Pronunciation errors: is it possible to eliminate them?
The article is devoted to the analysis of pronunciation errors of students of Economics. Four groups of mistakes are listed, and different techniques to eliminate them are given.
Purpose: This study investigated how listeners’ native language affects their weighting of acoustic cues (such as vowel quality, pitch, duration, and intensity) in the perception of contrastive word stress. Method: Native speakers (N = 45) of typologically diverse languages (English, Russian, and Mandarin) performed a stress identification task on nonce disyllabic words with fully crossed combinations of each of the 4 cues in both syllables. Results: The results revealed that although the vowel quality cue was the strongest cue for all groups of listeners, pitch was the second strongest cue for the English and the Mandarin listeners but was virtually disregarded by the Russian listeners. Duration and intensity cues were used by the Russian listeners to a significantly greater extent compared with the English and Mandarin participants. Compared with when cues were noncontrastive across syllables, cues were stronger when they were in the iambic contour than when they were in the trochaic contour. Conclusions: Although both English and Russian are stress languages and Mandarin is a tonal language, stress perception performance of the Mandarin listeners but not of the Russian listeners is more similar to that of the native English listeners, both in terms of weighting of the acoustic cues and the cues’ relative strength in different word positions. The findings suggest that tuning of second-language prosodic perceptions is not entirely predictable by prosodic similarities across languages.
The textbook contains the description of the phonetic system of the English language.
The goal of the study was to analyse contextual variants of Amguema Chukchi sonorants with a special focus on non-nasals. For [ɰ w r] it was important to find their basic variant. Field recordings were made from 11 Chukchi speakers in Amguema, a reindeer herders’ village in the Iultinsky district of Chukotka autonomous okrug. Isolated words with [ɰ w j r] in most possible contexts were recorded; auditive and spectrographic analysis were used.
The book is a study of the academic public presentation and its prosodic aspect.
The article deals with the role of intonation in a poetic text and the ways poets fix intonation in their work. In the beginning of the XX-th century intonation started to play the leading part in the Russian poetry while the traditional means of organization of poetic text were losing their relevance. Akhmatova used to call poets catchers of intonations. The analysis of Akhmatovas poem It is simple and its translation into English by Richard McKain shows what sort of changes tend to happen with the intonation of the original and how they affect the meaning.
The book aims to develop pronunciation and reading skills in English. It contains basic explanations of sound and intonation systems of the English language, rules of reading and notation. It is supplemented by exercises.
Intonation – is the most important music trait in poetry. Intonation includes all elements of a poem, it is responsible for voice increases and decreases (it means that intonation takes part in creation of melody of a poem), for pauses, for placing the phrase accents, for acceleration and deceleration of speech, that helps to mark the most significant elements. Intonation is a significant unit that can form and change the meaning.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.