These sentences always refer to the present. They are uttered with an especially expressive intonation

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1. One-membersentences in EnglishAs has already been stated not every sentence comprises two principal parts — subject and predicate. There are sentences con­sisting only of one member. Such sentences are called one- member sentences. As the subject and the predicate are cor­relative notions, the leading member of a one-member sentence can only conditionally be interpreted as subject or predicate.

One-member sentences consisting of a noun or a noun with its attributes are called nominative sentences (номинативные предложения). The existence of the object denoted by the noun is asserted in these sentences:

The sky, the flowers, the songs of birds! (Galsworthy.) Another day of fog. (London.)

These sentences always refer to the present. They are uttered with an especially expressive intonation.

Nominative sentences differ from elliptical sentences with a suppressed verbal predicate in that they do not contain any second­ary parts which might be connected with a verbal predicate. If we analyze the following sentences — A small but cosy room; in the background a little writing table; to the left a sofa — vve see that only the first is a one-member sentence containing a noun with its attributes; the two other sentences are elliptical because the prepositional phrases in the background and to the left are adverbial expressions of place which may refer only to a suppressed verbal predicate. It is true that in a different context the very same prepositional phrases might serve as attributes to some noun (The table in the background was a writing table. The house to the left is a hospital), but that is not the case in our examples, where the adverbial character of the two phrases is quite evident.

Nominative sentences share the characteristics of two-member sentences; they may be unextended or extended, declarative, inter­rogative, imperative, exclamatory or negative in their form:

The vast stretch of lion-coloured sands; the vaster stretch of tumbling grey sea; the wind; and one small bareleg­ged figure on the sand. (Bennett.) What a still, hot, perfect day! (В г о n t ё.) No sound of train or car or airplane, no human sound, no sound of any fourfooted thing... (Gals­worthy.) “Two teas”, he said: “and two of those nougat things.” (Galsworthy.) A thunderstorm? Let’s look for shelter.

Imperative sentences with the predicate verb in the imperative mood also belong to one-member sentences. Although the subject of the imperative sentence is not expressed, it is clear that the action of the verb refers to the 2nd person (the person addressed.) “Come here!” said the man with the wooden leg... (Dickens.) “Don’t wait for me.” (Gals­worthy.) “Don’t laugh at me, Tom,” said Maggie in a passionate tone... (Eliot.) “Bring me that cigarette case...” (Wilde.)

When the subject is occasionally expressed, the imperative sentence is a two-member sentence:

“Don’t you believe him.” (M a u g h a m.)

One-member sentences may comprise an infinitive in the function of its leading member. Such sentences are usually emotion­ally coloured:

“To put a child in that position!” (Galsworthy.) Only to think of it! (Galsworthy.)

Also in:

Why not go there immediately? How tell him! (G a 1 s- worthy.) How keep definite direction without a compass, in the dark! (Galsworthy.)

One-member sentences may also be formed by:

Words of affirmation and negation.— yes, no:

“Did you leave the dove cage unlocked?” I asked.— “Yes.” (Hemingway.) “You’ll let me go?” —“No.” (Galswor­thy.)

Modal words such as certainly, of course, (all) right, sure, etc. when they are used independently but not inserted paren­thetically into a sentence:

“But, mother, do you really think it’s a good idea?” said Laura... — “Of course!” (Mansfield.) “You’re like a surgeon who wants every sympton before he can give his diagnosis.” “Exactly. That expresses it.” (Doyle.) “Make like a bird for Trinity College.” — “Right, sir,” said the cabman. (Bennett.)

Set expressions of polite address also form one- member sentences. They may be traced back to elliptical sentences but in Modern English the ellipsis is no longer felt:

Thank you! Sorry! Please. Never mind. Not at all.

“Have a drink?” — “Thanks, very much!” (Galsworthy.)

1The origin of such compound verbs asto whitewash(белить),to roughhew (грубообтёсывать) may be traced back to such constructions.

2. The role of group work in teaching a foreign languageGroup work is when the learners work together on a task or activity in groups.

Example

Learners in threes, a class separated into two, and an open class, are all examples of groups.

In the classroom

Group work increases the opportunities for all learners to speak the new language, it allows them to learn from each other, and frees the teacher to monitor individuals and give them feedback. Examples of typical group work activities include ranking discussions, jigsaw activities, project work group and group writing tasks.

3. The important points to follow when analyzing different types of texts.following set of questions is one tool you will use to analyze texts. We will use it together to analyze "In the Garden of Tabloid Delight." You may wish to employ it in the future as we analyze other texts together and as you work on your portfolio. In order to do an effective and complete analysis, consider all questions under each heading, and then write a paragraph describing the particular area of the text under consideration, giving specific examples from the text to support your answer. Rather than answer each specific question, use the questions to guide your analysis. Group your answers under the respective headings.

Purpose/Context

What, specifically, is the text about? In other words, what content does it attempt to cover and/or explain? What "type" of text is it? That is, under what discipline or field would you categorize it? What overall purpose does the text serve? For example, is it meant to answer a question, pose a problem, add to research on a given topic, introduce a new idea, summarize someone else's ideas, or some other purpose? How can you tell?

Authors

Who are the authors of the text? Is any biographical information given about them? What qualifies them to write on this subject? Are the authors "present" in the text through the use of personal pronouns ("I" or "we") or self-reference, or are they never referred to?

