Мифтахова Н.Х. Учебник английского языка
Подождите немного. Документ загружается.
1.Прочитайте текст А и найдите 5 предложений, содержащих основную
информацию. Переведите эти предложения.
2.Перескажите текст А, используя выделенные вами предложения.
3.Прочитайте текст В и дайте характеристику официальной одежды.
TEXT B Daytime Formal Wear.
As the costume historian James Laver has pointed out, 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
influence of tradition.
Formal daywear is now found primarily in the world of sports, and especially of horse racing
and boat racing. Royal Ascot, Goodwood, and Henley are social institutions where formal
clothes are demanded and specific dress code requirements are imposed on all who attend.
Formal wear for Royal Ascot would be full morning dress (dove gray or black); the groom or the
bride’s father at a formal daytime wedding would wear the same ensemble.
The coat is sometimes referred to as a cutaway coat (being a frock coat with the corners
removed), not to be confused with a tailcoat, which is cut to the waist in the front, and has a pair
of tails behind. A gray, or for the more fashion conscious, brightly colored and patterned silk
waistcoat, is worn beneath and teamed with a tie, cravat, or some other individualistic neck wear
—but never a bow-tie.
The origin of formal wear is open to discussion and challenge, but one name forever
associated with formality, uniformity, and simplicity was Beau Brummell—king of the dandies
and a one-time favorite of King George IV. He is often referred to as the “father of modern male
formal costume” as he eschewed the brightly hued silken finery and powdered wigs generally
worn at court for a sober suit of midnight blue-black with minimal jewelry (a signet ring was
permissible), no wig, no perfume but plenty of shaving and washing—a well-scrubbed
appearance being the natural partner to formal dress.
At weddings and funerals, formal clothes were obligatory and many other social situations
demanded this “civilian uniform” as a means of maintaining a required ambiance, from balls and
tea dances to memorials and visits to the opera. Just a hundred years ago, dressing for dinner
in one’s own home could have meant having to wear full formal dress—even if it was just with
family members. A visit to almost any vintage clothing fair or market will reveal several
yesteryear formal garments for men—a clue as to how vital they were and perhaps how few the
occasions for which they are needed in the early 2000s. Perhaps formal wear represents the
last bastion of constancy in clothing with a conspiratorial nod to time, not trend.
Some useful words and phrases:
1. formal attire – официальная одежда
2. to deride – высмеивать
3. patterned – узорчатый
4. unthinkable – немыслимый
5. dress code – дресс-код 60
6. morning dress – официальный парадный костюм для утреннего и дневного времени, визитка
7. dove gray – сизо-серый
8. cutaway coat – пальто с разрезом
9. frock coat – сюртук
10. tailcoat – фрак
11. fashion conscious – чувствующий моду
12. waistcoat – жилет
13. cravat – галстук, шарф
14. bow-tie – галстук-бабочка
15. uniformity – единообразие
16. signet ring – кольцо-печатка
17. civilian uniform – гражданская униформа
18. ambiance – окружение; обстановка, среда
6. Прочитайте и переведите текст С.
TEXT C DOLCE & GABBANA
Domenico Dolce was born in Polizzi Generosa (near Palermo,
Sicily) on 13 September 1958. His family owned a small clothing
business, where Domenico worked from childhood. Stefano Gabbana
was born in Milan on 14 November 1962. He studied graphics but soon
turned to fashion. After a brief period of working as assistant designers,
they founded the Dolce & Gabbana label, which had its first runway
show as part of the New Talent group in Milan in 1985, upon the
invitation of Italian fashion promoter Beppe Modenese.
In 1986 they produced their first collection, called “Real Women.” In
1987 they launched their knitwear line and in 1989 their beachwear and
lingerie lines. Beginning in 1988 they produced their ready-to-wear line
in Domenico Dolce’s family-owned atelier, located in Legnano, Milan. The first Dolce & Gabbana
men’s collection appeared in 1990. In 1994 they launched the D&G label, inspired by street style
and a more youthful look.
They introduced a line of eyewear under the Dolce & Gabbana and D&G labels and
produced music CDs. In 1996, for their tenth anniversary, they published Ten Years of Dolce &
Gabbana, which included their most important advertising images and texts.
In a 1995 interview Dolce and Gabbana recalled their first professional foray into fashion
during the Milan collections as eliciting “one of the strongest emotions we have ever
experienced”. The show marked the occasion of the birth of the Dolce & Gabbana label, which
was destined to play a fundamental role in the history of Italian ready-to-wear. The designers
showed full-length garments of stretch jersey, silk jackets, and oversize shirts that could be worn
with casual sandals. The collection, characterized by fluidity and difference, soon found an
enthusiastic public.
