punto 5

- Authenticity: is the extent to which they required learners to rehearse, in class, the sort of skilled
behaviour they are expected to display in genuine communicative interaction outside the classroom. In
this way, classroom activities should parallel the real world as closely as possible. Since language is a
tool of communication, methods and materials should concentrate on the message, not in the medium.
- skill getting (activities to get the skills, in general the pre-act) /skill using (activities in which they use
what they know): is the traditional distinction between controlled practice activities, in which learners
manipulate phonogical and grammatical forms, and transfer activities, in which learners are meant to
apply their newly mastery of linguistic forms to the comprehension and production of communicative
language.
- accuracy/fluency: language display for evaluation tended to lead to a concern of accuracy, monitoring,
reference rules, possibly explicit knowledge, problem solving and evidence for skill- getting. In contrast,
language use requires fluency, expression rules, a reliance on implicit knowledge and automatic
performance

2da fecha de mesas DICIEMBRE

Maricel Munin Phonetics 3 Claudia Figueroa ISES - 2014

2ND mid-term exam

Utterances:
a- Questions:
a- General:
1) Did she say to me?
2) Did you hear her Elizabeth and Georgiana?
3) Have you seen something?
b- Particular:
1) What do you want?
2) What do you want, master reed?
3) How is he my master?
4) Why was I always suffering, always browbeaten, always accused, forever
condemned?
5) Why could I never please?
6) How could she really like an interloper not of her face, and unconnected with
her after her husbands death, by any tie?
7) What for?
c- Alternative:
1) Will you have this one or that one?
d- Asking for repetition:
1) What does Bessie says I had done?
2) What! What! (he cried)
e- Interrogative:
1) Miss Eyre, Are you ill?
2) Are you hurt?
f- Insistent:
- Insistent general questions
1) Was I fit to die?
2) Was the value under the chancel of Gateshead church an inviting bourn?
3) Did she say to me?
4) Did you hear her Elizabeth and Georgiana?
5) Have you seen something?
- Insistent particular questions
1) What do you want?
2) What do you want, master reed?
3) What for?
- Insistent alternative questions
2) Will you have this one or that one?
g- Quizzical:
Quizzical general
3) Was I fit to die?
4) Was the value under the chancel of Gateshead church an inviting bourn?

6) Did she say to me?

7) Have you seen something? *
Quizzical particular (tune IV replaced Tune II)
1) What do you want?
2) What do you want?
3) What do you want, master reed?
4) Why was I always suffering, always browbeaten, always accused, forever
condemned?
5) Why could I never please?
6) What for?
7) What for? (INTOLERANCE, emphatic nucleus)
Quizzical alternative
1) Will you have this one or that one?*
b- Statements:
a. Straightforward:
1) She is not worthy of notice
2) I saw her face and dress by the light of the lamp
b. Mocking or impatient: (tone IV)
1) They are there
2) She is not worthy of notice
c. Unfinished
d. Perfunctory: (tune II or III. Tune I L. Lack of interest)
1) They are there
2) They are there (tune I L E)
3) I must wait for my master
e. Implicatory: (high pitch may be level or falling)
1) They are there
2) She is not worthy of notice
3) They are there
f. Implicatory with interrogative force:
1) They are there
2) She is not worthy of notice
g. Insulting statements: (tune V)
1) They are there
2) She is not worthy of notice
h. Insulting statements with interrogative force: (tone II head)
1) They are there
2) She is not worthy of notice
i. Straightforward statements with afterthoughts:
Compound tune II |IL
1) They are there
2) She is not worthy of notice
j. Enumeration

1) Its neither here or there*

Intonation of imperatives:
a- Commands:
1. Leave me a lone *
b- Impatient commands
1) Leave me a lone *
c- Request:
1) Tell him to wait *
d- Perfectory imperatives
2) Tell him to wait
3) Let me see it
e- Warning:
Tone III: Be careful
Tone III L: Be careful
Tone III LE: Be careful
Tone III D: Take care
1)
2)
3)
4)
f-

Take care
Take care
Take care
Take care

Friendly warning:
Be careful
i.
L R H:
1) Take care
ii.
Tone IV HEAD follow by a tone I lE:
2) Take care

g- The intonation of salutations:

I.

Normal greetings:

Adjection
a. temporizers:
i.
LOW LEVEL TONE:
1) All the way
ii.
HIGH LEVEL TONE:
1) Well well
2) All the way
iii.
TUNE I L:
1) Very well
iv.

v.

vi.
vii.

TUNE II:
1) All the way
2) Let her go
TUNE III:
1) Mind you
2) As a matter of fact*
HIGH LEVEL PRE HEAD:
1) You then
TUNE I L :
2)
All the way

b. parenthesis:
1) If an hour before her entrance, and had washed my and put on my clothes
2) We all know them: danger of bad example to innocence of childhood; distractions and
consequent neglect of duty on the part of attached mutual alliance and reliance
confidence then resulting insolence accompanying mutiny
c. afterthoughts:
1) You are like a murderer - you are like a slave drive you are like the Roman emperors!
2) I felt a drop or two of blood from my head tickle down my neck, and was sensible of
somewhat pungent suffering.
d. initial vocatives
i.
Apostrophizing
H L T:
1) Darling
ii.
Tune II high pre-head:
2) Oh dear papa
iii.
Low tune III:
3) My dear
iv.
Salutation Tune II:
4) My dear children
e. Vocatives that are used for attracting the hearers attention:
1) Miss Temple
2) Miss Eyre