how you feel when shopping;
c. how you feel at a friendly party;
d. how you feel at a family get-together;
e. how you feel about members of other cultures.


At t i t ude Voc abul ar y

Tranquility

calm
hopeful
meditative
nostalgic
optimistic
peaceful
reflective
relaxed
reminiscent
sentimental
serene
soothing
spiritual
staid

Happiness

amiable
amused
cheery
contented
ecstatic
elated
enthusiastic
exuberant
hopeful
jovial
joyful
jubilant
lighthearted
optimistic
positive
sanguine

Romance

affectionate
amorous
compassionate
erotic
fanciful
ideal
intimate
loving
lustful
lyrical
sensual
tender
whimsical


507
Logic

argumentative
didactic
doubtful
erudite
explanatory
informative
persuasive
rational
thoughtful

Impartiality

apathetic
candid
cautionary
ceremonial
detached
distant
factual
formal
forthright
matter-of-fact
objective
restrained

Humor/sarcasm/satire

belittling
caustic
comical
cynical
facetious
flippant
insulting
ironic
irreverent
malicious
mock-heroic
mocking
obsequious
ribald
ridiculing
sarcastic
scornful
taunting



Sadness/fear

apprehensive
concerned
despairing
elegiac
foreboding
gloomy
hopeless
melancholy
morose
mournful
pessimistic
regretful
serious
sober
solemn
somber
tragic

Anger

accusatory
belligerent
bitter
disappointed
disgusted
furious
grouchy
incredulous
indignant
inflammatory
insulting
irritated
outraged
petulant
querulous
savage
sullen
threatening
wrathful
Arrogance

authoritative
boastful
bold
condescending
contemptuous
critical
disdainful
haughty
insolent
judgmental
mordant
patronizing
pompous
pretentious
supercilious


508
MOTIVATIONAL TEXT

I. Read the motivational text below and decide on the fifth
vital attitude that defines a successful life for you personally:


Fi v e u n b e a t a b l e s u c c e s s a t t i t u d e s

There are attitudes in life that man cannot just do without to attain
certain height. These same attitudes determine how far a success you
become. And success doesn't happen by chance, it occurs based on
principles. Learn to run your life on principles with the following
vital attitudes that define a successful life.

1) Self esteem
How do you feel about yourself? You are a reflection of who you
see yourself to be. Regardless of what people say about you, it is
what you say about yourself that dictates how people relate with you.
So when you don't know your nature, you can't know your capacity.
Discover the latent within you. Confess great things about yourself.
I'm convinced, you have no limitation.

2) Love
How do you feel about other people? Life is about Inter-
Dependence, not Intra- Dependence. Your attitude to people in Life
determines how far and how fast you go. You can determine how
people behave to you – by how you behave to people. You can
dictate how people talk to you – by how you talk to people. In other
words, you get back what you offer people in life. And you get the
very best out of others when you give yourself.

3) Hope
How do you feel about your future? You get better results in life
if your expectation is high. Start to see a bigger picture about your
future. The secret of getting ahead is getting started. If you are saying
you don't like where you are and you're doing nothing about it – you
make no difference. Do something now.


509
4) Forgiveness
How do you feel about your past? The greatest control of a man's
future is his past. If your past is not regulated, your future is in array.
Learn to make failure your teacher, not your undertaker. If each of us
should analyze our past, nobody will move forward. But whenever
you are ready to move forward in Life, God is ready to move with
you. It is not what happens to you that determines how far you go in
life – it is your reaction to what happens.

5) ………
Put these principles to use. Develop them as attitudes, and you
will experience speed beyond expectation.

after Daniel Ajumobi


II. Based on the text, give the English equivalents for the
following units:

1. рухатися вперед (2 variants);
2. досягти певних висот;
3. відчути, що швидкість (змін) перевищує сподівання;
4. що б люди не казали про тебе;
5. застосовувати принципи на практиці;
6. отримувати від інших лише найкраще;
7. обходитися без чогось;
8. визначати, чого ти досягнеш у житті;
9. ти й уявлення не маєш, на що здатен.

III. What does the author mean? For each statement below,
circle the one closest in meaning:

1. You are a reflection of who you see yourself to be.
2. The better people think of you, the better you are.
3. The better you think of yourself, the better you are.
4. What you think of yourself is totally different from what you
actually are.
5. Discover the latent within you.
6. Discover how idle you are.

510
7. Discover your strengths and weaknesses on your own.
8. Discover your hidden potential.
9. Life is about Inter-Dependence, not Intra-Dependence.
10. It is vital for people to depend on themselves, and not on others.
11. We all depend on what others think of us.
12. We all depend on each other, and not just on ourselves.
13. Your future is in array.
14. Your future is unpredictable.
15. Your future will be orderly and boring.
16. You have no future.
17. Learn to make failure your teacher, not your undertaker.
18. Don't let your mistakes kill your zest for life.
19. Don't look for people responsible for your mistakes.
20. If you do not learn from your mistakes, others will.

IV. Judging from the text in Ex. IV, how would you describe a
motivational text? Does it primarily perform the function of
informing or persuading the reader? What lexical, grammatical
and pragmatic means does the author employ to reach his goal?

V. Find in the text the claims with which you agree / disagree.
Justify your position.


S c i e n t i f i c a r t i c l e

I. Do any of your acquaintances display a stable negative
attitude towards others? Read the scientific article below to
find out why:


What y ou s ay about ot he r s s ay s

A lot about you
How positively you see others is linked to how happy, kind-
hearted and emotionally stable you are, according to new research by
a Wake Forest University psychology professor.

511
'Your perceptions of others reveal so much about your own
personality,' says Dustin Wood, assistant professor of psychology at
Wake Forest and lead author of the study, about his findings. By
asking study participants to rate positive and negative characteristics
of just three people, the researchers were able to find out important
information about the rater's well-being, mental health, social
attitudes and how they were judged by others.
The study appears in the July issue of the Journal of Personality
and Social Psychology. Peter Harms at the University of Nebraska
and Simine Vazire of Washington University in St. Louis co-
authored the study.
The researchers found a person's tendency to describe others in
positive terms is an important indicator of the positivity of the
person's own personality traits. They discovered particularly strong
associations between positively judging others and how enthusiastic,
happy, kind-hearted, courteous, emotionally stable and capable the
person describes oneself and is described by others.
'Seeing others positively reveals our own positive traits,' Wood says.
The study also found that how positively you see other people
shows how satisfied you are with your own life, and how much you
are liked by others.
In contrast, negative perceptions of others are linked to higher
levels of narcissism and antisocial behavior.'A huge suite of negative
personality traits are associated with viewing others negatively,'
Wood says. 'The simple tendency to see people negatively indicates a
greater likelihood of depression and various personality disorders.'
Given that negative perceptions of others may underlie several
personality disorders, finding techniques to get people to see others
more positively could promote the cessation of behavior patterns
associated with several different personality disorders simultaneously,
Wood says.
This research suggests that when you ask someone to rate the
personality of a particular coworker or acquaintance, you may learn as
much about the rater providing the personality description as the person
they are describing. The level of negativity the rater uses in describing
the other person may indeed indicate that the other person has negative
characteristics, but may also be a tip off that the rater is unhappy,
disagreeable, neurotic – or has other negative personality traits.

512
Raters in the study consisted of friends rating one another, college
freshmen rating others they knew in their dormitories, and fraternity
and sorority members rating others in their organization. In all
samples, participants rated real people and the positivity of their
ratings were found to be associated with the participant's own
characteristics.
By evaluating the raters and how they evaluated their peers again
one year later, Wood found compelling evidence that how positively
we tend to perceive others in our social environment is a highly
stable trait that does not change substantially over time.

From Science Daily.


II. Judging from the text in Ex. IX, what are characteristic
features of a scientific article? Does it primarily perform the
function of informing or persuading the reader? How does a
scientific article differ from a motivational text on the lexical,
grammatical and pragmatic levels?

III. In the spaces provided next to each number, mark
statements 1–6 as true (T) or false (F) according to the text:

1. ______ The investigation was carried out by four university
professors.
2. ______ Using a person's opinion of others, the scientists were
able to derive a lot of information about the person who performed
the initial analysis.
3. ______ An individual's negative attitude towards others can be
viewed as an indicator of his psychological problems.
4. ______ It is impossible to teach people to see others more
positively.
5. ______ It is quite easy to change a person's attitude towards
others for the better.
6. ______ An emotionally stable and happy person is inclined to
see others positively.


513
XII. Summarize the major ideas of the article, using the
quotation expressions below:

takes a look at
focuses on the issue of…
deals with
The article / author points out that…
states
emphasizes
asserts
reports
highlights the fact
argues
concludes


Ma g a z i n e a r t i c l e

I. Harassment is a hostile attitude towards members of a certain
group (race, religion, gender, sexual orientation, etc), whether
through direct threats, methods of intimidation, or'jokes' about that
group. Read the magazine article below and say what type of
harassment its main character suffered from and why:


How i de al t wi t h di s c r i mi nat i on:

A case study

Kirsty, 25, was becoming depressed following a stream of sexist
harassment from her male colleagues. Finally she took control of the
situation though, and proved that their behaviour was unacceptable.
Take a look through Kirsty's case study and see how she dealt with
this discrimination.
'I had always dreamed of a high flying city career so when I
graduated, I worked hard to get a job in a well respected financial
institution. I knew I had the skills to do well and was really excited
to get started.

514
Obviously I was aware that it is a very male dominated industry
but I had 2 brothers so was used to being one of the guys, and it
didn't phase me in the slightest. I made sure that I dressed
professionally and was ready to give them a run for their money.'

Bad st art

'The other men in my group were hostile to me from the moment
that I started. I found out later that I had taken a position that they
thought was going to one of their friends so I think they resented me.
To begin with, they did not make any sexist comments, but were
just generally cold and unhelpful. I naively thought that I just had to
prove myself and their attitudes towards me would turn around.'
Unfortunately, things soon went from bad to worse for Kirsty,
and however hard she worked, she couldn't break through.

Sexi sm

'It started in a subtle way, with the odd comment here and there. I
thought I was just being sensitive and put up with it. However, soon
my male colleagues were making overtly sexual jokes around me and
saying insinuating things that made me feel very uncomfortable.
It was past the point of making a joke of it so I tried to talk to the
ringleader and ask why he was being like that. He played innocent
and apologised for any 'misinterpretation', but nothing changed. In
fact, I think he just wound up his friends more and the harassment
became more frequent.'

