Мифтахова Н.Х. Учебник английского языка

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ЗАДАНИЯ К ТЕКСТАМ А,В,С.

1. Прочитайте текст А и найдите предложения, содержащие лексическую

программу. Переведите эти предложения.

2. Прочитайте по ролям диалог текста В и потренируйтесь в его

параллельном переводе.

3. Используя информацию, данную в диалоге, перечислите проблемы,

возникающие во время показа мод.

TEXT B How to Make a Fashion Statement in a World of 'Vogue'

Models showing the Tommy Hilfiger collection during Fashion Week last month in New York speak

about their attitudes to vocabulary of fashion shows.

A.P.:

I'm Adam Phillips. Today, we take a look at some

of the special problems found in the world of

fashion.

New York City enjoys pride of place as one of the

world's top fashion centers. That's where you'll

find Valerie Steele, who directs the Museum of

the Fashion institute of Technology, or FIT ["F-I-

T"], where many of tomorrow's fashion designers,

marketing executives and others train for careers

in the six-hundred-eighty-billion-dollar-a-year

fashion industry.

VALERIE STEELE:

The fashion world is the industry for me. It's

definitely its own world. It has its own discourse.

You could call it’s language ‘vogue’, I guess.

Vogue being, of course, the number one fashion

magazine internationally.

A.P.:

Indeed, Vogue is the premier go-to place for both

industry professionals and the public to see a

designer's line, a word that FIT assistant curator

Fred Dennis says means about the same thing as a

designer's collection.

FRED DENNIS:

A collection is what a designer will produce [in]

any given season. It can be anywhere from

twenty-five to a hundred pieces depending on the

designer. Pieces are looks. A look is a total head-

to-toe ensemble. So you can start with a hat

perhaps, a top, shoes.

A.P:

"Ensemble" is one of dozens of French words

А.П.:

Меня зовут Адам Филипс. Сегодня мы

поговорим о некоторых специфических

проблемах мира моды.

Нью-Йорк по праву гордится тем, что является

одним из главных мировых центров моды.

Именно здесь вы можете встретить Валерии

Стил, директора музея технологического

института моды, известного как FIT, который

готовит будущих дизайнеров, маркетинговых

директоров и других специалистов для

промышленности, приносящей шестьсот

восемьдесят миллиардов долларов в год.

ВАЛЕРИ СТИЛ:

В моем представлении мир моды – это

промышленность. Он имеет свои собственные

языковые средства общения. Я думаю, вы

можете дать его языку название ‘вог’. ‘Вог’,

конечно, это международный журнал моды.

А.П.:

Действительно, именно к ‘Вог’ в первую оче-

редь обращаются как профессионалы, так и

публика в целом, чтобы узнать дизайнерское

направление. Это слово, как считает Фред Де-

нис, помощник хранителя музея FIT, означает

то же самое, что и дизайнерская коллекция.

ФРЕД ДЕННИС:

Коллекция это то, что дизайнер готовит к

каждому сезону. Она может включать от

двадцати пяти до ста предметов в зависимости

от дизайнера. Предметы создают внешний вид.

Внешний вид создает общий ансамбль с

головы до пят. Поэтому вы можете начать со

шляпы, возможно, топа, туфель.

А.П.:

“Ансамбль” – одно из дюжины французских

used every day in the world of haute couture, a

phrase that translates literally as high culture but

which also connotes the glamorous, expensive

side of fashion.

VALERIE STEELE:

So you talk about decolletage [day-coe-la-

TAHGE] for example, which is the noun referring

to a neckline of say a dress, usually a low

neckline, as in a plunging decolletage.

A.P:

The fashion world sometimes pokes fun at itself

with terms like fashionista, meaning an almost

obsessively knowledgeable expert on what's hot -

meaning in, or in fashion - and what's not. It

contrasts fashionista with fashion victim.

TAMSEN SCHWARTZSMAN:

One who falls prey to the latest trends and fads.

They'll go out and buy something that lasts as a

fad for only a couple of months. Fashion victims

can also be the people who are cutting edge -

bringing some trend into the market.

