Module 8
MIND THE FOLLOWING INFORMATION!
To address, which is a formal word, means ‘to speak to somebody, to make a speech’, as: to address a person, audience, meeting. To apply (to somebody, for something) is more limited in use than to ‘address’ and is even more formal. We say: to apply to an authority, to apply for work, information, permission, a certificate, etc. To appeal (to somebody, for something), to ask earnestly for something (usually for help or moral support), to appeal to someone’s feelings. To turn (to somebody, for something), to go to someone for help, to address someone (less formal). To consult, to go for advice or information, as: to consult a lawyer, a doctor, a dictionary. To see or to go to may be used in the meaning of ‘to consult’. They are more colloquial, as: to see (or go to) a doctor, a lawyer, etc.
1. На собрании английского факультета декан обратился к студентам по-английски.
2. Его едкое замечание было обращено ко мне.
3. Он обратился к милиционеру с вопросом как проехать к музею.
4. Студентка обратилась к директору с просьбой разрешить ей держать экзамен досрочно.
5. Даже взрослые в трудные минуты обращаются за словами утешения к матери.
6. Если у вас болит ухо, обратитесь к специалисту.
7. Он обратился с просьбой о помиловании в Верховный суд.
8. Я обращался к вам несколько раз, но вы, должно быть, меня не услышали.
9. По этому вопросу вам лучше обратиться к юристу.
10. Когда бы я ни обращался к ней за помощью, она всегда мне помогала.
11. Могу я обратиться к вам с просьбой? – Пожалуйста.
12. Если вам нужна справка, обратитесь к секретарю. . 13. Я неоднократно обращался в библиотеку, но не мог получить эту книгу, т.к. она всегда была на руках.
14. Куда бы Билл ни обращался за работой, он везде получал один и тот же ответ: «Работы нет».
15. Он обратился к прохожему с просьбой указать ему дорогу на вокзал.
2. Translate the following proverbs and compare English and Russian variants:
Early to bed, early to rise makes a man healthy, wealthy and wise.
3. Translate the verbs with prepositions into Russian and make up sentences with them:
to go on
4. Study the following articles:
ADJUTANT —АДЪЮТАНТ
adjutant n
~ and intelligence officer Adjutant General исч. 1. воен. офицер, ведающий отделом личного состава или отделом строевой службы; амер. начальник отдела личного состава и офицер разведки;
Jack, his faithful adjutant, came with him.
адъютант м. воен. офицер, состоящий при начальнике [командире] военной части для служебных поручений или для штабной работы. [Там] оказался пехотный капитан, назвавшийся адъютантом командира стрелкового полка (К. Симонов). генерал-адъютант; 2. редк. помощник. С ним пришёл его верный помощник Джек. 3. зоол. индийский зобастый аист. aide-de-camp; aide (амер.).
There we found an infantry captain, who described himself as aide to the commander of a rifle regiment.
ARRANGE — АРАНЖИРОВАТЬ
arrange v
Mendeleev found recurring sequences of properties of the elements when arranged by atomic weight.
She is very good at arranging flowers.
to ~ for an exchange to ~ for the proof of an article to be checked. Before going abroad they arranged their affairs.
We arranged to start on the following Saturday from Kingston (J. Jerome). They thought something could be arranged in six months. (G. Greene). 1. vt приводить в порядок; располагать; класси- фицировать. Менделеев обнаружил периодическую повторяемость свойств элементов при расположении элементов по атомному весу. Она очень умело подбирает цветы. 2. vt, vi улаживать, устраивать; наладить обмен; организовать проверку корректуры статьи. Прежде чем екать за границу, они уладили все свои дела. 3. vt уславливаться, договариваться; приходить к соглашению. Мы решили отправиться из Кингстона в следующую субботу. Они думали, что за полгода что-нибудь удастся устроить. 4. vt муз. обрабатывать музыкальный мотив для инструментального или вокального исполнения; перелагать музыкальное произведение, написанное для одного состава инструментов, для исполнения на другом музыкальном инструменте; = аранжировать; 5. vt тех. монтировать; устанавливать, закреплять.
аранжировать гл. перех. муз. = to arrange4.
5. Compare the following words:
track – трек system – система unify – унифицировать stool – стул sketch – скетч semester – семестр relation - реляция 6. Translate the following poems: Если бы да кабы Кабы реки и озера Слить бы в озеро одно, А из всех деревьев бора Сделать дерево одно, Топоры бы все расплавить И отлить один топор, А из всех людей составить Человека выше гор, Кабы, взяв топор могучий, Этот грозный великан Этот ствол обрушил с кручи В это море-океан, - То-то громкий был бы треск, То-то шумный был бы плеск!