Taki ng act i on

'Their behaviour was getting to me so much that I dreaded going
to work and slipped into a spate of depression. I knew I couldn't let
them win, so I finally plucked up the courage to do something about
it. I started keeping notes of everything they said and did, so that I
had a good record.
Then I made an appointment and approached my boss about it. I
expected him to be unsympathetic, but actually he took my
complaint very seriously. The grievance was dealt with in-house and
the men received disciplinary action and were moved to different
departments.

515
It felt great that somebody was on my side and that I had stood up
for myself. Since then I have been treated as an equal by my new
colleagues, and am happy and thriving in my job. I would advise
anyone who is being discriminated against to find the courage to
speak up. It's not your fault, it shouldn't be tolerated, and you can get
back your life and your confidence.


II. Fill in the missing prepositions and give synonymous
expressions to the following:

1. to take control _______ the situation;
2. hostile _______somebody;
3. not to phase somebody _______the slightest;
4. to put _______ with somebody's unacceptable behaviour;
5. to slip _______ a spate of depression;
6. to stand up _______ oneself;
7. to pluck _______the courage to do something about it;
8. things went _______ bad _______ worse for somebody;
9. their behaviour was getting _______ me;
10. to discriminate _______ somebody.


III. Judging from the Magazine article in Ex. I, what are
characteristic features of a magazine article? What is the
author's primary goal? How does a magazine article differ from
a scientific text, on the one hand, and from a motivational text,
on the other hand? What are its lexical, grammatical and
pragmatic peculiarities?


IV. Use Attitude Vocabulary from this Unit to describe:

1. Kirsty;
2. her male colleagues;
3. her boss.

516
XVII. Choose a project topic from the list. Prepare a
15-minute PowerPoint presentation on it and present it to the
group. Allow 5 minutes for a question / answer session.

• Discrimination Can and Should Be Challenged
• Racism as Discrimination Motivated by Race
• Interpersonal Relationships and Marriage or Bonding Relationships
• Interpersonal Relationships and the Family
• Family: A Safe Haven or a Nightmare of Oppression?


S E C T I O N C
GUIDELINES FOR DEBATE PARTICIPATION



What i s a de bat e ?

A debate involves a discussion of the pros and cons of an issue.
Debating successfully is all about using argument and persuasion to
convince other people that your views are right. *


refer to: Ajumobi D. Five Unbeatable Success Attitudes. – Retrieved from:
http://www.scribd.com/collections/2719564/FIVE-5-UNBEATABLE-SUCCESS-
ATTITUDES
Colm F. – Retrieved from: http://www.paulnoll.com/Books/Clear-English/debate-
advice.html
How I Dealt With Discrimination: A Case Study. – Retrieved from:
http://www.aboutequalopportunities.co.uk/dealing-with-discrimination-case-study.html
Jones D. Debating skills come in handy in business // USA TODAY.
– Retrieved from: http://www.usatoday.com/money/companies/management/
2004-09-29-ceo-debates_x.htm#
Kearsley G. The Theory Into Practice Database. – Retrieved from:
http://tip.psychology.org/attitude.html
Martin R. S. Fiction Review: Rebecca Makkai, 'Painted Ocean, Painted
Ship.' – Retrieved from: http://polculture.blogspot.com/2011/03/fiction-review-
rebecca-makkai-painted.html
What You Say About Others Says a Lot About You // Science Daily.
– August 3, 2010. – Retrieved from: http://www.sciencedaily.com/releases/
2010/08/100802165441.htm
6 steps to debating perfection. – Retrieved from: http://www.bbc.co.uk/
print/schools/studentlife/revisionandskills/skill/debating_skills.shtml
http://www.finestquotes.com/quote_with-keyword-Debate-page-0.htm#ixzz
1O7YChuiF

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I. Read the quotes below and use them to work out tips for
debating successfully:

I disapprove of what you say, but I will defend to the death your
right to say it.
Voltaire
Those who cannot understand how to put their thoughts on ice
should not enter into the heat of debate.
Friedrich Wilhelm Nietzsche
When you resort to attacking the messenger and not the message,
you have lost the debate.
Addison Whithecomb


II. Compare your tips with the basic rules of debating an
issue from BBC:

6 st eps t o debat i ng perf ect i on:

1. Research: Research the subject, so that you have facts to back
up your views. It helps to validate your answer so it becomes more
than just your opinion.
2. Logic: Use logic to develop your case and make your points.
Lead each point on from what you were previously saying. That way
you build up a story and expand your answer.
3. Counter arguments: It's always good to be prepared, so
consider the counter arguments in advance. That way you're always
prepared, and the other side can't catch you out.
4. Keep an open mind: Be open minded and prepared to change
your opinion if you the other side convinces you your argument is
flawed.
5. Don't get personal: In the heat of a debate it's easy to lose
your cool and attack the other person for having a different opinion
to you. But remember they're entitled to that opinion and just
because they don't think the same as you it's not a bad thing.


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6. Stay Focused: Stick to the subject being debated and don't
stray into other areas. It sounds obvious but it's easy to do once you
start debating.


III. Debating is not only about knowing WHAT to say, but also
about HOW to say it. Study the suggestions below and find the
ones you generally try to follow in arguments:

1. Avoid the use of Never.
2. Avoid the use of Always.
3. The use of Often and Generally allows for exceptions.
4. Use Many rather than Most.
5. Use Some rather than Many.
6. Avoid exaggerations.
7. Don't disagree with obvious truths.
8. Refrain from saying You are wrong.
9. You can say your idea is mistaken.
10. Attack the idea, not the person.
11. Concede minor or trivial points.
12. Quote sources and numbers.
13. If it is just your opinion, admit it.
14. Do not present opinions as facts.
15. Smile when disagreeing.
16. Stress the positive.
17. Avoid bickering, quarreling, and wrangling.
18. Watch your tone of voice.
19. You do not need to win every battle to win the war.
20. Don't win a debate and lose a friend.
21. Keep your perspective – you're just debating.


IV. Do you consider debating skills important in modern
society? In what careers are they especially crucial? Read
the newspaper article below to confirm or re-examine your
assumptions:

519
De b a t i n g s k i l l s c o me
i n h a n d y i n b u s i n e s s

Law and politics are the career choices of competitive debaters,
but there is a gradual shift toward business careers.
Debaters train to persuade and advocate a side. At tournaments
they often don't know what side they will take until the last minute
and are often required to switch sides in subsequent rounds.
That seems a perfect tutorial for lawyers. Cynthia McKay, CEO
of Le Gourmet Gift Basket, says she learned'attorneys have no
opinion until they're paid to have one' at University of Denver law
school.
But the debate discipline is also laden with skills necessary to
business. And although debate teams will likely remain a breeding
ground for future lawyers and the politically ambitious, debate
coaches are seeing more and more of their former students at or near
the top of companies.
Debaters must do exhaustive research, be flexible, get to the point
and have the courage to discard just about everything they learn on
the fly. In other words, debate teaches them to make tough choices.
If there is a single lesson of debating, it's to know your opponent
better than they know themselves, says Scott Deatherage, head of the
Northwestern University debate team, winner of six of the last
10 national championships.'We teach how to make decisions under
pressure and in a timely fashion. My sense is that CEOs are called
upon to do that,' he says.

Ke y de bat e s ki l l s

CEOs and company presidents who have formal debating
experience include Lance Rosenzweig of 2,500-employee
outsourcing specialist PeopleSupport; Chuck Berger of Nuance
Communications, a software company with more than 300
employees; Mark Astone of marketing and communications agency
Panagraph; Tod Loofbourrow of 130-employee human resources
software company Authoria; Karyl Innis of The Innis Co. executive
coaching firm; and Cynthia McKay, whose company has 510
franchises in 11 countries.

520
Nuance's Berger says he learned three things in debate that have
helped in business. First, how to research and prepare a controversial
topic with opposing viewpoints. Second, to make a compelling
presentation. Third, to act quickly on your feet.
'In a structured debate, you have limited time,' Berger
says.'Customers likewise give you limited time to tell them why they
should buy your product. You must get right to the point in a
compelling way.'
Richard Horrow, Horrow Sports Ventures President, adds:'Debate
gave me the ability to organize my thoughts and make a rational case
in a way that is unparalleled.'
K. Innis says it taught her'to talk and not sweat, to persuade
and not shout.'
But debating also teaches listening skills and winning allegiances,
not pomposity, S. Deatherage says, adding that people who don't
see the opponent's point of view tend to be the weakest
collegiate debaters.
Debaters encounter other drawbacks when entering business.
R. Horrow fights a tendency to cut people off and finish their
sentences.'I've learned to slow down my speech. I do it consciously.'
But in business, the positives far outweigh the negatives, debaters
say. Women say debate taught them to communicate in a man's
world, to hammer home strong points. C. McKay says she has won
business with some'who might have a gender problem.'

after Del Jones


V. Answer the following questions, using the WORDING
and IDEAS of Section B:

1. In what careers do debating skills come in handy?
2. What skills does debate teach? (name at least six skills)
3. What are the drawbacks of being a skillful debater?
4. Which of the skills highlighted in the article are, in your
opinion, relevant to your future career?

521
Us e f u l p h r a s e s
f o r d e b a t i n g a n i s s u e

Strong agreement Partial agreement

I couldn't agree more!
That's absolutely true!
Absolutely!
I agree with your point.
I'd go along with your point.
I'm with you on that point.
That's just what I was thinking.
That's exactly what I think.
That's a good point.
That's just how I see it.
That's exactly my opinion.

Yes, perhaps, however ...
Well, yes, but ...
Yes, in a way, however ...
Hmm, possibly, but ...
Yes, I agree up to a point, however ...
Well, you have a point there, but ...
There's something there, I suppose,
however ...
I guess your idea could be right, but ...
Yes, I suppose so, however ...
That's worth thinking about, but ...

Strong disagreement Polite disagreement

I disagree.
I disagree with your idea.
I'm afraid I don't agree.
I'm afraid your idea is wrong.
I can't agree with your idea.
I couldn't accept that idea for
a minute.
You can't actually mean that.
I wouldn't go along
with your idea there.
You can't be serious about
that point.
You must be joking.
It's possible you are mistaken
about that.

I am not so sure.
Do you think so?
Well, it depends.
I'm not so certain.
Well, I don't know.
Well, I'm not so sure about that.
Hmm, I'm not sure your idea is right.
I'm inclined to disagree with that idea.
No, I don't think so.


VI. Role-Play: Debating:

PREPARATION:
Study the topics below and select one for debating in class. At
home, make up two cards: Card 1 listing five arguments for, and
Card 2 listing five arguments against the issue. You do not know
whether you will argue for or against (no matter what your true
feelings are), so consider both options thoroughly.