They were not looking for a retro look; however, Dolce & Gabbana turned to the past for
innovation. The designers remarked, “We want to use the past to project it into the future”. And
making it modern involved the creative use of fabrics and colors, and the ability to blend various
sources of inspiration, primarily those whose origins could be traced to the heterogeneous
world of the Mediterranean.
6. Ответьте на вопросы к тексту С.
1) What did the first collections of Dolce & Gabbana deal with?
2) What role did the label Dolce & Gabbana play?
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3) What materials did Dolce & Gabbana use in their collections?
4) Why did Dolce & Gabbana turn to the past?
LANGUAGE STUDY
Emphasis on verb ‘PUT’.
- to put out : 1) выгонять; удалять, устранять; убирать; 3) выдвигать,
высовывать, выставлять; 4) давать побеги (о растении); 5) тушить, гасить;
6) отдавать на сторону ( вещи в стирку, в ремонт ); 7) причинять
неудобство; 8) выводить из себя, смущать, расстраивать; 9) выпускать,
производить; 10) выпускать, издавать. 68
- to put up : 1) поднимать; 2) строить, воздвигать ( здание и т. п. );
3)ставить ( пьесу ); 4) выставлять на продажу; 5) повышать ( цены ).
- to put through: 1) выполнить, закончить ( работу ); 2) соединять (по
телефону ).
- to put off : 1) высаживать, выпускать; 2) выключать ( электричество и т. п.
); 3) откладывать ( что-л. на более поздний срок ); 4) отделываться,
избавиться ( от кого-л., чего-л. ); 5) вызывать отвращение; 6) мешать,
отвлекать ( от чего-л. ); 7) отбрасывать (страхи, сомнения и т. п. ).
- to put on : 1) надевать; 2) принимать вид; прикидываться, притворяться;
3) ставить ( на сцене ).
- to put down : 1) опускать, класть; 2) откладывать, прерывать (работу и т.
п. ); 3) запасать ( что-л. ); 4) записывать; 5) подавлять, усмирять,
пресекать.
EXERCISES IN PROPER APPLICATION
1. Use the following expressions with the word ‘PUT’ in your own
sentences.
(1) put me right (поправьте меня); (2) Never put off till tomorrow what you can do today (Не
откладывай на завтра то, что можешь сделать сегодня); (3) put yourself at ease (расслабься); (4)
put every iron in fire (применить все возможные средства); (5) put in a word (замолвить словечко
за кого-л.); (6) put in good order (упорядочивать); (7) put into action (вводить в действие); (8) put
on airs (важничать, чваниться; бахвалиться, задаваться).
2. Translate the following sentences paying attention to collocations with
the verb ‘PUT’.
(1) Put me right if you think I’m exaggerating things. (2) If you want to travel when on
leave you must put down your daily expenditure. (3) Don’t put on airs. (4) The lecturer
was put out by the noise in the hall. (5) I hope we shall be able to put through this deal
successfully. (6) Will you put me through to the manager? (7) Put the knife and fork out
of the child’s reach. He will cut his fingers.
3. Recast the following sentences using different collocations with the verb
‘PUT’ instead of the italicized words and phrases.
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(1) I would like to be put in connection
with your dean. (2) Don’t postpone
your work
till tomorrow. (3) To be able to buy that fur-coat you must cut your expenses
at once.
(4) How much of vitamins does your laboratory produce
annually? (5) He was
discouraged
by such a cold reception of the audience. (6) Correct
him if you believe
he needs correction. (7) Will you lay aside
your book while I’m speaking to you?
SOCIAL MINY-DIALOGS:
Make up 3-phrase dialogs (up to the model) expressing anger, irritation or indignation in
accordance with the model and keep the conversation going.
Model
A: You’ll have to hurry to get there in time.
B: How annoying! And there isn’t a bus along this road.
A: Unfortunately there isn’t.
Reference list: It’s awful (terrible, appalling, ghastly)… How awful (dreadful,
terrible)! … What a bore… How boring!... What a shame! … What a
nuisance! … There you are! … What next (I wonder)? … Live me alone! …
What do you take me for? … Who do you think you are? … You are the limit!