A.P:

So I presume that the fashion industry likes these

kind of 'victims’.

TAMSEN SCHWARTZSMAN:

Of course! They shop. They promote things that

other people then catch on to, and buy.

A.P:

Indeed, the business of fashion is all about desire,

and so many fashion words convey judgments

about what is attractive - and what isn't. Many

terms of fashion praise, such as dope, sharp and

phat (it's spelled P-H-A-T) are borrowed from

popular music and the hip-hop scene.

EMILY BERRY:

Just what will be considered phat in two seasons

can be seen right now on what insiders call the

catwalk, which is colloquial word for ‘runway’.

слов, используемых ежедневно в мире высокой

моды, слово, которое переводится как

«высокая культура», но также означает

гламурную, дорогую сторону моды.

ВАЛЕРИ СТИЛ:

Так вы можете говорить, например, о декольте,

имея в виду линию шеи, скажем, платья,

обычно глубокую линию, как глубокий вырез.

А.П.:

Мир моды иногда подшучивает над собой,

используя такие слова, как “фашиониста”,

имея в виду почти одержимо осведомленного

эксперта по тому, что модно, а что нет. Оно

противопоставляет “фашиониста” и жертву

моды.

ТАМСЕН ШВАРЦМАН:

Те, кто становится жертвой последних

тенденций и прихотей. Они идут за покупками

и покупают вещи по сиюминутной прихоти,

которая длится только пару месяцев. Жертвами

моды могут также быть люди, находящиеся на

переднем крае – те, кто привносит тенденции

на рынок.

А.П.:

Как я понимаю, индустрии моды нравятся

такие ‘жертвы’.

ТАМСЕН ШВАРЦМАН:

Конечно! Они делают покупки. Продвигают

товар, люди воспринимают новую идею и

покупают.

А.П.:

Действительно, деловой мир моды связан с

удовлетворением желаний, передает суждения

о том, что привлекательно, а что нет. Многие

термины моды, такие как допинг, отличный,

фартовый, заимствованы из поп-музыки и

явления хип-хоп.

ЭМИЛИ БЕРРИ:

То, что считается фартовым, как говорят

знающие люди, через пару сезонов попадет на

подиум.

4. Прочитайте текст С и ответьте на вопрос, поставленный в заголовке.

TEXT C French chic…3 What do we have to wear in Paris?

Dear Sharon:

I’m going to Paris for vacation and

don’t want to look like a tourist. I'm not

familiar with what is acceptable to wear

Dear Nancy:

Thankfully, you are thinking about what

not to wear in Paris - or any other

in such a chic city for touring around.

I'm thinking the usual American

customs of wearing shorts, T-shirts,

sweats, tennis shoes, or flip-flops

probably won't go over well in Paris.

What should I wear to a dinner cruise

on the Seine or trolling about Paris to

visit museums, shop, or have a casual

lunch?

What's appropriate dress when I’m off

to a train excursion that is still

comfortable enough for walking around

a village on somewhat rough roads?

HELP me look French chic! – Nancy F.

stylish city for that matter!

While we’re at it, let’s all make a global

resolution as to not wear our ‘special’

car washing duds in public… hello, Mrs.

Pink Sweats, you know we are talking to

you.

“Do in Rome as the Romans do” – this popular English saying is also true about what we wear

at different places. While the chic women of Paris do wear casual clothing, the real sophisti-

cation comes from how they put it together. They don’t suffer from the same dimwitted arro-

gance as badly dressed Americans who wear sloppy sweats, dumpy shorts, beachy flip-flops, or

athletic sneakers as their implicit right to be dressed ‘comfortably’ at all times. Parisians, for the

most part, wear well-fitting clothes that suit their frame. You’ll barely see a mademoiselle who is

stuffed into a size too small jeans or drowned in a droopy camp shirt. The French understand

the magic of a good tailor and proper fit, and so should you.

They also understand the power of quality. Europeans usually don’t suffer the same fashion

victim overindulgence as Americans do and feel compelled to buy every trend simply because it

is in style. They buy what suits them in the best quality that they can afford. French chic is not a

matter of having it all, but a matter of having the best of all that you need. Fashion is like food for

the Parisian.