522
PROCEDURE:
The teacher teams up the class and decides on each team's side of
the argument (for or against). He then picks Student 1 to start.
Student 1 presents a point on the side he is on and then chooses
Student 2 on the opposite side by asking:'Do you agree with me?'
Student 2 is to answer, and then give a point of his own. After that
Student 2, in his turn, asks Student 3 from the opposite side if he
agrees, and so on.

RULES:
1. Use Debating Expressions above.
2. Keep in mind the rules of debating listed in Ex. II and III.
3. You cannot disagree completely (or with everything). For
example, if someone says that cigarettes cause diseases and you are
asked to respond, you should reply something like'You are correct to
a point, but…', and then go on with your point.


To p i c s :

1. Television Plays a Positive Role in Society.
2. Students Should Have a Part-time Job.
3. The Younger Generation Knows Best.
4. Smoking Should be Prohibited.
5. Money is the Most Important Thing in Life.
6. Women Should be Treated the Same as Men.
7. It is a Good Thing to Live in a Modern City.
8. Cars Do More Harm than Good.

523
SUPPLEMENT



OUTLINE
OF TEXT ANALYSIS


1. Who is the extract (passage, story) under analysis written by?
Introduce the author in terms of his:
• nationality;
• historical epoch;
• literary trend;
• major works.
2. What is the title of the story (chapter) under consideration? Is it
• symbolic,
• intriguing,
• misleading,
• thought-provoking,
• ironic?
How does the title contribute to your understanding of the text?
3. What is the major theme of the text (i.e., what is the text about
on the most global scale)? The author can focus on:
• social problems;
• human relationships;
• human values etc.
What is the author's message to the reader within this theme?
Does it correlate with the title of the text?
4. From the viewpoint of presentation, is the text the 1
st
or 3
rd

person narrative?
• 1
st
person narrative bridges the gap between the author and the
reader and creates the impression of the author's presence in the text
showing events and feelings 'from the inside'.
• 3
rd
person narrative sounds more objective, with the author
rather distant from the events depicted in the text.

524
5. Who is the main character / protagonist of the story (extract)
under analysis? Can he be viewed as a generalized image of a
typical, ordinary person (especially if he has no name)? Is the
protagonist depicted as a strong and confident personality, or as a
passive and powerless person, etc?
Is this image created primarily through
• direct personage's characterization (by providing his
descriptions);
• indirect personage's characterization (by letting the reader
form judgements of the protagonist's character based on his actions);
or
• speech characterization (by letting the reader form judgements
of the protagonist's social and cultural status based on his manner of
speaking)?
6. In terms of the contextual type, is the text written mostly as
• narration (informs the reader of a sequence of events and is
dynamic);
• description (informs the reader of the features of people – in the
portrait – or objects – in the landscape – and is slow-moving and
static);
• the author's meditation (includes information on how objects
and actions are connected, for example, in terms of cause and effect,
and is static)?
Most literary texts are written as a combination of several
contextual types, with narration being dominant.
7. What vocabulary does the author employ to communicate his
ideas to the reader? Is it mostly
• formal (literary-bookish, poetic);
• informal (colloquial)
or
• neutral?
How does the vocabulary used correlate with the characters or
events, and the author's attitude to them?

525
Do literary-bookish words emphasize the grandness and
formality of the occasion, or create a humorous effect, being used in
an informal setting?
Do colloquial words create an informal and even intimate
atmosphere, or a contrast to formal vocabulary used by another
character?
Due to the vocabulary used, is the author's tone dry and
objective, or emotional and subjective, coloured by his own feelings?
8. How does the author's style contribute to creating a humorous
or solemn tone? Primarily the authors can employ:
• lexical expressive means and stylistic devices – metaphor,
metonymy, hyperbole, epithet, simile, oxymoron, zeugma,
periphrasis, etc;
• and syntactic expressive means and stylistic devices –
polysyndeton, asyndeton, parallelism, repetition, etc.
A combination of these expressive means and stylistic devices
makes the author's style highly original and easily recognizable.
9. From the viewpoint of composition, what parts is the text
(most commonly – narration) made up of? Does it include all the
traditional elements:
• introduction (which prepares the reader for the intrigue);
• exposition (where the main characters and the scene of the
action are introduced);
• development of events (a chronological chain of events –
encounters, partings, achievements, losses, etc.);
• climax (the most intense part of the text which often includes
decisive events having a dramatic effect on the main characters' life);
• denouement [ֽdei'nu:mа:] (in which the conflict is settled and
the reader is provided with answers to the questions he asked in
the climax),
or
anticlimax (a somewhat disappointing end to the events in the
climax, with tension released but no answers given);

526
• conclusion (the final part of the text often conveying the
author's message)?
The plot of many contemporary literary texts though does not
follow this pattern and often starts with either denouement or climax.
Is the end of the extract (story) clear-cut and conclusive, or does it
leave room for speculation?
10. What thoughts and feelings does the extract (story) inspire?
Do you find it instructive, philosophical or purely entertaining?
11. Dwell upon expressive means and stylistic devices used in the
text. What are they used for?
12. Comment upon the communication strategies applied by the
personages in the text. Why did they resort to such strategies? How
did the author achieve the success of their verbalization?

527
READER IN COMMUNICATION
RELATED ISSUES



I. Read the information on the branches of Linguistics for
enlarging your scope of present-day tendencies in Linguistic
Research. Think of their possible application for Research in
the sphere of Translation:


Communi cat i on Theory

Communicative linguistics – a branch of linguistics studying the
process of human interaction.
Communication is a process of human interaction and exchanging
of thoughts, information, ideas, etc. in the process of cognitive
and working activities. It is Communicative Linguistics that deals
with studying the process of interaction of people by means of
language considering social, psychological, physical, contextual and
situational factors. This field of linguistics became well-known in the
middle of the XXth century.
Although there is no universally agreed-upon definition of
communication, there are certain properties of communication upon,
which most communication scholars agree describe its nature.
Communication is a process as it is ongoing, ever changing, and
continuous; it does not have a specific beginning or ending point; it
is not static or at rest; it is always moving. Communication is always
developing; it is never still or motionless. There is no exact
beginning or ending point of a communication exchange. Although
individual verbal messages have definite beginning and ending
points, the overall process of communication does not. Part of what
makes communication a process is its dynamic nature as it is
considered active and/or forceful, flexible, adaptive, and fluid.
Communication is interactive and transactive because it
occurs between people. While some might argue that people can
communicate with themselves (what is called intrapersonal
communication), most scholars believe that interaction between

528
people is a fundamental dimension of communication. Communication
consists of communicative acts in which communicants participate in
generating utterances and interpreting them (Levitsky A. E., Slavova
L. L., Borisenko N. D. Linguistics. – K.: Znannya Ukrainy, 2005.
– P. 117). Communication requires the active participation of two
people sending and receiving messages, or in other words producing
a communicative act. Active participation means that people are
consciously directing their messages to someone else. This means
that communication is a two-way process, or interactive.
Communication process is intentional because two or more
people consciously engage in interaction with some purpose.
Communication presupposes the exchange of meaning. This
involves the sending and receiving of information between participants
or in other words people who take part in an interaction – addresser
and addressee, or a SENDER (Source) and a RECEIVER. The
message received can be very different from the message that was
sent. A common model for communication includes such components:
context, participants, messages, channels, noise and feedback.

Paraverbal Communi cat i on

In communication, a word is never neutral. The meaning of an
utterance may change with the help of intonation, rhythm, timbre,
stresses – phrasal or logical (e.g. intonation in Ukrainian makes
distinct interrogative and affirmative sentences; intonation may also
convey sarcasm, disgust, humour, etc.). All these prosodic elements
are called paraverbal means. Scholars distinguish between the
following acoustic characteristics, accompanying, complementing or
replacing speech sounds: pitch, volume, tempo, rhythm, pauses,
intonation, coughing, sighs, groans, etc.
As a rule, paraverbal means are divided into prosodic (speed,
timbre, pitch and volume) and extralinguistic (pauses, coughs, sighs,
laughter and crying (i.e. sounds we produce with the help of voice).
Silence is used as a kind of sympathizing device after someone dies:
you are silent in the presence of 'people who are sad,' and you should
not further disturb those who are already disturbed by grief. Silence is
also required during curing ceremonials if you are not to be considered
disrespectful or to be interfering either with the curing process or with

529
the person conducting ne ceremonial. According to Basso, the Western
Apache resort to silence when they are confronted with ambiguity
and uncertainty in their social relationship' they do not try to talk their
way out of difficulty or uncertainty as people with other cultural
backgrounds sometimes try to do.
Silence is often communicative. Among other things it can
communicate respect, comfort, support, disagreement, or uncertainty.
In many societies people do not talk unless they have something
important to say. In contrast, other people talk for the sheer pleasure of
talking (Wardhaugh R. An Introduction to Sociolinguistics. – Malden:
Blackwell Publishers, 2000. – 404 p. – P. 239).

Di scourse Anal ysi s

Discourse – the process of language use, whether it be spoken,
written or printed, that includes writers, texts, and readers within
a sociocultural context of meaning production and reception
(Kramsch C. Language and Culture. – N.Y.: Oxford University
Press, 2003. – P. 127).
Neither what happens in the mind of the readers nor the social
context of reception and production are taken into consideration in a
text. Such processes are the characteristics of discourse (Kramsch,
p. 57). Since the 1970s, the term 'discourse' has become common
currency in an everyday research sense in a variety of humanities
and social science disciplines, including the applied branches of
linguistics.
A discourse may be a coherent text in combination with
extralinguistic – pragmatic, sociocultural, psychological and
other factors; text taken in an eventual aspect; speech viewed as a
purposeful social action, as a component, participating in the
interaction of people and devices of their consciousness. Discourse is
speech 'absorbed in life.' Therefore the term discourse unlike the
term text is not applied to ancient and other texts, connections of
which with a living reality are not directly re-established.
On the one hand, discourse is turned to the pragmatic situation
which is drawn to the pragmatic situation which is drawn for the
coherence of discourse, its communicative adequacy, for clearing up
its implications and presuppositions, for its interpretation. Vital