You may use these as initial phrases:
(1) My tin-opener is missing. Did you take it again? (2) Oh dear, the picture has
fallen down again. (3) I think it’s going to rain. (4) Do you remember that your
sister’s birthday is next week? (5) Your new hat doesn’t become you. (6)
Something has gone wrong with my lap-top. Could you put it right? (7) It would
have been better if I didn’t go and take the exam. I wouldn’t have failed. (8)
There’s no need to lose your temper. (9) I must have forgotten to lock the front
door. (10) I was late for my classes again. The lecturer didn’t let me in. (11) I hate
him like hell.
TEST TO LESSON 6
Choose the best answer (a), (b), (c) or (d).
1. He … to finish reading the book, even though he found it so difficult.
(a) can
(b) could
(c) was able
(d) able
2. Ann had to … her motorcycle last week after it broke down.
(a) repair
(b) take
(c) buy
(d) ride
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3. It’s … that Andrew missed the business meeting in New York.
(a) fanatic
(b) suitable
(c) unpopular
(d) unfortunate
4. You can browse … the stalls at the market.
(a) in
(b) on
(c) across
(d) among
5. Julia was … in a small country village called Millwood.
(a) go up
(b) brought up
(c) rise
(d) developed
6. The tap in the kitchen doesn’t work. Tomorrow … a plumber.
(a) I should to call
(b) I’ll call
(c) I call
(d) I’m able to call
7. I don’t think it’s … to answer all the questions.
(a) interesting
(b) beautiful
(c) necessary
(d) able
8. They are going to build a new shopping and entertainment … there.
(a) complex
(b) difficult
(c) dockland
(d) service
9. It was a … show. I really enjoyed it!
(a) awful
(b) unusual
(c) spectacular
(d) ethnic
10. The weather tomorrow is going to be …
(a) rain
(b) freeze
(c) cold and rainy
(d) wind
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Lesson Seven Future of Fashion
Women have become
liberated little by little
through thought, work,
and clothes.
I cannot imagine that they
will ever turn back.
Perhaps they will continue
to su,er occasionally to be
beautiful, but more than
ever they seek to be both
beautiful and free.
- Paco Rabonne
Грамматика
1.Причастия Participles ( § 17)
2.Функции причастий (§ 17).
3.Упражнения № 59-61.
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 “KEEP”. Упражнения. Мини-диалоги.
Контроль: Тест урока 7.
2.Выполнение индивидуальных заданий преподавателя по разделу «Тексты для чтения»
ПРЕДТЕКСТОВЫЕ УПРАЖНЕНИЯ
1.Прочтите слова несколько раз, используя знаки транскрипции:
Predicting [prI'dIktIN], speculative ['spekjulqtIv], actual ['xkCuql], technologies
[tek'nOlqGIz], creativity [«krIq'tIvItI], manufacturing [«mxnju'fxkCqrIN], sewing machine
['squIN mq'Sin], natural fibers ['nxCqrql 'faIbqz], overwhelming sizes [«quvq'welmIN
'saIzIz], titanium [taI'teInjqm], wrinkles ['rINklz], item ['aItqm], venture ['venCq], knitted
tubes ['nItId 'tjHbz], outfit ['autfIt], bustle ['bAsl], elusive [I'lHsIv], luxury ['lAkSqrI],
status ['steItqs], glamour ['glxmq], fleeting ['(JtIN].
2.Переведите следующие слова с русского на английский, проверяя правильность
произношения по упражнению 1:
прогнозирующий, швейная машина, гипотетический, мимолетный, натуральные
волокна, реальный, технологии, творчество, производство, огромные размеры, титан,
65
складки, положение в обществе, эфемерный, переполох, изделие, предприятие,
вязаные трубы, костюм, шарм, роскошь.
3. Дайте начальные формы следующих слов:
Predicting, speculative, creativity, unheard, nineteenth, abilities, communications, manufactured,
entertainment, unlikely, wearer, supposedly, premolded, sewn, a spectrum, outlining, greatly,
stimulus, theories.
4.Проверьте, знаете ли вы следующие глаголы:
(1) to stem, (2) to affect, (3) to stretch, (4) to inspire, (5) to expose, (6) to determine, (7) to cater, (8)
to retain.
5. Переведите следующие словосочетания c русского языка на английский, используя
глаголы из упражнения 4 и соответствующие выражения из текста А:
(1) обычно являются результатом изменений в технологии , (2) производство одежды всегда
находится под влиянием, (3) способность высокотехничных тканей растягиваться, (4)
вдохновляют дизайнеров одежды, (5) когда блуза подвергается действию горячего воздуха, (6)
дизайнеры определяют линию моды, (7) спектр стилей, который удовлетворяет прихоти, (8)
сохранять стериотипы.
