Тема 18. Граматичний мінімум іноземної мови професійного спілкування. Граматична структура сучасної англійської мови.

Мета:формувати навички говоріння, читання, , розвивати комунікативні здібності студентів. Формувати граматичні навички вживання пасивного стану в часах групи Сontinuous

Обладнання: малюнки до теми, роздруківки текстів для читання та завдань, словники.

Час проведення: 2 год.

План заняття

І Організаційний момент. Привітання

II. Перевірка домашнього завдання

Reading and discussion the information.

English as a second or foreign language is the use of English by speakers with different native languages. Instruction for English-language learners may be known as English as a second language (ESL), English as a foreign language (EFL), English as an additional language (EAL), or English for speakers of other languages (ESOL).

“English as a second or foreign language…” indeed is the use of English by speakers with different native languages. However,“English as a foreign language” is not used in instructional or school settings, as the students might feel devalued by being called foreigners. Therefore, English Language Learners (ELL) is used instead, and the students’ home language and cultures are considered important. All students who do not speak English proficiently or are learning English for the first time, are referred to as ELLs (Wright, 2010). The way English learners are instructed depend on their level of English proficiency and the programs provided in their school or district. In some programs, instructions are taught in both, English and their home language. In other programs, instructions are only in English, but in a manner that is comprehensible to the students (Wright, 2010). Yet, there are other programs in which ELLs are pulled out of the classroom for separate English instructions, or the instructions can also be given in the classroom itself (Wright, 2010).

English as a language has great reach and influence; it is taught all over the world. In English-speaking countries, English language teaching has evolved in two broad directions: instruction for people who intend to live there, and instruction for those who do not. These divisions have grown firmer as the instructors of these two "industries" have used different terminology, followed distinct training qualifications, formed separate professional associations, and so on. Crucially, these two arms have very different funding structures, public in the former and private in the latter, and to some extent this influences the way schools are established and classes are held. Matters are further complicated by the fact that the United States and the United Kingdom, both major engines of the language, describe these categories in different terms.

Although English is the principal language in both the US and the United Kingdom, it differs between the two countries, primarily in pronunciation and vocabulary. For example, some words and phrases that are inoffensive in the US are offensive in the UK and vice versa. These differences are the butt of many jokes. "We have really everything in common with America nowadays, except, of course, language" (Oscar Wilde, in The Canterville Ghost). Similarly, Bertrand Russell said: "It is a misfortune for Anglo-American friendship that the two countries are supposed to have a common language." Variations have been misattributed to Winston Churchill, and George Bernard Shaw,[citation needed] that England and America "are two countries divided by a common language."

The many acronyms and abbreviations used in the field of English teaching and learning may be confusing and the following technical definitions may have their currency contested upon various grounds. The precise usage, including the different use of the terms ESL and ESOL in different countries, is described below. These terms are most commonly used in relation to teaching and learning English as a second language, but they may also be used in relation to demographic information.

English language teaching (ELT) is a widely used teacher-centered term, as in the English language teaching divisions of large publishing houses, ELT training, etc. Teaching English as a second language (TESL), teaching English to speakers of other languages (TESOL), and teaching English as a foreign language (TEFL) are also used.[citation needed]

Other terms used in this field include English as an international language (EIL), English as a lingua franca (ELF), English for special purposes and English for specific purposes (ESP), and English for academic purposes (EAP). Those who are learning English are often referred to as English language learners (ELL).

ІІІ. Основна частина. Читання тексту «UkrainianPictorialArt»

Fine arts development in Ukraine harks back to the dawn of history. Archeological finds, especially dated to the period of Scythian and Trypilia cultures, are notable for proficiency of techniques and prove high artistic level of the artifacts by the ancestors of the present-day Ukrainians.

Specimens of the art of the Kyivan Rus that had been developing within the general line of the medieval European culture linked with the Church and Christianity reached our eyes in a more complete form. The leading genres of the imitative art of the Rus were mosaic, fresco, and icon and book miniature paintings. The extant world of old art as integral assembly of architecture, decorative and applied artworks is real at St. Sophia Cathedral of Kyiv where samples of secular painting of the 11th century have preserved unique for the whole Europe. However, until the 17th century icons remained the principal pieces of art in Ukraine.

The intermediary between the icon and secular portrait paintings were so-called parsuny, full-face portraits made using icon-painting techniques. Well-to-do members of the Cossack chieftains’ families in great number ordered their portraits to be made. It is for the second half of the 18th century that the peak of the secular portrait painting fell on in the full sense of the term. At the same time, the tendency is evident of the gifted youth from Ukraine departing to St. Petersburg to the Academy of Art. Thus, the most famous artists of Russia of those days were Dmytro Levytsky from Kyiv and Volodymyr Borovykovsky from Myrhorod. Of the Ukrainian origin was also Anton Losenko, the creator of the historical style of the Russian academic art.