530
context of discourse is modelled in the form of frames or scenarios.
Elaboration of frames and scenarios is an important part of discourse
theory, also used in many directions of applied linguistics.
On the other hand, discourse is turned to mental processes of
communication participants: ethnographical, psychological,
sociocultural rules and strategies of speech generation and
perception in certain conditions (discourse processing), defining a
necessary speed of speech, the degree of its coherence, the
correlation of general and concrete, new and unknown, explicit
and implicit in discourse content.
Discourse is a verbalized linguo-cognitive (thinking and speech
production) activity; it possesses both linguistic and extralinguistic
planes and is, by its nature, an aggregate of a process activity
and its result (texts). In many functional approaches discourse and
text are opposed on such criteria as functionality/structuralism,
dynamic/static, process/product. In oral communication discourse as
a process is manifested, and in oral as a product. In modern
linguistics discourse is understood not only as a speech act in its
verbal and non-verbal realization.
Social context is included into discourse, which characterizes
interlocutors, describes the peculiarities of utterance production
and perception, stresses on interaction both oral and written
communication. Discourse points to the notion of a text in use
and is a reminder that any approach that tries to treat language
discontextually is doomed to failure. Language itself is socially
negotiated, right down to particular lexico-grammatical choices of
style, register, accent. Social negotiation (and sometimes social
conflict) is the place where cultural models and cognitive models
come from. Discourse becomes the reflection of national mentality
and culture in all its manifestations.
Discourse analysis is a general term for a number of approaches
to analysing language use beyond the sentence or clause level. This
can either be written (text) or spoken. Some of the main approaches
of Discourse Analysis are Speech Act Theory, Interactional
Sociolinguistics, Variation Analysis, Conversation Analysis, which
is based on the theories of Harvey Sacks, and Discursive Psychology,
particularly as developed by Jonathan Potter. Discourse Analysis is a

531
vast and multidisciplinary area, with influences from sociology,
linguistics, anthropology and psychology. Each of the various
approaches tends to be particularly influenced by one of these
subjects, which bring their own presumptions and methodologies
(Levitsky A. E., Slavova L. L., Borisenko N. D. Linguistics. – K.:
Znannya Ukrainy, 2005. – P. 119–121).

Text Li ngui st i cs

In Europe, the term text linguistics is often used for the study of
the linguistic principles governing the structure of all forms of text.
Text analysis focuses on the structure of written language, as found
in such 'texts' as essays, notices, road signs, and chapters. In
linguistics text enters at least two types of contrasts. One is that
between system and text, system being understood as the ability of
the speakers to communicate using verbal signs, and text being
understood as the product of this ability. The other is between text,
understood as written text, and speech, spoken text.
In literary theory a text is the object being studied, whether it be a
novel, a poem, a film, an advertisement, or anything else with a
linguistic component. The term came into use with the rise of
cultural studies, and the corresponding broadening of what it was one
could talk about when talking about literature.
To call a sequence of sentences a 'text' is to imply that the
sentences display some kind of mutual dependence; they are not
occurring at random. Sometimes the internal structure of a text is
immediately apparent, as in the headings of a restaurant menu;
sometimes it has to be carefully demonstrated, as in the network of
relationships that enter into a literary work. In all cases, the task of
textual analysis is to identify the linguistic features that cause the
sentence to 'cohere' – something that happens whenever the
interpretation of one feature is dependent upon another elsewhere in
the sequence. The ties that bind a text together are often referred to
under the heading of cohesion.
A text plainly has to be coherent as well as cohesive, in that the
concepts and relationships expressed should be relevant to each
other, thus enabling us to make plausible inferences about the
underlying meaning (Levitsky A. E., Slavova L. L., Borisenko N. D.
Linguistics. – K.: Znannya Ukrainy, 2005. – P. 118–119).

532
Text is the product of language use, whether it be a
conversational exchange, or a stretch of written prose, held together
by cohesive devices – linguistic element like a pronoun,
demonstrative, conjunction, that encodes semantic continuity across
a stretch of text (Kramsch C. Language and Culture. – N.Y.: Oxford
University Press, 2003. – P. 19, 57).

Pr agmal i ngui s t i c s

Pragmatics – the study of what speakers mean with words, as
distinct from what the code means (Kramsch C. Language and
Culture. – N.Y.: Oxford University Press, 2003. – P. 130).
Communication process is situational and intentional because
two or more people consciously engage in interaction with some
purpose. The aim of language usage was studied first by scholars of
pragmalinguistics which appeared in 60–70ies of the XXth century.
Pragmatics studies the factors that govern our choice of language in
social interaction and the effects of our choice on others. Pragmatic
factors always influence our selection of sounds, grammatical
constructions, and vocabulary from the resources of the language.
Pragmatics takes into account such notions as intentions of the
speaker, his psychological state, the effects of an utterance on
listeners, the implications that follow from expressing something in a
certain way. The smallest purposeful situationally determined
utterance is called a speech act.
The smallest purposeful situationally determined utterance is
called a speech act. According to one influential proposal, there are
three basic speech acts: the locutionary act, which corresponds to the
utterance of a sentence with a particular meaning; the illocutionary
act, which reflects the intent of the speaker in uttering that sentence
(to praise, to criticize, to warn); and the perlocutionary act, which
involves the effect that the speaker has on his or her addressees in
uttering the sentence.
Speakers from different cultural backgrounds may have different
interpretations of what it means to be true, relevant, brief or clear
with regard to conversations. They may have different definitions of
the speech activity itself. A service encounter at the bank might have
a different social value in India and in England, and the roles of

533
cashier and customer might be differently defined. But they all enter
a verbal exchange assuming that there will be some sort of co-
operation between the parties involved (Kramsch, p. 37).

Soc i ol i ngui s t i c s

Sociolinguistics – an area of the study of the relationship between
language and society (Trudgill P. Introducing Language and Society.
– L.: Penguin English, 1992. – P. 68). Sociolinguistics is a branch of
linguistics which studies all aspects of the relationship between
language and society. Sociolinguists study such matters as the
linguistic identity of social groups, social attitudes to language,
standard and non-standard forms of language, the patterns and needs
of national language use, social varieties and levels of language, the
social basis of multilingualism, and so on. An alternative name
sometimes given to the subject (which suggests a greater concern
with sociological rather than linguistic explanations of the above) is
the sociology of language. Any of the branches of linguistics could,
in principle, be separately studied within an explicitly social
perspective, and some use is accordingly made of such terms as
sociophonetics and sociophonology, when this emphasis is present,
as in the study of the properties of accents. In Hallidayan linguistics,
the term sociosemantics has a somewhat broader sense, in which the
choices available within a grammar are related to communication
roles found within the speech situation, as when a particular type of
question is perceived in social terms to be a threat.
Social identity is the way a person categorizes him/herself in
relation to an identifiable social group, such as the nation state, or
one's gender, ethnicity, class, or profession. Social identities are
multiple, changing, and often in conflict with one another. They are
constructed to a large extent through the way people use language in
discourse (Trudgill, P. 51).
Social identity – age, gender, race, ethnicity, profession, status,
regional identity. People who identify themselves as members of a
social group (family, neighborhood, professional or ethnic affiliation,
nation) acquire common ways of viewing the world through their
interactions with other members of the same group. These views are

534
reinforced through institutions like the family, the school, the
workplace, the church, the government, and other sites of
socialization throughout their lives.
Gender identity. That there are differences between the sexes is
hardly a matter of dispute.
1. Physiological difference. On the average, females have less
muscle than males, are not as strong, and weigh less. They also
mature more rapidly and live longer. The female voice usually has
different characteristics from the male voice, and often females and
males exhibit different ranges of verbal skills. Differences in voice
quality may be accentuated by beliefs about what men and women
should sound like when they talk. Any differences in verbal skills
may be explained in great part through differences in upbringing.
2. Difference in socialization practices. Women may live longer
than men because of the different roles they play in society and the
different jobs they tend to fill.
3. Verbal skills. Any view too that women's speech is trivial,
gossip-laden, corrupt, illogical, idle, euphemistic, or deficient is
highly suspect; nor is it necessarily more precise, cultivated, or
stylish – or even less profane – than men's speech. Such judgments
lack solid evidentiary support. Any differences in verbal skills may
be explained in great part through differences in upbringing. Women
are also said not to employ the profanities and obscenities men use,
or, if they do, use them in different circumstances or are judged
differently for using them. Women are also sometimes required to be
silent in situations in which men may speak. In cross-sex
conversations men frequently j interrupt women but women much
less frequently interrupt men.
4. Phonetic peculiarities. Intonation patterns of men and women
vary: women use certain patterns associated with surprise and
politeness more often than men. Women may answer a question with
a statement that employs the rising intonation pattern usually
associated with a question rather than the falling intonation pattern
associated with making a firm statement.
5. Addressing. Women are often named, titled, and addressed
differently from men. Women are more likely than men to be
addressed by their first names when everything else is equal, or, if

535
not by first names, by such terms as lady, miss or dear, and even
baby. Women are said to be subject to a wider range of address terms
than men, and men are more familiar with them than with other men.
6. Topics in conversations. In conversations involving members
of both sexes many researchers agree that men speak more than
women do. One also found that when men talked to men, the content
categories of such talk focused on competition and teasing, sports,
aggression, and doing things. On the other hand, when women talked
to women, the equivalent categories were the self, feelings,
affiliation with others, home, and family. When the two sexes
interacted, men tended to take the initiative in conversation, but there
seemed to be a desire to achieve some kind of accommodation so far
as topics were concerned: the men spoke less aggressively and
competitively and the women reduced their amount of talk about
home and family.
7. The aims of communication. Women use talk to a greater
extent than men to serve the function of establishing and maintaining
personal relationships. What is particularly important in female
friendships is the sharing of intimate feelings and confidences
through talk, whereas in male friendships the sharing of activities is
more important.
8. Interruption. In cross-sex conversations men frequently
interrupt women but women much less frequently interrupt men.
Men are much more likely than women to use interruption as a
means of dominating and controlling interactions. Females may use
interruptions of the cooperative and rapport-building type to a greater
extent than do males. In cross-sex conversation women ask more
questions than men, encourage others to speak, use more signals like
mhmm to encourage others to continue speaking, use more instances
of you and we, and do not protest as much as men when they are
interrupted. On the other hand, men interrupt more, challenge,
dispute, and ignore more, try to control what topics are discussed,
and are inclined to make categorical statements. Such behaviors are
not characteristic of women in conversations that involve both men
and women. In others words, in their interactional patterns in
conversation, men and women seem often to exhibit the power
relationship that exists in society, with men dominant and women
subservient.

536
9. Relationships. Women are somehow predisposed psychologically
to be involved with one another and to be mutually supportive and non-
competitive. On the other hand, men are innately predisposed to
independence and vertical rather than horizontal relationships, i.e., to
power rather than to solidarity. One consequence of such differences is
that women's speech has often been devalued by men.
We must be on guard against stereotyping women's and men's
style of communication. Men and women should try to understand
why they speak as they do and try to adapt to each other's styles.
The speech of the two sexes reflects their relationship within the
total society (Wardhaugh R. An Introduction to Sociolinguistics.
– Malden: Blackwell Publishers, 2000. – P. 314–321).