Прочитайте лексическую программу текста А
1. Predicting the future of fashion can be
as analytical as market research, or just
speculative
Прогнозирование будущего моды может
быть аналитическим, как исследование
рынка, или просто гипотетическим.
2 with textiles being developed that have
properties unheard of in natural fibers
разрабатываются ткани со свойствами,
неслыханными для природных волокон
3. fashion designers, in their roles as
creators, determine the course of fashion
дизайнеры, как создатели костюмов,
определяют направление моды
4. …predicts that the clothes of the future
will be premolded, bound or welded—no
longer will they be sewn
… прогнозирует, что одежда будущего
будет предварительно формоваться,
подгибаться или привариваться – ее
больше не будут шить
5. The result is a spectrum of styles that
caters to…
Результатом является спектр стилей,
который удовлетворяет прихотям…
6. The idea of clothing as a “second skin”
Идея одежды как «второй кожи»
7. at the same time it can be aggressive,
with leather, corsetry, and body-revealing
shapes
В то же время она может выглядеть
агрессивной, с кожей, поясами и
обнажающими тело формами
8. the body of the future will be different
Тело в будущем будет другим
9. profit making have changed and will
continue to alter the fashion industry
получение прибыли изменилось и будет
продолжать изменять индустрию моды
TEXT А Predictions about the Future of Fashion.
Predicting the future of fashion can be as analytical as market research, or just speculative.
Actual influences on fashion have typically stemmed from changing technologies, political
events, and the creativity of certain individuals.
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The manufacturing of clothes has always been affected by technological advances. The sewing
machine revolutionized the clothing industry in the nineteenth century, and zippers altered
clothing construction when they were perfected for use in the 1930s. In the early 2000s,
technological innovations in fabrics influenced on how designers think about clothing, with
textiles being developed that have properties unheard of in natural fibers.
The abilities of these high-tech fabrics to stretch to overwhelming sizes or change their structure
according to temperatures inspire clothing designers and blur the lines between fashion and
industrial design. The Italian firm Corpo Nove designed a shirt woven with titanium that reacts to
shifts in temperature. Wrinkles in the fabric are released when the shirt is exposed to hot air.
Another item from the firm is a nylon jacket with a cooling system.
Changes in communication also influence the styles of the future. A nylon jacket, manufactured
by Industrial Clothing Design, a venture of Philips Electronics and Levi Strauss and Company,
features a “fully integrated communications and entertainment system”.
Primarily the fashion designers, in their roles as creators, determine the course of fashion. As a
result, clothing designers are often asked to look into the future. Over time, their ideas and
themes relating to these predictions remain almost constant. Many of the predictions made
were unlikely to be achieved in that short period: “Paco Rabonne predicts that the clothes of the
future will be premolded, bound or welded—no longer will they be sewn”. Issey Miyake is one
designer rethinking how to make clothes for the future. Miyake’s A-POC (A Piece of Cloth)
features knitted tubes of fabric with markings for an outfit. When purchased, the fabric is cut by
the wearer to make different articles of clothing. But ideas such as these are beyond the realm
of mainstream fashion in the early twenty-first century.
One of the ongoing influences on fashion is the shift in women’s roles in society. Fashion
designers look at these changes from various angles and possibilities: the approach of unisex or
androgynous clothing; the working woman’s wardrobe as compared with men’s wear; or the
validity of femininity now that women are supposedly equal. The result is a spectrum of styles
that caters to a diverse group of women, yet retains many stereotypes.
Fashion continues to represent female sexuality, with pleats and bows and flowing chiffon, and
at the same time it can be aggressive, with leather, corsetry, and body-revealing shapes.
The human body plays as integral role as the clothes for many fashion designers working in the
early 2000s. The idea of clothing as a “second skin” is often discussed when designers speak of
the future of clothing. This concept has yet to be achieved with the wearing of only body
stockings, or as Jean Paul Gaultier predicted in 1982, we’ll just “spray on a latex body suit”. This
idea of a second skin continues to interest Gaultier and other designers. For his Fall 2003
collection, Gaultier created patterned bodysuits, worn under clothes, including one outlining the
body’s arteries. More often fashion designers attempt to mold the body into other shapes. While
the concept differs little from bustles of the nineteenth century, the results found in the early
twenty-first century differ greatly. As Walter van Beirendonck, the Belgian designer for Wild and
Lethal Trash, said, “the body of the future will be different”.