C'est la classique… ahhhh it even sounds better in French! Parisian chic comprises of

classically cut fashion worn in an unexpected, yet perfectly elegant way. There is that certain

extra design twist or precise flourish that makes each piece special but never trite or tired. And

what gives these classics their special does of French chic style power? It’s the off-handed way

in which they are put together. A beautiful dress coat is worn with jeans and a simple T-shirt,

along with a luxurious handbag and rich scarf to create an understated elegance that can take

you to almost any kind of situation in style. If a French woman does wear sneakers, they are

leather tennis shoes, designed to be more of a sports-inspired shoe rather than a gym

necessity.

Some useful words and phrases:

1. casual clothing – повседневная одежда

2. sophistication – изысканность, утонченность

3. dimwitted – неумный

4. arrogance – высокомерие

5. sloppy sweats – бесформенные свитеры

6. dumpy shorts – унылые шорты

7. beachy flip-flops – пляжные сандалии

8. athletic sneakers – спортивные кеды

9. as their implicit right – как принадлежащее им право

10. well-fitting clothes – одежда, подходящая по размеру

11. a size too small jeans – джинсы на один размер меньше

12. droopy camp shirt – свисающая походная рубашка

13. overindulgence – чрезмерное потакание

14. to be compelled – быть вынужденным

15. extra design twist – дополнительное дизайнерское ухищрение

16. trite or tired – банальный или избитый

17. off-handed way – метод импровизации

18. along with – вместе с

19. understated elegance – скрытая элегантность

LANGUAGE STUDY

Emphasis on verb ‘SET’.

- to set to: 1) вступать в драку; 2) браться за ( работу, еду и т. п. );

- to set up: 1) настраивать, производить настройку, регулировку;

2)устанавливать, ставить; 4) основывать, открывать (дело, предприятие и т.

п.); 5) подготавливать, планировать; 6) вызывать (что-л.); причинять (боль и

т. п.).

- to set in: 1) вставлять, вкладывать ( что-л. во что-л. ); 2) добавлять (что-л. к

чему-л. ); 3) начинаться, наступать, устанавливаться.

- to set about: 1) начинать делать ( что-л. ), приступать ( к чему-л. );

2) побуждать ( кого-л. ) начать делать ( что-л. ); 4) распространять (слух и т.

п. ).

- to set apart: 1) помещать отдельно, помещать раздельно; 2) сберегать

(деньги, время и т. п. ); 3) разнимать ( дерущихся ).

- to set out: 1) выставлять (на продажу или на обозрение); 2) излагать;

3)отправляться; выходить, выезжать, вылетать; 4) украшать, делать более

привлекательным; 5) высаживать ( семена, растения ); 6) накрывать ( на

стол); 7) выступать ( против противника )

EXERCISES IN PROPER APPLICATION

1. Use the following expressions with the word ‘SET’ in your own

sentences.

(1) set tongues wagging (дать повод для сплетен; вызвать толки); (2) set some money apart

(отложить немного денег); (3) set forth one’s views (изложить свою точку зрения); (4) set by the ears

(рассорить); (5) set eyes on smb. (приглядывать); (6) set one’s cap at smb. (‘положить глаз’ на кого-

либо); 53

2. Translate the following sentences paying attention to collocations with

the verb ‘SET’.

(1) Let’s set to work without delay. (2) That publishing house was set up

many years ago. (3) A spell (период) of rainy weather has set in. (4) We set out

at dawn so as to reach our destination before dark. (5) He was set up as a

mechanic. (6) The rumor was set about by one of your relatives, no doubt. (7) We

should set apart a little money in case of some possible emergency. (8) This girl

has set her cap at you. (9) Don’t forget to set the clock.

3. Recast the following sentences using different collocations with the verb

‘SET’ instead of the italicized words and phrases.