Et hni c i de nt i t y

In plural societies a cultural group might be in a minority position
at a number of different levels (economic or political power etc).
There can be such culturally non-dominant groups:
• Immigrants: people who voluntary move to another country
with the intention of making their life there and staying permanently.
Second-generation immigrants are people born in a country from
parents who emigrated.
• Sojourners: people who voluntarily move to another country
without the intention of living there permanently.
• Refugees/asylum seekers: according to the Geneva Convention,
adopted in July 1951, the status of refugee is accorded to a person
who due to'well-founded fear of being persecuted for reasons of race,
religion, nationality, membership of a particular group or political
opinion, is outside the country of his/her nationality and is unable, or
owing to such fear, is unwilling to avail him/herself of the protection
of that country; or who, not having a nationality and being outside of
the country of his former habitual residence is unable or, owing to
such fear, is unwilling to return to it.' These people are seeking
asylum in safer countries.
• Ethnic minorities: culturally different groups of people within a
nation-state.

537
Their presence might be due to immigration or to particular
links with the specific nation. These people are usually citizens of
the nation-state. Second-generation immigrants are also considered
part of this group (Chrissochoou X. Cultural Diversity. Its Social
Psychology. – Oxford: Blackwell Publishing, 2004. – P. 2–3).

Ps y c hol i ngui s t i c s

The boundary between linguistics and psycholinguistics is
difficult to draw. What characterizes psycholinguistics is its
concentration upon a certain set of topics connected with language
and its bringing to bear upon them findings and theoretical principles
of both linguistics and psychology.
Another important area of psycholinguistic research that has been
strongly influenced by recent theoretical conclusions in linguistics
and by the development of generative grammar is such perception
identification of speech sounds and of words composed of them.
The latter depends on the context in which they occur and upon
the hearer's having mastered the appropriate phonological and
grammatical system.
Throughout the 1950s, the work on speech perception was
dominated by information theory, according to which the occurrence
of each sound in a word and each word in an utterance is statistically
determined by the preceding sounds and words.
Information theory is no longer generally accepted and more
recent research has shown that the speech perception depends not
only on the phonological structure of the language but also on the
more abstract levels of grammatical organization.
Other areas of the psycholinguistics are the study of aphasia and
neurolinguistics. The term aphasia is used to refer to different kinds
of language disorders. Two kinds of aphasia are commonly
distinguished. In motor aphasia the patient manifests difficulty in the
articulation of speech or in writing and may produce utterances with
a simplified grammatical structure, but his comprehension is nor
affected. In sensory aphasia the patient's fluency may be unaffected,
but his comprehension will be influenced and his utterance will often
be incoherent.

538
Neuropsychology should perhaps be regarded as an independent
field of research rather than as part of psycholinguistics. In 1864 it
was shown that motor aphasia is produced by lesions in the third
frontal convolution in the left hemisphere of the brain. The source of
the sensory aphasia was localized in lesions of posterior part of the
left temporal lobe. More recent work has confirmed this finding
(Levitsky A. E., Slavova L. L., Borisenko N. D. Linguistics. – K.:
Znannya Ukrainy, 2005. – P. 153–154).
It is impossible to provide a full description of how language
works without taking into account the so-called human factor, the
peculiarities of the communicative speech situation, such as time,
place and social environment. It is evident that when we speak, we
are influenced by everything around us as well as by our own mood,
feelings and a lot more. All these factors determine the way we
speak. It would be very easy to analyze texts and conversations if
people spoke like computers, following the principle of formal logic.
Luckily it is not so. If we were absolutely logical and correct when
addressing other people, our speech would be very dull and lifeless.
Psycholinguistics focuses on the relationship between language
structures and the person who uses them. It is possible to say that it
occupies the borderline between General Psychology and General
Linguistics. Psychology studies the nature and function of the human
soul. Three important components can be singled out within the notion
of human soul: 'mind,' will 'and 'emotions.' All of them are studied by
psychology. Of course, the subject matter of psycholinguistics is not
so wide because it is not concerned with the human soul as it is. Its
scope of interest lies in the human ability to use language. Therefore,
psycholinguistics can be defined as a branch of language science
studying speech behavior of people. It follows that one of the principal
tasks of psycholinguistics is the study of connections between
language and mind. psycholinguistics, we can say that it focuses on the
relationship between language system and linguistic competence. It
follows that in psycholinguistics, scholars study and analyze the
person's ability to use language structures more effectively.
There is no doubt that the study of acquisition has so far been the
most prominent and successful area of psycholinguistics. But a
number of other topics have also been explored, with varying degrees

539
of success. Many of these are aspects of language processing, the
steps involved in producing and comprehending speech. Others
include the links between language use and memory, the linguistic
examination of reading, and more recently possible links with
perception and cognition.
Scientists possess now a great data in most all of these areas, but
progress in developing theoretical interpretations has been slow. The
enthusiastic early attempts at understanding mental processing of
language in terms of transformational grammar proved a failure, and
psycholinguists now put forward less ambitious tasks: they try to
provide accounts of specific aspects of language behaviour
(Volkova L. M. Theoretical Grammar of English: Modern Approach.
– K.: Osvita Ukrainy, 2010. – P. 222–225).


II. Read excerpts from the books or articles from scholarly
journals for getting ready to discuss them in class if they are
related to topics under study:

St r at egi es and Fr ames

I take the concept of'strategies' from Wodak et al. (1999).
Wodak et al. (1999) detail strategies for how national identities
are constructed as well as the linguistic realizations of these
strategies. <...>
We conceive strategies to be more or less'automated' activity
plans based on models which are located on the different levels of
mental, cognitive organization and which are more or less
elaborated. As such the concept of'strategy' is closely connected
to the concepts of'frame','scheme' and'scripts.' However, scripts are
primarily characterized in terms of representation of knowledge
about prototypical action sequences. Schemes are primarily
described in terms of cognitive, emotional and actional default
macro-structures with respect to objects, events, situations and
practices. Frames are mainly characterized in terms of memory-
modelling or knowledge-organising unities of actions. In contrast
to'script', 'scheme' and 'frame', 'strategy' is mainly identified in terms
of planned social (in our case, discursive) activities, of the political

540
or socio-psychological aims or functions of these activities, and
of the (linguistic) means designated to help realize these aims
(From O'Halloran K. A Corpus-Based Critical Discourse Analysis:
Inferencing and Cultural Reproduction // Text and Talk. – 2009.
– Vol. 29, № 1. – P. 21–52).

Pragmat i c Cooperat i on Revi si t ed

We must take a broader perspective to language and com-
munication (including linguistic/communicative cooperation) than
the one traditionally offered in Pragmatics, namely a perspective
which seriously considers human interaction to be intrinsically
flawed and problematic. The problem in much of the pragmatics
literature is the underlying assumption of a universal bias towards
cooperation, i.e. that human interaction is assumed to be rational and
logical, that interactants are (always) trying their best to be 'good'
communicators. What we will see in the analyses that follow is that
human interaction may be irrational and illogical, and that resistance
and non-cooperation may be adopted as the preferred discursive
strategy, and that interactants seem to try their best to be 'bad'
communicators. <...> the concept of cooperation in pragmatics will
benefit from (a) acknowledging that people may behave genuinely
non-cooperatively with the intent of misleading their audience
and consequently, we cannot assume a universal bias towards
cooperation, and (b) seriously considering theories which will
help us explain the reasons behind cooperation as well as non-
cooperation. <...>
In summary, the problem with Grice's theory, and the way it is
interpreted in much of the pragmatics literature, is first, that it assumes
an interpretive bias towards cooperation: that interactants abide by the
rules, as it were. It assumes that the goal of communication is to
succeed, solve problems and communicate effectively, and ignores
that sometimes the goal is to miscommunicate. <...> It is perfectly
feasible that the purpose, at least for one of the parties involved, could
be to have the conversation fail, to make it break down, and to make
sure it does not accomplish its goal, i.e. to miscommunicate rather than
to communicate. <...>

541
What the students in our study want to obtain by their
linguistic behaviour is to define the situation in intergroup terms,
show their resistance towards a rhetorical question-answer
exercise, and, ultimately, get the upper hand in order to win the
power in the classroom. They want to challenge their teachers'
right to set the agenda, and to be acknowledged by their peers,
and to obtain this end, non-cooperation (including silence and
non-convergence) appears to be an ideal strategy. <...> If a theory
of communication is asocial and only concerned with an ideal
speaker-listener relationship; if every type of behaviour is
interpreted as cooperative, and if the CP is assumed to apply
universally, irrespective of contextual factors such as power
asymmetry, gender, social class, ethnicity, and age, to mention but
a few, then certainly within the framework of sociolinguistics, and
a truly pragmatic approach to communication, Grice's theory has
little explanatory validity. As it is, the theory is rigid and
inflexibie and does not take into account that human
communication is as rich, varied and multifaceted as human
nature (From Ladegaard H. J. Pragmatic Cooperation Revisited:
Resistance and Non-Cooperation as a Discursive Strategy in
Asymetrical Discourses // Journal of Pragmatics. – 2009. – № 4.
– P. 650, 661–664).

Met aphors We Li ve by

In most of the little things we do every day, we simply think
and act more or less automatically along certain lines. Just what
these lines are is by no means obvious. One way to find out is by
looking at language... Primarily on the basis of linguistic
evidence, we have found that most of our ordinary conceptual
system is metaphorical in nature...
To give some idea of what it could mean for a concept to be
metaphorical and for such a concept to structure an everyday
activity, let us start with the concept ARGUMENT and the
conceptual metaphor ARGUMENT IS WAR. This metaphor is
reflected in our everyday language by a number of expressions:


542
Ar gume nt i s war

Your claims are indefensible
His criticisms were right on target
He attacked every weak point in my argument
I demolished his argument
I've never won an argument with him
You disagree? OK, shootl
If you use this strategy, he'll wipe you out

He shot down all of my arguments It is important to see that we
don't just talk about arguments in terms of war. We can actually win
or lose arguments. We see the person we are arguing with as an
opponent. We attack his positions and we defend our own... Many of
the things we do in arguing are partially structured by the concept of
war. Though there is no physical battle, there is a verbal battle... It is
in this sense that the ARGUMENT IS WAR metaphor is one that we
live by in this culture; it structures the actions we perform in arguing.
Try to imagine a culture where arguments are not viewed in terms
of war, where no one wins or loses, where there is no sense of
attacking or defending, gaining or losing ground. Imagine a culture
where an argument is viewed as a dance, the participants are seen as
performers, and the goal is to perform in a balanced and aesthetically
pleasing way. In such a culture, people would view arguments
differently, experience them differently, carry them out differently,
and talk about them differently. But we would probably not view
them as arguing at all: they would simply be doing something
different. It would seem strange even to call what they were
doing'arguing' (From Lakoff G., Johnson M. Metaphors We Live by.
– Chicago; L.: The University of Chicago Press, 1980. – P. 3–5).