Audience

Where does this text appear? What, from the journal or magazine or from the article itself, can you tell about its anticipated readers? For example, are they well versed in the topic, novices...? What specific details lead you to these conclusions about the audience? What would the reader have to be interested in to read this text? What do the authors seem to expect their readers to do or think based on the argument/information presented in this text? Do you feel you are part of the intended audience of this text? Why or why not?

Topic and Position

Is the authors' opinion clear or is the information presented as "objective"? Do the authors include and/or critique other viewpoints? Are other viewpoints presented as critique of the authors' viewpoint, so that the authors can refute them, or simply presented? How do the authors position this piece? In other words, does the piece refer to current events, personal experience, and/or a review of research or discussions on the topic to show how this piece "fits into the conversation" about this topic?

Research/Sources

How great a role do previous research and sources play? When references are used, which ones receive the most discussion? Which ones the least? Why might some references warrant more discussion than others? Are authors or studies ever referred to without formal introductions or explanations? Where? Why do you think the authors refrain from explaining or introducing these sources?

Proof/Evidence

What type of proof, if any, is used to defend conclusions or main ideas in the text (e.g., references to other work, interpretations of other work, original research, personal experience, author's opinions, critical analysis, etc.)? Try to name every type of proof that is offered.

Is one type of proof used more often than another or to the exclusion of all others? If so, which one? Why might this type of proof be used more? What type of analysis is the proof subject to, if any? In other words, do the authors simply present something as a fact? Do they argue for a conclusion's validity? Do they analyze a piece of information in a certain way? Do they ever qualify their argument? What kind of proof seems to carry the most weight? What proof is the most authoritative in terms of the audience accepting it without question? The least?

Organization

Is the text broken up by sub-headings? If so, what are they? If not, construct a "backwards outline" in which you list the different parts of the text and what purpose they serve. For example:

First two paragraphs: The authors critique other people's readings of the novel.

Paragraph 3: They explains that their own reading is more accurate because it accounts for the details others leave out.

(Etc.)

Why might information be presented in this order? Does it begin with background information or context, definition of terms, etc.? What needs of the reader are the authors attempting to meet by presenting the information in this order? Where (if anywhere) is the authors' position on the topic made clear? at the beginning? the end? only by implication? What can you conclude about why the text is organized as it is? Is the organization driven more by the content (the information that needs to be presented), by the authors' argument, by the needs of the audience, or by some combination of the three? For example, an author may use chronological organization because the order of events is important or so the reader can follow the steps of a process when trying to use the process.

Style

Look at the pronouns in the text. If the authors refers to themselves as "we," why would they choose to do that? Do the authors ever refer to other readers or include them by using "we"? Why would they choose (or not choose) to do this? Look at a "chunk" of approximately ten sentences. What percentage (roughly) of your "chunk" could be considered technical terminology or jargon? (Technical terminology or jargon are words or uses of words that are understood in a particular way by a certain community. For instance, the word "crash" has a particular meaning for emergency room personnel that is different from common usage.) If technical terminology is at least fairly common in the text, make a list that includes up to 10 examples of technical terms or jargon. Are these technical terms ever explained? Which ones receive an explanation and which do not? Why would the authors choose to explain the ones they did? What percentage (roughly) of your "chunk" could be considered informal or conversational language? What purpose does this informal tone seem to serve in the text? In considering the authors' word choice (diction), are there any phrases or words that are particularly telling of the authors' values or underlying assumptions? (For example, if the authors use the term "relationship" without qualifying it as "monogamous" or "heterosexual," then that shows they assume relationships are monogamous and heterosexual rather than including the possibility of other types of relationships.) List and explain them. Finally, look at other aspects of style such as sentence structure/complexity, figurative language, rhetorical questions, etc.

4.Using materials aimed at younger students with older students

If you find yourself using material that is aimed at younger students with older students you have to be careful. Teenagers especially can find it insulting to be presented with childish material when they believe they are ready for something more grown up. If you can’t find more appropriate material then use what you have as a starting point.

Games and fun activities that work well with young learners often work equally well with older teenagers or adults. If you explain the reason for the game or activity and make it clear what the students are practising by playing it, then most students tend to respond positively. Older students will quickly suss you out if you’re just killing time and there’s no real point to the activity. I recently played word formation bingo with a group of adults and was amazed that they got really excited and competitive and were all trying to win so they could become ‘Bingo King’ or ‘Bingo Queen’ for the next round. After a hard day at work I think they enjoyed the chance to revert to their childhood for twenty minutes!

Questions to consider when preparing your lessons:

Is the activity appropriate for the age group?

If not, how will I bridge the gap?

What’s the point of the activity?

What will students be learning?

Should I explain to the students why we’re doing the activity?

The main thing to bear in mind with any adaptation of materials is how you can personalise the task and make it more relevant to the learner. If you are clear about why you are using certain material and what your objectives are then students should feel happy with the activity as they’ll be able to see the point of it. Take time to chat to your students and find out what they do in their free time and what they are interested in. By doing this you will be able to find more material based on topics they’re interested in.

5. John Galsworthy and “A Modern Comedy”

John Galsworthy OM 14 August 1867 – 31 January 1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906–1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize in Literature in 1932.Galsworthy’s own sequel to The Forsyte Saga came in A Modern Comedy, comprising of three novels and two interludes. The White Monkey: Fleur marries Michael Mont and plays the role of society wife though is ultimately dissatisfied and unfulfilled and her attempts to find happiness lead to trouble. The Silver Spoon follows the battle between Fleur and socialite Marjorie Ferrar. Swan Song: Fleur and Jon meet again after seven years apart and their passion is reignited. Meanwhile, disaster strikes as Soames tries to save his beloved paintings from a fire.