(1) The political party proclaimed its program through mass media. (2) If I were

you I wouldn’t urge him on to oppose his parents. (3) So far as I remember that

building was erected when I was quite a boy. (4) The teacher made all the

pupils work at once. (5) The hot season began last month. (6) I strongly advise

you to begin writing the composition tonight unless you want to lag behind your

class. (7) Our new acquaintance professed to be a film star. (8) Will you reserve

these tickets for me? I’m eager to attend the performance.

SOCIAL MINY-DIALOGS:

Make up 2-phrase dialogs (up to the model) expressing doubt, hesitation, disbelief in

accordance with the model and keep the conversation going.

Model

A: My daughter can sleep all day long.

B: Really? Did you happen to ask her what she was doing at night?

Reference list: Really? Is that so? I shouldn’t say so… I can hardly believe

my eyes! Too good to be true! Are you sure? You can never tell … Do you

really mean it?

You may use these as initial phrases:

(1) You always keep us waiting. (2) I’ m afraid I got off at the wrong stop. (3) My

shoes aren’t very clean today. (4) There were too few students at the lecture. (5) I

prefer coffee. (6) The cat has just eaten all the meat on the plate. (7) We are going

to the pictures together. Though I don’t think I like his manners. (8) My friend is

writing a book on navigation. (9) I like neither sweets, nor chocolate. (10) This

tooth is hurting me. (11) I hate him like poison.

Listen and Sing a song – Lemon Tree (Fool’s garden)

I’m sitting here in the boring room

It’s just another rainy Sunday afternoon

I’m wasting my time

I got nothing to do

I’m hanging around

I’m waiting for you

Isolation is not good is not good for me

Isolation. I don’t want to sit on the lemon-tree

I’m steppin’ around in the desert of joy

Baby, anyhow I’ll get another toy

But nothing ever happens and I wonder

I’m driving around in my car

I’m driving too fast

I’m driving too far

I’d like to change my point of view

I feel so lonely

I’m waiting for you

But nothing ever happens and I wonder

I wonder how

I wonder why

Yesterday you told me ‘bout the blue, blue sky

And all that I can see is just a yellow lemon-

tree

I’m turning my head up and down

I’m turning, turning, turning, turning, turning

around

And all that I can see is just another lemon-

tree

I’m sitting here

I miss the power

I’d like to go out taking a shower

But there’s a heavy cloud inside my head

I feel so tired

Put myself into bed

While nothing ever happens and I wonder

And anything will happen and you wonder

I wonder how

I wonder why

Yesterday you told me ‘bout the blue, blue sky

And all that I can see is just another yellow

lemon-tree

I’m turning my head up and down

I’m turning, turning, turning, turning, turning

around

And all that I can see is just another lemon-

tree

And I wonder, wonder

I wonder how

I wonder why

Yesterday you told me ‘bout the blue blue sky

And all that I can see, and all that I can see,

and all that I can see

Is just a yellow lemon-tree

TEST TO LESSON 5

1. Укажите, в каком предложении паузы расставлены верно:

а) At this point I we have discussed a number of ideas I about the nature of development I

and issues in development.

b) At this point we have discussed a number of ideas I about the nature of development I

and issues in development.

2. Укажите ряд, все слова которого могут выполнять функцию сказуемого:

а) came, did not seem, sent, is carrying, had moved, agree, while carrying

b) had not determined, had to leave, resembling, should be placed, would come, can

improve, of weaving

c) should be, had to be placed, did not fall, put, is situated, may happen, agreed, can be

produced

3.Определите сказуемое главного предложения:

Regardless of your age, you can make a number of important changes in your current

life-style that will help you feel better physically, mentally, and emotionally.

а) will help

b) feel

c) can make

4.Определите подлежащее главного предложения:

Every life is distinct, a new biography in the world.

a. Every

b. life

c. biography

5. Определите предложение, в котором сказуемое имеет модальное значение

долженствования:

а) Recently researchers have found that, even in late adulthood, exercise, strength

training with weights, and improved nutrition can help еlderly individuals significantly

improve their health and well-being.

b) And this new knowledge can be transmitted to the next generation of children to

help them become even healthier and feel better than our generations

c) At this point we have to discuss a number of ideas about the nature of development and

issues in development.

