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Text for pragmatic analysis. Inv.: Ms Sony, you work so much, performing on the stage



 

Inv.: Ms Sony, you work so much, performing on the stage. How do you manage to keep up such a demanding schedule?

Ms S.: I don’t know. I don’t really work out at a gym.I think the exercise I do on the stage is enough to keep me in shape forever.

Inv.: You’re a kind of a role model for beginning performers, because when you started out you had a big recording company behind you …

Ms S.:No, no… It’s called ‘stick-to-it-iveness’, if you want to do something no matter what it is you’re going to do, if you really, really want to do it. But you have to want to do it with all your heart and soul. And boy, have there been downs and downs and downs in the career. And, you go down two steps in the ladder and you, and you have to get pushed down, I should say, couple of steps, couple of steps in the ladder of success and you go back up with more verve and more drive.

Inv.: Where does the wherewithal come from – internally?

Ms S.:I think, first of all, I’m a very high-powered, uh, I drive myself very much. Anything I do, even when I cook or when I shop – I love shopping! I’m a shopaholic! – I do everything one hundred and fifty percent. And when I work I try to do the same thing and I think that’s the way I was made – I don’t know. I try to do less but I can’t.

Inv.: You are so successful internationally, now, and looking at it all, is success what it’s cracked up to be?

Ms S.:Ho, ho, ho! Good question. Success is what we make it, the things round us, to make us successful. A good production, good colleagues round you when you’re working, to be in good physical shape so that you can deliver a performance. After all, every time I sing there are three thousand to four thousand people in front of me that I have to deliver a performance every night, and, it’s very, very taxing. It’s very difficult to answer that.

Inv.: What would you tell young people with a dream?

Ms S.:Follow it. Do anything you can to make that dream come true. And if you want it and wish for it, you’ll get it. Trust me, you’ll get it. I’ve wanted my dream since I was eight years old and here I am with you today and I got it.

Inv.: It’s great talking to you. Thank you very much.

Ms S.:Thank you.

 

Reading aloud

Reading from written texts differs much from live conversation or public speech. The reader is concentrating on the precise reading of the text, not on the message. He isn’t much concerned with giving his listener a clue how to understand it. The readers function is to transmit language items to the listener, for the latter to interpret the message, so he makes use of tone unit division, and he stresses prominent words in each tone group.

As a rule, non-final tone groups have a ‘level’ tone and a final tone unit in a sentence contains a ‘falling’ tone. The only pragmatic meaning a ‘level’ tone has is that of a ‘non-finality’ of the utterance, whereas a ‘falling’ tone marks the end of the message. Cf.:

 

(a) Verney → SAID + the camPAIGN + is "entering the court of public

oPInion" + for a → JUDGment + on whether Perot should be in the

deBATES -

 

The alternatives to a level tone might be a ‘rising’ tone (low variation) and a non-final ‘falling’ tone (the voice doesn’t fall too low as in the case with a final ‘falling ‘tone).

Rhythmic structure of the text which is being read to the listener differs from that of a discourse. While the tone unit in a conversation contains 1-2 prominent syllables, it may have as many as 3-4 of them in the text reading variation with the same speaker.

 

 

 




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