How fashion designers will manifest their ideas depends partly on the changing structure of the
fashion industry and the evolving needs, and demands, of consumers. There remains the
ongoing question regarding the demise of French couture and the stimulus to fashion from
street styles. In The End of Fashion, Teri Agins argues that street style, consumer demands,
and profit making have changed and will continue to alter the fashion industry. Agins’s theories
67
apply to the marketplace, fashion in the twenty-first century. They still belongs to the elusive
world of luxury, status, sex, and glamour. While fashion is known to be fleeting, many
predictions about its future are slow to arrive.
ЗАДАНИЯ К ТЕКСТАМ А,В,С.
1.Прочитайте текст А и найдите 5 предложений, содержащих основную
информацию. Переведите эти предложения.
2.Перескажите текст А, используя выделенные вами предложения.
3.Прочитайте текст В и дайте характеристику высоко-технологичной моды
будущего.
4. Перескажите текст В, используя концептуальную таблицу.
TEXT B HIGH-TECH FASHION
High-tech fashion uses advances in science and technology to design and produce
fashion products. Methods used in high-tech fashion are borrowed from
technologies developed in the 8elds of chemistry, computer science, aerospace
engineering, automotive engineering, architecture, industrial textiles, and
competitive athletic wear. Fashion projects an image of rapid change and forward
thinking—a good environment for use of the latest technologies in production
methods and materials. As technology becomes more integrated with one’s
everyday life, its in(uence on the fashion one wears continues to increase.
Historic technological innovations such as the development of the sewing machine,
the zipper, and synthetic 8bers have in(uenced how garments are made, how they
look, and how they perform. Elsa Schiaparelli was a noted designer of the 1930s and
1940s who had an eagerness to experiment with synthetic 8bers. She introduced
the 8rst zipper to Paris couture. World events delayed advancements in techno
fashions until the race for space began to in(uence designers in the 1960s. Paco
Rabanne’s experimentation with metal-linked garments, and Pierre Cardin’s
pioneering vacuum-formed fabrics began to push the boundaries of fashion through
experimentation with technology and innovative materials. Plastics, foamlaminated
fabrics, metallic-coated fabrics, and a sleek fashion silhouette launched fashion into
a new realm. Technological advances continue to in(uence fashion with new
developments in materials, garment structuring and sizing, methods of production,
and the quest for fashion that re(ects the look and lifestyle of the future.
Techno Materials
Techno materials include 8bers, textiles, and textile 8nishes engineered for a
speci8c function or appearance. The U.K. designer Sophia Lewis believes that “the
greatest potential for the future lies in experimental fashion using advanced
synthetics to promote new aesthetics and methods of garment construction”. While
most synthetics of the twentieth century were developed to mimic natural 8bers,
the new synthetics are engineered to be strong and durable even when lightweight,
transparent, or elastic. Blending natural 8bers with synthetics in new ways to
produce “techno-naturals” is adding to the aesthetic and performance advantages
of textiles.
Recent 8ber developments include micro8bers, 8bers regenerated from corn and
milk proteins, metallics, and 8ber optics. Micro8bers can be produced at a thickness
less than that of a silk 8lament to create fabrics that are soft and (uid with great
strength and capabilities of performing under extreme environmental conditions.
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CONCEPT TABLE
High-Tech Fashion
Concept Processes/Related Ideas Characteristics/Description
High-tech fashion
Fashion projects
Historic technological
innovations
Techno materials
What advances in science
and technology does it
use?
What is their major course of
development?
Trends in development
What materials promote new
aesthetics and methods of
garment construction?
High-tech fashion uses
technologies developed
in the 8elds of chemistry,
computer science,
aerospace engineering,
automotive engineering,
architecture, industrial
textiles, and competitive
athletic wear.
Fashion project is an
image of rapid change
and forward thinking—a
good environment for
use of the latest
technologies in
production methods and
materials
The development of the
sewing machine, the
zipper, and synthetic
8bers have in(uenced
how garments are
made, how they look,
and how they perform.
The greatest potential for
the future lies in the new
experimental synthetics
which are engineered to
be strong and durable
5. Прочитайте и переведите текст С.
TEXT C Fashions for New Lifestyles
Sports and active lifestyles have influenced fashions of
the early 2000s. Apparel technologies developed for
competitive sports are incorporated into fashions for
everyone. Research and innovative thinking have
advanced sportswear with attention to both performance
and aesthetics.
Garments that maintain body temperature, cool the body,
and improve performance are researched and
engineered with a new aesthetic that has moved the
garments out of the gym and into everyday life.
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Current fashion is making accommodations for the consumer’s changing electronic lifestyle,
including garments with pockets for cell phones, jackets with connections for electronic music