Language i n Soci al Communi t i es

For you and me to talk, we must use words we have in common.
In the standard view, we do this by choosing the grammar and
lexicon of a language we share. The choice is simple if we have only
one language in common and not much harder even if we have more
than one. Once we discover we both know English, we can adopt its
grammar and lexicon for everything we say. The standard view is
taken for granted in most of linguistics, philosophy and psychology.

543
The standard view, however, has problems. Suppose I tell you,
'You've got a sclerotic aorta, which could well cause a myocardial
infarction.' Sclerotic, aorta, myocardial and infarction are perfectly
good English words, but how can I be sure you know them? <...> 'Of
course our personal lexicons differ,' you might retort, 'but that is an
accident of our life histories. <...>
Personal lexicons have systematic differences that we keep close
track of. These differences help determine what we mean and what
we take others to mean. They play an integral role in the formulation
and interpretation of utterances. They bear directly on how language
is structured and used.
At the core of the argument are what I will call communal
lexicons. A communal lexicon is the vocabulary associated with a
community of people – for example, physicians, football aficionados,
San Franciscans – who are distinguished by their common
knowledge of a particular field of expertise – medicine, football, San
Francisco. We each belong to many communities – I might be a
physician, football aficionado, and San Franciscan - and know the
lexicons of these communities. The claim is, we keep track of our
communal lexicons. When I speak to you, I try to select words from
the lexicons of the communities I believe you and I both belong to.
You and I cannot communicate successfully without distinguishing
among our communal lexicons.
Communal lexicons have several features. First, they are required
by the very notion of conventional word meaning. Second, they
differ from each other in ways that we keep track of. Third, they are
associated with communities of expertise. And, fourth, they mirror
the communities they are associated with (From Clark Herbert H.
Communal Lexicon // Context in Language Learning and Language
Understanding / Ed. by K. Malmkjaer, J. Williams. – Cambridge:
Cambridge University Press, 1998. – P. 63–64).

Language and Cul t ure

The exact nature of the relationship between language and culture
has fascinated, and continues to fascinate, people from a wide variety
of backgrounds. <...> A few words are necessary concerning what I
mean by 'culture.' I do not intend to use the term culture in the sense
of 'high culture,' i.e., the appreciation of music, literature, the arts,
and so on. Rather, I intend to use it in the sense of whatever a person

544
must know in order to function in a particular society. <...> That
knowledge is socially acquired: the necessary behaviors are learned
and do not come from any kind of genetic endowment. Culture,
therefore, is the 'knowhow' that a person must possess to get through
the task of daily living; only for a few does it require a knowledge of
some, or much, music, literature, and the arts. <...>
One long-standing claim concerning the relationship between
language and culture is that the structure of a language determines
the way in which speakers of that language view the world.
A somewhat weaker version is that the structure does not determine
the world-view but is still extremely influential in predisposing
speakers of a language toward adopting a particular world-view. This
claim has intrigued many anthropologists and linguists and there is a
fairly extensive literature concerning it. The opposite claim would be
that the culture of a people finds reflection in the language they
employ: because they value certain things and do them in a certain
way, they come to use their language in ways that reflect what they
value and what they do. In this view, cultural requirements do not
determine the structure of a language – the claim is never that strong
– but they certainly influence how a language is used and perhaps
determine why specific bits and pieces are the way they are. A third,
'neutral,' claim would be that there is little or no relationship between
language and culture (From Wardhaugh R. An Introduction to
Sociolinguistics. – Malden (Massachusetts): Blackwell Publishers,
2000. – P. 215–216).

Relation Across Cultures and Languages

Interest in the relation between language and culture, as well as in
its variability, is clearly predominant in functional approaches to
language. In particular, most functional views consider language as
partially constitutive of cultural identity and as a central means of
cultural constitution, and they are therefore inherently interested
in searching for evidence in support of this relation. As shown in
the present volume, such approaches may focus on variable aspects
of the relation across cultures and languages, pointing to diversity, or
on invariant aspects of this relation, pointing to universals. In
contrast, structuralist views clearly look for universals, considering
both language and culture as resulting from underlying cognitive

545
constraints. Such constraints may be of differing natures, depending
on the theoretical framework adopted, but in all cases they are
presumed to operate independently of language. Language is here
merely one among many other distinct modes of representation, with
no special status in the constitution of our world view. In this sense,
the relation between language and culture is considered to be entirely
incidental or at best secondary (From Hickmann M. Linguistic
Relativity and Linguistic Determinism: Some New Directions //
Linguistics. – 2000. – Vol. 38, № 2. – P. 424).

The Cul t ural Funct i ons of Emot i on

We define culture as a meaning and information system that is
transmitted across generations. One of its functions is to prevent
social chaos and maintain social order, and one of the many ways
this is accomplished is by the creation of norms for behaviors. Norms
provide guidelines for thinking, feeling, and doing in specific
situational contexts that are accepted and expected by a group. They
reduce the ambiguity of situations, thereby maintaining social order.
They also maximize group function and effectiveness, given a
specific situational context and ecology, and ultimately increase the
potential for survival.
Because norms require behavioral adaptation, they are associated
with the regulation of emotions, because emotions are a source of
motivation for behaviors. Emotions are neurophysiological and
psychological reactions that aid in adapting to social coordination
problems. One of the components of emotional responding,
expressive behavior, has important communicative function value
because it regulates social interaction. Thus, one of the important
goals of culture-as-a-meaning system is to facilitate the development
of norms for emotions, and especially emotional expressions (i.e.,
display rules). <...>
Personal feelings, and their free expression, reaffirm the
importance of the individual compared to social relationships.
Collectivistic cultures, however, foster a focus on groups, contexts,
and relationships, and personal feelings and their free expression are
relatively less important compared to their interpersonal meaning.
Thus, we expect individualistic cultures to be associated with norms
endorsing greater overall expressivity. <...>

546
There is also within-culture variability around norms. We identify
two forms of such variability: interindividual variability, individual
differences in overall expressivity norms across contexts and
emotions, and intraindividual variability, variability within an
individual across contexts and emotions (From Matsumoto D.,
Seung H. Y., Fontaine G. Mapping Expressing Differences Around
the World: The Relationship Between Emotional Display Rules
and Individualism Versus Collectivism // Journal of Cross-Cultural
Psychology. –Vol. 39, № 1. – 2008. – P. 58–59).

Behavi oral Mani fest at i ons of Modest y

To assess modesty as a politeness tactic, linguists have designed
conversational situations in which compliments are initiated, and
then recipients' responses are elicited. The content of these responses
was analyzed and categorized based on the politeness principle so as
to identify the rules and maxims characterizing polite modesty.
Patterns of linguistic features can also be compared across cultural
groups to discover similarities and differences in the strategies used.
The contrast can then be linked to respective social values of the
cultures, especially the composition of self-concept. As revealed by
the above procedures, however, such measures are limited in nature,
because they only focus on the verbal content of social interactions,
so that only Conversational features of politeness strategies can be
detected. <...> We suggest that modesty should be examined as a
constellation of social behaviors as well as a personality trait. <...>
Research findings have shown that people who respond modestly to
their performances are better liked than those who respond boastfully
in Chinese culture (From Chen S. X., Bond M. H., Chan B., Tang D.,
Buchtel E. E. Behavioral Manifestations of Modesty States // Journal
of Cross-Cultural Psychology. – Vol. 40, № 4. – 2009. – P. 604–605).

Et hni c I de nt i t y

If the rules for speaking can be different from one social group to
the next, how do we decide what a social group is for purposes of
ethnographic description? It is clear that it cannot be all citizens of
the same country; American middle-class whites and some American
Indians have different rules for conducting conversations. It cannot

547
be decided on the basis of speaking the same language, either. In
England, for example, conversations in public places like restaurants
are subdued such that people who are not in the conversing group
cannot hear what is being said. American public conversations can
easily be overheard by anyone else in the same average-sized room
unless what the group has to say is particularly personal or secret.
Yet the two nations share the English language. It is necessary, then,
for ethnographers of communication to develop the concept of
speech community, the group to which a particular ethnographic
description applies. <...>
Unlike much of the work in sociology and psychology,
anthropological studies typically do not involve research projects
predesigned to control variables and yield statistical results. The goal
of work in the ethnography of speaking, and other anthropological
studies, is to gain a global understanding of the viewpoints and
values of a community as a way of explaining the attitudes and
behavior of its members. Information of this kind is not likely to
come out of laboratory-style research designs. Rather, what is
required is an intimate understanding of the community by the
investigator. <...>
Participant-observation is absolutely required for the ethnographic
analysis of cultures that the ethnographer does not belong to. To find
out what beliefs and values motivate a community of people, the
investigator must go as far as he or she can towards becoming a part
of the community, filling a role that makes sense in that setting.
Usually, he or she has to be content with the role of a relative
outsider; perhaps even the role of a guest or stranger. Essentially, the
investigator tries to learn to see the world just as the members of the
community see it, no matter how foreign that may be to his or her
experience so far. Above all, the investigator has to avoid passing
judgement on the community's customs. <...>
Work done in the ethnographer's native community will not suffer
from interference from some other cultural system; rather, the danger
is that some things people do which have significance will be
overlooked simply because they seem so mundane and their meaning
so obvious. As we have seen, becoming too aware of the
communicative rules in your own culture can make it painful when

548
you find you have to conform to them in daily life. Native
community ethnographers, unlike investigators of a foreign
community, then have to live with the fact that they are part of a
community that has those possibly unattractive characteristics. This
result, of course, could be avoided if investigators, consciously
or unconsciously, come to the wrong conclusion, or simply leave
that aspect out of the analysis altogether (From Fasold R. The
Sociolinguistics of Language. – Oxford: Blackwell Publ., 1999.
– P. 41, 47, 50).