5.Определите количество предложений (главное, придаточные), входящих в состав

следующего высказывания:

For children who experienced a world of poverty, neglect by parents, and poor schooling

in childhood enriched experiences in adolescence can not remove the "deficits" they

encountered earlier in their development.

a) одно

b) два

c) три

Lesson Six The Strategies of the Style:

Trends in Menswear.

Since the eighteenth century, all

attempts to introduce color to male

formal attire have failed or have been

derided. A shiny, colorful, patterned

male evening ensemble is unthinkable.

Such is the continuing power and

in*uence of tradition.

- James Laver, the costume historian

Грамматика

1. Инфинитив (INFINITIVE) (§ 16).

2.Функции инфинитива (§ 16).

3. Упражнения № 56-58.

Лексика

1.Развитие навыков произношения (лексико-фонетические упражнения).

2.Ключевые слова (термины урока).

3.Лексико-грамматические структуры, используемые в текстах урока.

Практическое применение языковых знаний для решения коммуникативных задач

1.Развитие коммуникативных навыков в после-текстовых упражнениях.

2.Фразовый глагол “PUT”. Упражнения. Мини-диалоги.

Контроль: Тест урока 6.

Выполнение индивидуальных заданий преподавателя по разделу «Тексты для чтения»

ПРЕДТЕКСТОВЫЕ УПРАЖНЕНИЯ

1.Прочтите слова несколько раз, используя знаки транскрипции. Проверьте, правильно ли вы

читаете следующие слова:

quintessence [kwIn’tesns], casual [‘kxZjuql], curiously [‘kjuqrIqslI], ennobling

[I’nqublIN], utilitarian [“jHtIlI’tFqrIqn], en masse [‘On’mxs], uniform [‘jHnIfLm],

panoplies [‘pxnqplIz], custom-made [‘kAstm ‘meId], hand-me-down [‘hxndmI’daun],

vintage [‘vIntIG], tuxedo [tAk’sIdqu], mischievous [‘mIsCIvqs], appellation [“xpq’leISn],

myriad [‘mIrIqd], breasted [brestId], studs [stAdz], bow tie [‘bQu tQI], individuality

[“IndJvIdju’xlItI], discreet [dIs’krIt], fob [fOb].

2.Переведите следующие слова с русского на английский, проверяя правильность

произношения по упражнению 1:

квинтэссенция, присвоение какого-либо имени, неформальный, (одно- двух-) бортный,

галстук-бабочка, необычайно, озорной, старомодный, облагораживающий, практический,

смокинг, совместно, кармашек для часов, форменная одежда, запонки, доспехи,

индивидуальность, изготовленный на заказ, подержанное платье, бесчисленный,

обходительный.

3. Дайте начальные формы следующих слов:

unchanging, curiously, might seem, ennobling, utilitarian, recognizable, globally, panoplies,

restricted, timeless, unshakable, wearer’s, upbringing, blacker, single breasted, collared, the

finest, ready-made, hand-tied, conveniently, being concealed, items.

4.Проверьте, знаете ли вы следующие глаголы:

(1) to elevate, (2) to ennoble, (3) to attempt, (4) to choose, (5) to encompass, (6) to be restricted to,

(7) to be referred to, (8) to be considered.

5. Переведите следующие словосочетания c русского языка на английский, используя

глаголы из упражнения 4 и соответствующие выражения из текста А:

(1), (2) мужская официальная одежда является удивительно возвышающей и

облагораживающей, (3) некоторые дизайнеры пытаются свободно обращаться с любимыми

деталями, (4) в целом, существуют пять стилей на выбор, (5) чтобы выполнять все социальные

функции, (6) женщины не ограничиваются только черным цветом, (7) обычно называют

смокингом, (8) галстук-бабочка не считается таковым, если не повязан вручную.

6. Прочтите несколько раз лексическую программу текста А, найдите ее в тексте и

переведите предложения, содержащие эту программу.

(1) the men’s garments are nearly unchanging,

and they are described as “formal.”

предметы мужской одежды почти не

изменяются, и такую одежду называют

«официальной».