Regarding the pictorial art in the East Ukrainian land of the 19th century one might observe certain Ukrainian-Russian oneness: although the Academy of Art in St. Petersburg remained the primary center of education in the Russian Empire, numerous artists were attracted by Ukraine that they called “a new Italy”.

Famous Russian artist Vasyliy Tropinin used to say that Ukraine was in place of the Academy for him. He lived and worked for many years in Podilia and devoted a vast number of portraits to Ukrainian theme including: The Girl from Podilia; A Boy with an Axe; Wedding Party at the Kukavtsi Village; The Ukrainian; Portrait of a Peasant from Podilia, etc.

The brilliant Ukrainian poet and painter Taras Shevchenko also attended the Academy of Art in Saint Petersburg; however, the external circumstances such as exile and ban to paint prevented his talent to be uncovered in full measure. In the romantic pictures The Peasant Family, Gypsy Fortune-Teller and others, deviation from pure academism is already noticeable. The versatile gift of the artist reached academic heights in graphics too: in 1860, Taras Shevchenko was awarded the title of Academician in engraving of the Academy of Art (for the series of gravures Picturesque Ukraine, etc.).

The great seascape painter Ivan Aivazovsky, who spent major of his life in his native Feodosia, dedicated his art gallery to this town. Ukrainian theme was also often present in his pictorial art works Canes on the Dnipro Nearby the Small Town of Aleshky, and the scenic picture Wedding Party in Ukraine that was unique for the painter.

Innovative for landscape painting has become the creative work of Arkhyp Kuindji who was born not far from Mariupol. The very first picture Night on the Dnipro set by him for display caused sensation in St. Petersburg. The painter skillfully applied the brush to convey the the play of air and light on canvas.

Realism-the main trend of the pictorial art of the second half of the 19th century was especially distinctive in the creative work of the members of Peredvizhniki, the “Partnership for Movable Art Exhibitions”. Incidentally, Ivan Kramskoi, founder and moral leader of the group, painted the best renowned portrait of Taras Shevchenko. Its membership also included artists of Ukrainian origin Mykola He, Olexandr Lytovchenko, and Mykola Yaroshenko.

Originating near Chuhuyev was Ilya Repin, the Russian realist painter who often came to his native land and repeatedly visited the estate of Tarnovskys, Ukrainian patrons of art, at Kachanivka. Noteworthy is the fact that exactly at that place he made the first sketches to his famous masterpiece Cossacks Writing Letter to Turkish Sultan.

The majority of works of the prominent genre painter Mykola Pimonenko portrayed the village life. Generosity, emotionality and high artistic skill are distinguishing features of Christmastide Fortune-Telling; Wedding Party in Kyiv Province; Seeing-off the Recruits; Matchmakers; Harvesting; To Fetch Water; Trade Fair, etc., the canvas painted by him. Author of over 715 paintings and pictures, Mykola Pimonenko was one of the originators who in this nation combined the genre art with poetic Ukrainian scenery, as well as founded an art school in Kyiv.

They called him ‘sun hunter’: Olexandr Orlovsky was one of the founders of the new Ukrainian realistic genre of landscape; at the same time Olexandr Murashko, Ilya Repin’s disciple, is seen as the best Ukrainian portraitist of the late 19th and beginning of the 20th centuries.

The nation conscience art first appeared in the creative work of Serhiy I.Vasylkivsky who devoted his skill completely to Ukraine. He painted landscapes of the Dnipro region, Podilia, Slobozhanschyna, as well as architectural monuments, genre and historical pictures, in particular Cossacks in Steppe; Cossack’s Levada (infield), Taras Shevchenko’s portrait, etc. On the other hand, he collected and studied objects of interest related to the Ukrainian antiquity art, and together with Mykola Samokysh, painter of battle-pieces, created the album titled From the Ukrainian Antiquity, 1900. The historian Dmytro Yavornytsky wrote commentaries to the watercolors made by Vasylkivsky.

The advance of Ukrainian painting during the post-revolutionary period was affected by the confrontation of artistic schools and trends. Side by side with those following the traditional realism were adherents of futurism and formalism, which example is the wall-paintings by Vasyl Yermilov of the Kharkiv Com. Party Club. On top of mass pictorial propaganda in full swing quite noticeable progress was achieved in easel painting and graphic arts. Canvas of Kyriak Kostandi, Fedir Krychevsky, Olexandr Murashko, Mykola Samokysh were the most prominent, while Mykhailo Zhuk, Ivan Padalka, and Volodymyr Zauze worked the most actively in graphics. Heorhiy Narbout formatted the first books of Soviet Ukraine as well as the magazines.

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