Int ercul t ural Awareness
of t he Unwri t t en Code
of Bri t i sh Behavi our

My first encounter with the unwritten code of British behaviour
was in 1994 while au-pairing in Hertfordshire, England. Then, still a
spotty teenager, I could not understand the Brits. I kept wondering
why weather-talk was the beginning of practically any conversation.
I could not help noticing how many'pleases' and'thank yous' were
exchanged in a simple business transaction, such as buying a stamp
at a post office. I was puzzled by the Brits' sense of order in queuing.
I also wondered why they said'How are you?' to me a number of
times a day and how they could drink 8 to 10 cups of tea a day. In
other words I thought the Brits were weird. My terrible suspicion
was confirmed after six months when I came home to sit for my
university entrance exam. Happy to have me back home my parents
were spoiling me royally. Having been exposed to everyday British
politeness I kept saying, like a good girl,'please' and'thank you' to
them all the time. First my parents ignored this novelty of mine, but
eventually my down to earth Dad could no longer stand my
unprecedented use of polite formulas and shut me up saying:'Oh, for
God's sake, stop saying'thank you' and'please' all the timer. That
is when the coin dropped and a moment of epiphany followed.
I realised one could not mix ingrained codes of behaviour of one
nation with another. One cannot use the rules of British behaviour in
Slovakia and vice versa. Not if you want to avoid embarrassment or
making faux pas. After all, the old saw When in Rome do as the
Romans do only confirms it. Ever since the indecent'thank you'

549
incident I have been keeping an open eye on the Brits and have learnt
to appreciate their behaviour and habits (From Blight D. Intercultural
Awareness of the Unwritten Code of British Behaviour // Linguistics
and Didactics in the 21
st
century - Trends? Analyses and Prognoses
/ Ed. D. Lancaric. – Prague: Kernberg Publishing, 2008. – P. 24–25).

Queue j umpi ng and pol i t eness

Brits expect people to follow their rules of queuing and they feel
offended when these rules are violated. How good at queuing
Slovaks are was the subject matter of the next question. On what
occasions do Slovaks jump queues?
'Whenever they can get away easily with it without being easily
challenged.'
'When they can get away with it.'
'Whenever possible especially at doctor's and hospitals.'
'The bank, shops, tram stops, food lines – everywhere!'
'Shops, post office.'
'All the time. No queuing system here!'
'Older ladies at the supermarket.'
'All.'
'If you can call the scrummages outside buses'queues'!'
The results are not surprising at all. Queue jumping is second
nature to Slovaks as the findings confirm. Unfortunately it drives lots
of the British respondents crazy. This is another area Slovaks must
be careful about when dealing with Brits.
The last unwritten rule concerns politeness. Every request in
English usually ends with'please' and every fulfillment of a request
requires a'thank you.' Let's have a look at how good Slovaks are at
saying these polite formulas.
'They usually thank you, but they say please much less.'
'They sometimes fail to use'please' and'thank you' in the same
way that many native speakers would; however, there are times when
they use these words when native speakers wouldn't, e.g. saying
please and when they give something to somebody.'
'They like to use the imperative voice in shops, for example:'Give
me this, give me that etc' rather than'Please could I have ....'I've been
here for so long I no longer expect it.'

550
'They usually use them well but use'please' to say'you 're
welcome.'
Slovaks seem to have difficulties with the exchange of polite
formulas. 35 % of them sometimes fail to say'please' and'thank you.'
Even more alarming is the finding that every fifth Slovak fails to use
them altogether (From Blight D. Intercultural Awareness of the
Unwritten Code of British Behaviour // Linguistics and Didactics in
the 21
st
century – Trends? Analyses and Prognoses / Ed. D. Lancaric.
– Prague: Kernberg Publishing, 2008. – P. 30–31).

Coupl es i n abusi ve rel at i onshi ps

Cultural traditions that emphasize the importance of honor might
create ambivalence about the use of violence. Although not directly
approving of violence, honor norms might provide indirect support
for violent scripts by (a) approving of women who express loyalty in
the face of abuse and (b) excusing or downplaying male violence that
is perceived to be in defense of masculine honor. <…>
Latinos and southern Anglos, two cultural groups within the United
States that emphasize honor, rated an abused woman who remained
loyal more positively (or at least less negatively) in terms of her
warmth and intelligence than did northern Anglos. Although
remaining in an abusive relationship might be seen as foolish, passive,
or weak in cultures that stress individualism and egalitarianism, in the
context of more traditional, honor-based cultures, loyalty and sacrifice
may be sometimes credited as signs of strength and integrity. So
although the violence itself may be seen as undesirable, a 'good'
woman will remain loyal in the face of conflict. <…>
Scripts for romantic relationships may dictate that a certain
amount of violence by the man is acceptable if it is perceived to
be in the defense of his masculine honor and reputation. <…> These
expectations for female loyalty and male defense of honor in
jealousy-threatening situations may help explain why domestic
violence rates are relatively high in the southern United States and in
Latin American cultures. They may also help explain why Latinas
tend to remain in abusive relationships longer than Anglo-Americans
do. Some portion of these tendencies are probably explained by
differences in economic resources that empower women to leave bad

551
relationships. However, it also seems plausible that cultural norms
and scripts may exert influence over and above resource effects <…>
norms for female purity are very negatively related to women's
economic and structural power in a society <…> There is a stream of
thought in American culture that regards jealousy as a sign of love
and is thus ready to excuse or mitigate jealousy-related violence.
<…> In particular, cultures of honor tend to have relatively high
rates of spousal abuse, <…> honor cultures may enable this violence
through expectations for female loyalty in the face of male
aggression. <…> Understanding norms for both male and female
behavior is important for understanding how high rates of violence
may arise. Domestic violence may not be explicitly endorsed, but it
does not have to be. Values that permit such violence are embedded
in our norms about what a good woman should do and what a good
husband may do in the name of his honor (From Vandello G. A.,
Cohen D., Grandon R., Franiuk R. Stand by Your Man: Indirect
Prescriptions of honorable Violence and Faminine Loyalty in
Canada, Chile, and the United States // Journal of Cross-Cultural
Psychology. – Vol. 40, № 1. – 2009. – P. 98–101).

The Leadershi p Rol e

Men's concentration in leadership and other high-power roles
leads to the assumption that men have agentic characteristics (e.g.,
self-assertion, dominance); women's concentration in subordinate
and caretaking roles leads to the assumption that they have
communal characteristics (e.g., kindness, supportiveness). Because
of these cultural stereotypes, female leaders face a double bind. They
are expected to be communal because of the expectations inherent in
the female gender role, and they are also expected to be agentic
because of the expectations inherent in most leader roles. However,
because agentic displays of confidence and assertion can appear
incompatible with being communal, women are vulnerable to
becoming targets of prejudice <…> Although feminine gender
stereotypes have been changing recently, men are still perceived as
more characteristically managerial than are women. <…>
Although both Germany and Spain are part of the European
Union, there are differences in social values and norms between
these two countries that could explain cross-cultural differences in

552
their socioeconomic and political status. <…> The movement of
women into male-dominated roles and their higher education and
participation in economic and political issues might be fostering the
perception of increased masculine attributes among women,
especially in Germany, and might be reducing the perception of
incongruity between the leader role and the feminine gender role. At
the same time, the roles that are considered suitable for women
remain female dominated in both Germany and Spain. For instance,
the average number of worked hours per day on domestic issues
(e.g., food preparation or child care) is generally higher in women
than in men. <…>
In summary, although women recently have started entering roles
that emphasize power, competition, and authority, they are still
concentrated in roles that involve caring or giving support or put
emphasis on human interactions. This pattern of roles also suggests
some important divergences between Spain and Germany.
Specifically German society holds less traditional values and norms
and more egalitarian views of women. German women also hold
nontraditional roles and have power over economic resources more
often than Spanish women. As a consequence, individuals might
perceive higher levels of masculine characteristics among German
women relative to Spanish women (From Garcia-Retamero R.,
Lopez-Zafra E. Causal Attributions About Feminine and Leadership
Roles. A Cross-Cultural Comparison // Journal of Cross-Cultural
Psychology. – Vol. 40, № 3. – 2009. – P. 492–495).

Mari t al sat i sfact i on and cul t ure

Marriages are generally more successful when spouses establish a
sense of satisfaction with one another. However, researchers tend to
diverge in their view of how satisfaction with one's spouse is
attained. Some of the most important and interesting distinctions are
posited by cultural and evolutionary perspectives on marriage. From
a cultural vantage point, marital satisfaction may be enhanced to the
extent that a marriage fulfills culturally determined expectations and
obligations of husbands and wives. In particular, the criteria for a
satisfying marriage may be highly varied and may depend on a
unique set of culturally enforced norms, values, and obligations. For
example, a traditional Chinese marriage may be satisfying to the

553
extent that it fulfills familial duties that include the production of a
male heir for the continuance of a family line, the acquisition of a
daughter-in-law who will provide support for the husband's parents,
and the begetting of sons who will provide for the security of the
couple in their old age <…>
From an evolutionary perspective, mating behavior – including
mate selection, marital satisfaction, and divorce – is favored to the
extent that it promotes individual reproductive success. Both sexes
tend to seek mature, opposite-sex members of their species who
are not close kin, which makes adaptive sense. However, men
and women also exhibit somewhat different ideal criteria in mate
selection (From Lucas, T., Parkhill M. R., Wendorf C. A.,
Imamoglu E. O., Weisfeld C. C., Weisfeld G. E., Shen G. Marital
Satisfaction Invariance: a Multidimensional Assessment of
Measurement Invariance // Journal of Cross-Cultural Psychology.
– Vol. 39, № 1. – 2008. – P. 110–111).

Gender Differences in Language Use
Females' language was more likely than men's to include
pronouns and social words, a wide variety of other psychological
process references, and verbs. Negations and references to the home
were also features of the female profile. Men exceeded women on a
number of linguistic dimensions including word length, numbers,
articles, and prepositions. Men also discussed various current
concerns more frequently, and swore more often. It is worth noting
that some of these word frequencies are inextricably linked. For
example, using more prepositions requires using more articles ('to
the store,' makes sense; 'to store' does not).
<…> men and women did not merely focus on different word
categories (e.g., anxiety vs. anger, or emotion words vs. cognitive
words), but actually used different superordinate language dimensions.
Female language emphasized psychological processes, social processes,
and verbs. Male language emphasized current concerns. Thus, the
results are consistent with the idea that men and women employ
language for different reasons (From Newman Matthew L., Gender
Differences in Language Use: An Analysis of 14000 Text Sample //
Discourse Processes. – 2008. – Vol. 45, № 3. – P. 223).