(2) the uniform nature of the clothes единообразная природа одежды

(3) But like the armed forces, which have

panoplies of different ranks

Но подобно вооруженным силам, которые

имеют знаки отличия для различных рангов

(4) a tangible difference in provenance can be

evinced

Ощутимое различие в происхождении

делается очевидным

(5) A black-tie event is a sea of uniforms Мероприятие «при черных галстуках» - это

целое море униформ

(6) Formal clothes have an air of assured

authority and confidence

Официальная одежда заключает в себе дух

влиятельности и уверенности

(7) timeless style of the unshakable classics неколебимо-классический стиль, не

подверженный воздействию времени

(8) a mischievous, iconoclastic dandy озорной, иконоборческий франт

(9) some contend that the classic tuxedo jacket

must have a shawl collar rather than peaked

lapels

некоторые спорят, говоря, что классический

смокинг должен иметь воротник-шаль, а не

заостренные лацканы

(10) if a spirited watch chain or fob is attached

to a waistcoat

Если выразительная цепочка для часов,

или кармашек для часов прикреплены к

жилету

TEXT A. MEN’S FORMAL WEAR

The quintessence of uniform elegance in men’s wear is that

the men’s garments are nearly unchanging, and they are

described as “formal.” The exact opposite of “casual”

clothes, men’s formal garments are as curiously elevating

and ennobling as they are utilitarian and leveling. This

might seem a contradiction in terms at first, but one has

only to think of a “black-tie” event to realize that at least en

masse, the uniform nature of the clothes—coded and easily

recognizable globally—places all men in the same

category, much like a uniform does for the army, navy,

or air force. But like the armed forces, which have panoplies of different ranks, a tangible

difference in provenance can be evinced in evening or formal clothes.

- Is this suit custom-made?

- Is that rented?

- Is that a hand-me-down?

- Is this a lucky find in a vintage market?

A black-tie event is a sea of uniforms—all men, although from different ranks in society, at least

visually and superficially are united by convention. Formal wear not only functions as a social

leveling device for the men at a gathering, but it also provides uniform clothes for the female

guests who are of course, not restricted to the black color for their gowns. Formal clothes have

an air of assured authority and confidence about them and are generally resistant to fashion,

although of course some designers attempt to play with their favorite elements from collection to

collection. But customers always seem to revert to the history, tradition, and timeless style of the

unshakable classics.

The most recognizable formal wear costume is the black-tie—in the United States, usually

referred to as the tuxedo and frequently shortened to “tux.” In 1896, a mischievous, iconoclastic

dandy, Griswold Lorillard, wore a shorter, black formal jacket (without tails) to a country club in

Tuxedo Park, New York—and the name was established. The jacket part of the black-tie

ensemble is sometimes referred to as a “dinner jacket,” though that appellation is too limiting to

encompass all social functions. Essentially, the terms all refer to the same costume, though

some contend that the classic tuxedo jacket must have a shawl collar rather than peaked lapels,

and many would permit no color other than black (some will allow cream). But these distinctions

have more to do with the wearer’s upbringing and taste as opposed to the outfit itself.

There are generally five styles to choose from: single breasted, double breasted, peaked lapels

(usually double breasted) and single or double breasted shawl collared. Basically, it is a black

suit but ennobled by a silk facing on the lapels, the better to provide a suggestion of luxury and

attention to detail. And black-tie is, and should only ever be, black—or perhaps midnight blue,

which the late royal couturier Sir Hardy Amies always made it look blacker than black itself,

under artificial light.

The shirt is always white. It can be made in anything from the finest zephyr cotton to polyester—

but it must always be white. Pearl buttons or studs are the norm and a wing collar a matter of

choice and taste, although if one is sported it should be buttoned on or studded through— not

ready-made. And the bow tie is not considered one if it is not hand-tied. While the basic

elements of formal wear are conveniently precise, the wearer is able to exert his individuality

through the sporting of discreet (or not so discreet) items of jewelry—these for the most part

being concealed by the jacket cuff in the form of links or by the jacket itself if a spirited watch

chain or fob is attached to a waistcoat.

ЗАДАНИЯ К ТЕКСТАМ А,В,С.