There was a young lady of Kent. Who always said just what she meant. People said: “She’s a dear, So unique, so sincere, And they killed her By common consent!”
7. Translate the extract (the beginning is given in Module 7).
Pinker’s hypothesis about the pleasure of art reflects a prejudice common to evolutionary psychology--the idea that only those functions that evolved in the distant evolutionary past have any particular adaptive status. We can call this prejudice the bias for the EEA ("environment of evolutionary adaptedness"). Evolutionary psychologists tend to regard the EEA as a relatively static condition in which the human mind was fixed and finished sometime before the past 100,000 years or so. An important correction to this prejudice has been proposed in Steven Mithen’s recent book ‘The Prehistory of the Mind’. Mithen is a cultural archaeologist. He has fully assimilated the idea of "the modular mind," but he has also broken free from the premature concretization of the EEA. He describes the cultural revolution that took place about 40,000 years ago and that introduced complex multi-part tools and the elements of higher culture, including art, religion, and more complex forms of social organization. How to account for this explosion of creative activity? Mithen postulates an organically based cognitive development in which the previously separate domains of the mind became accessible to one another. He argues that the domains devoted to technical understanding, social interaction, and natural history blended together, and that out of this blend there emerged an entirely new range of creative cognitive activity. Mithen describes this new capability as "cognitive fluidity," and he argues cogently that it is the
(1)применяющийся/прис- посабливающийся; (2)пригодность;
(3)модульный ум;
(4)доступный/ податливый;
(5)познавательная basis for all our more imaginative, inventive cultural achievements. изменчивость/ текучесть;
Now, art, music and literature are not merely the products of cognitive fluidity. They are important means by which we cultivate and regulate the complex cognitive machinery on which our more highly developed functions depend. Because he does not understand the necessity of such cultivation, Pinker believes that we could do without music and undergo no significant loss in our capacity to function. "Compared with language, vision, social reasoning, and physical know-how, music could vanish from our species and the rest of our lifestyle would be virtually unchanged. Music appears to be a pure pleasure technology, a cocktail of recreational drugs that we ingest through the ear to stimulate a mass of pleasure circuits at once". If we compare the effects of music with those of recreational drugs, we can begin to understand the mistaken direction Pinker’s theory has taken. Drugs are disorienting and demoralizing. If young people use them habitually, they become incapable of adapting to the demands of a complex environment. Music has no such deleterious effect. More importantly, it seems very likely that people raised with no exposure to music, art, or literature would be psychologically and emotionally stunted, that they would be only marginally capable of developing in normal ways. They would probably have great difficulty learning to deal with their own emotions or to relate to other people with any sensitivity and flexibility. Their capacity for responding in creative ways to the demands of a complex and changing cultural environment would probably be severely impaired.
(6)социальные доводы;
(7)проглатывать;
(8)вредный/ядовитый эффект;
(9)чахлый/низкорослый;
(10)ухудшены;
If we shift from the metaphor of drugs to that of cheesecake, we find similarly misleading implications. Rich deserts offer a purely sensual stimulus. They appeal only to the taste buds. They have no intrinsic emotional or conceptual content, and they convey no information from one mind to another. In contrast, art, music, and literature embody emotions and ideas. They are forms of communication, and what they communicate are the qualities of experience. Someone deprived of such experience would have artificially imposed on him a deficiency similar to that which is imposed on autistic children through an innate neurological defect. Unlike autistic children, a child deprived of all experience with art and literature would still have innate capacities for social interaction, but these capacities would remain brutishly latent. The architecture of his or her own inner life and that of other people would remain dully obscure. In the place of meaningful pattern in the organization of emotions and the structure of human needs and purposes, such a child would perhaps scarcely rise above the level of reactive impulse. It is not difficult to imagine an inner life consisting of large desolate tracts of restless confusion sporadically traversed by violent and incomprehensible storms of fear and desire. When we speak of civilization as a form of salvation, it is from such conditions that we envision ourselves being saved.
(11)почка/бутон;
(12)неполноценность;
(13)жестоко; (14)глупый/животный;
(15)тревожное замешательство; (16)пересеченный с.
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Fine
feathers make fine birds.
The
devil is not so black as it is painted.
to go by
to go about
to go aside to go
for
to go off to go
over
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