554
Intercultural Communication
in Business

All people need to make a living, and how they do it is partly
influenced by their geography (e.g., natural resources, ease of
transportation) and partly influenced by communication (e.g., official
language in use and associated cultural values. According to the
World Economic Forum, countries can be grouped according to
their'economic mindset.'
• Entrepot: small, open economies that specialize in providing
trade and financial services for the rest of the world, such as Hong
Kong, Luxembourg, Singapore and Switzerland. Geography appears
to influence places such as Hong Kong and Singapore, which are
islands, and Switzerland, which is a landlocked'island' isolated by
mountains.
• Anglo-Saxon: Ireland, the United Kingdom, Australia, Canada,
new Zealand and the United States. These countries are linked by the
common language of English and a WASP (white, Anglo-Saxon,
Protestant) work ethic.
• European Union: The continental European countries, except for
Luxembourg, Switzerland, Norway and some small principalities.
Geographic proximity and a common religious/cultural base form a
union that is challenging by the pending accession of Muslim Turkey
– a crucial'EU Question.'
• Asian Manufacturing: China, Indonesia, Japan, Korea, Taiwan,
Malaysia, Thailand and the Philippines. Makers of tangible goods
whose advantages either lie with low labor costs, high-tech
specialization or a combination of the two.
• Transition: Czech Republic, Hungary, Poland, Russia, Slovakia,
Ukraine and Vietnam. The opportunity for solid economic growth is
strong in these former state-controlled economies that are making the
shift to market forces, as well as having the human resource of well-
educated workforce.
• Latin American: Argentina, Brazil, Chile, Colombia, Mexico,
Peru and Venezuela. These nations share a commonality of cultural
attitudes and behaviors as well as similarity of predominant
languages (Spanish and Portuguese).

555
Other: Countries that do not fit into the other classifications,
including Bangladesh, Egypt, Iceland, India, Israel, Jordan, Norway,
South Africa, Turkey and Zimbabwe. Unique advantages in
geography, natural and human resources as well as specialized
culture-specific skills and values provide strengths in the global
marketplace (From Gore K. Networking Cultural Knowledge. An
Interactive and Experimental Strategy to Apply Intercultural
Communication in Business. – Helsinki: WSOY OppimateriaalitOy,
2007. – P. 59–60).

Humor and Image Pol i t i cs

Humor is based on incongruity, namely on the incompatibility
between two co-occurring meanings or ideas. In pragmatic terms,
incongruity is described as an opposition between two scripts, where
a script is defined as a cognitive structure involving the semantic
information associated with the words included in a text,
representing speakers' knowledge of the world, and providing
information on the structure, components, functions, etc., of the
entity or activity referred to. <…> Since humor is based on script
opposition, a humorous event has to deviate from the norm, namely
to contradict what is expected or normal in given circumstances.
Therefore, humor is directly related to and results from evaluation or
criticism procedures and can actually be used as a means of
criticism: it aims at correcting our way of behaving, whenever this
behavior deviates from what is socially expected or approved. <…>
In canned jokes, script opposition is usually located at the end of the
text, in the well-known punch line of the joke. However, in other
genres, humor is not usually restricted in their final utterance. <…>
In western democracies (including Greece), political debates are
often presented as an openly conflictive and non-accommodating
speech event marked by the mutual aggression of the parties. <…>
Hence, hostile behavior is more or less expected and the ability to
verbally out-score the opponent in such debates is considered more
significant than reasoning and political argumentation. In other
words, showmanship in the forms of mutual aggression and
discrediting the adversary is not only expected, but often deemed
more persuasive than legal and logical arguments. <…>

556
In sum, at least in non-prototypical humorous genres, where humor
is not a defining characteristic, interlocutors may negotiate and,
eventually, accept or reject a humorous frame. <…> Consequently, the
boundary between the humorous and the serious mode is negotiable
and can neither be determined a priori nor be the same for all
participants involved: social conventions allow for a negotiation of
what can or cannot be framed as humorous, thus it cannot be taken for
granted that humor will eventually be accepted. This depends on the
ideological orientation and the specific affiliations with the humorists
and the targeted party(ies) (From Tsakona Villy. Humor and Image
Politics in Parliamentary discourse: a Greek Case Study // Text and
Talk, 2009. – Vol. 29, № 2. – P. 221, 229–233).

The Di scourse of Terrori sm

The rhetoric of the Bush administration on the war on terrorism and
Iraq more than anything, it seems, is abundant with dichotomizing
opposites, created as per ideological conceptualizations of reality. The
basic discourse underlying the corpus of this study is full of opposites
confirming the us vs. them division. 'People everywhere prefer
freedom to slavery; prosperity to squalor; self-government to the rule
of terror and torture' (Bush, 7/10/02); 'Iraq will be independent; Iraq
will be a peaceful nation; and we will not waver in the face of fear
and intimidation' (Bush, 16/4/ 04); 'Freedom and fear are at war'
(National Strategy, 2003:1); 'We are now engaged in a war between
the civilized world and those that would destroy it' (19). America and
the rest of the West seem to be united by their common shared goal
of liberty and democracy, and their socially shared fear and
opposition to terrorism. Categorization within the discourses of
terrorism leads to a kind of polarization of the world which is
effectually a black and white matter in the data analyzed. The unity
of the'us' group and'them' group is even more simplistic, whereby all
those opposing, resisting, or disagreeing to whatever extent with
America automatically condone the actions of terrorists, and all those
opposing terrorists, inevitably endorse all American actions. Very
simply put'Either you are with us, or you are with the terrorists'
(Bush, 20/9/0l). This polarization of the world makes obvious the
power struggle between the strong and the weak, and more explicitly

557
between right and wrong. Who determines the righteousness of one
group over the other is of course the decision of the more powerful,
and often the majority. It can be said then, that the discourses of
terrorism are constant sites of struggle, and while the various
representations of terrorism offered by the Bush administration might
not make any clearer the reason for terrorism's existence in our
world, the intentions with which such representations are put forward
are relatively better understood by the people governed (From
Bhatia A. The Discourse of terrorism // Journal of Pragmatics.
– 2009. – № 2. – P. 287).

Si l e nc e t o Communi c at e

Speech is used in different ways among different groups of
people. Each group has its own norms of linguistic behavior. For
example, a particular group may not encourage talking for the sake
of talking, and members of such a group may appear to be quite
taciturn to outsiders who relish talk, or they may feel overwhelmed
by the demands made on them if those others insist on talking. <…>
A society that encourages a wide variety of kinds of talk is likely to
be rather different in many non-linguistic ways from one in which
speakers are expected neither to waste words nor to use words
lightly. <…> It is instructive to look at some of the ways in which
various people in the world use talk, or sometimes the absence of
talk, i.e., silence, to communicate. <…> Silence is also used as a
kind of sympathizing device after someone dies: you are silent in the
presence of 'people who are sad,' and you should no further disturb
those who are already disturbed by grief. Silence is also required
during curing ceremonials if you are not to be considered
disrespectful or to be interfering either with the curing process or
with the person conducting the ceremonial. <…>
Silence is often communicative and its appropriate uses must be
learned among other things it can communicate respect, comfort,
support, disagreement, or uncertainty. In many societies people do
not talk unless they have something important to say. <…> In
contrast, other people talk for the sheer pleasure of talking (From
Wardhaugh R. An Introduction to Sociolinguistics. – Oxford:
Blackwell Publishers Ltd, 2000. – P. 237–239).

558
Ki nesi cs and Cross-Cul t ural Underst andi ng

The role of eye contact in conversational exchange between two
Americans is well-defined: speakers make contact with the eyes of
their listener for about one second, then glance away as they talk; in a
few moments they re-establish eye contact with the listener to reassure
themselves that their audience is still attentive, then shift their gaze
away once more. Listeners, meanwhile, keep their eyes on the face of
the speaker, allowing themselves to glance away only briefly.
(...) British etiquette decrees that the speaker and listener focus
attentively on each other. While an American listener nods and
murmurs to signal that he is listening, the Englishman remains silent
and merely blinks his eyes. Germans tend to maintain a steady gaze
while talking. The American shift of gaze from eye to eye and away
from the face entirely is not a pattern familiar to Germans. Peruvians,
Bolivians, and Chileans consider insulting the absence of eye contact
while talking. Arabs, too, share a great deal of eye contact and regard
too little gaze as rude and disrespectful. On the streets, Israelis stare
at others without self-consciousness. The French are also likely to
stare at strangers, as anyone who has ever walked past a sidewalk
cafe can attest (From Moraine G. G. Kinesics and Cross-Cultural
Understanding // Culture Bound. Bridging the Cultural Gap in
Language Learning. – Cambridge: Cambridge University Press,
1998. – P. 69–77).

Sc i e nt i f i c wr i t i ngs

Strategies to approach the main point of scientific writings and
structure of scientific publications vary considerably, though one
convention of scientific research papers is that they inform researchers
of scientific findings as clearly and convincingly as possible, and in a
manner that furthers future research. Not every scientific community
shares the same views as to how these goals should be achieved. There
are striking differences, for example, between the French and the
Anglo-Saxon genre'research paper.' Anglo-Saxon scientists have to
legitimize their research by displaying in the first paragraph all extant
research on the same topic and showing how their own fills a
neglected gap. By contrast, French scientific articles draw their
legitimization from the status and affiliation of the researcher and

559
his/her own work in the field; French scientists find the initial review
of the literature rather futile. Unlike their French counterparts, Anglo-
Saxon scientists have to make explicit their adherence to a
recognizable school, disciplinary tradition, or theoretical orientation;
French scientists prefer their research to stand on its own merits,
whereas American research articles end with the obligatory discussion
of'the limitations of the study', French articles do no such thing;
instead, they are obligated to raise larger questions, and point to
directions for further areas of study. These two different styles within
two scientific communities that otherwise share the same purpose may
create difficulties for some French scientists, who may be willing to
publish in English but wish to retain their own cultural scientific style
(Kramsch C. Language and Culture. – Oxford: Oxford University
Press, 1998. – P. 63).


Навчальне видання





ЛЕВИЦЬКИЙ Андрій Едуардович
НАБЕРЕЖНЄВА Тетяна Євгенівна
ПОВОРОЗНЮК Роксолана Владиславівна
та ін.


КОМУНІКАТИВНІ
СТРАТЕГІЇ

Пі дручник

Видання друге,
доповнене та перероблене

За редакцією проф. А. Е. Левицького




Друкується за авторською редакцією
Технічний редактор Л. П. Шевченко






Оригінал-макет виготовлено Видавничо-поліграфічним центром ''Київський університет''


Формат 60х84
1/16
. Ум. друк. арк. 32,55. Наклад 200. Зам. № 213-6593.
Вид. № Іф26. Гарнітура Times New Roman. Папір офсетний. Друк офсетний.
Підписано до друку 27.06.13

Видавець і виготовлювач
Видавничо-поліграфічний центр ''Київський університет'',
б-р Т. Шевченка 14, м. Київ, 01601
(38044) 239 32 22; (38044) 239 31 72; тел./факс (38044) 239 31 28
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