       Milkmen sell milk
Milk is sold by milkmen
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The Past Simple Passive
       Milkmen sold milk
Milk was sold by milkmen
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. 8. , . , , :
1. Hob opened the door. 2. Mary helped the teacher. 3. The porter takes the luggage to the train. 4. Mrs. Priestley welcomes the visitors. 5. Susan brought in the coffee. 6. Ill finish my work about 5 oclock. 7. Susan washes the dishes. 8. Lucille drives the car. 9. Sir Joseph Binks will give Tom a small cheque. 10. Mr. Priestley brings some students for tea. 11. Hob tells the students about Uncle Tom. 12. My friend took me to the cinema yesterday. 13. Hob sends some cigarettes to Uncle Albert. 14. Well use your books in our class. 15. Hob often tells us jokes.
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1. , 1-2 ?
2. ?
3. good, bad, much, many, little, well, far.
4. Present Perfect?
5. , , Present Perfect ?
6. , ?
7. Present Perfect Past Indefinite?
8. Past Perfect Past Indefinite?
9. ?
10. ?
11. ?
II :
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2.
; .
TEXT I
. 1. :
mature [mətjuə] , ferment [fə:mənt] , prevalent [prevələnt] thesis [θi:sis] , truly , literal , ; literal description creed [kri:d] , , sympathetic [simpəθetik] , ; , , hence [hens] ,
. 2. . :
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The Wanderers
The second half of the 19th century saw the maturing of Realism in Russia. A sympathetic attitude toward the hard life of the people is reflected in the works of painters and sculptors of that time. The populist revolutionary ferment prevalent toward the end of the 1850s and the beginning of the 1860s, and inspired by the writers Nikolay Dobrolyubov and Nikolay Chernyshevsky provided the basis for the new trend in art. The main thesis of Chernyshevskys dissertation The Aesthetic Relations of Art to Reality (1855) that art must not only reflect reality but also explain and judge it, became a starting point for contemporary artists.
A truly national tradition did not begin, however, until the 1870s with the appearance of the Wanderers the Peredvizhniki. This society was formed by a group of Romantic artists who regarded themselves as Realists. They rejected the restrictive and foreign inspired classicism of the Russian Academy to form a new realist and nationalist art that would serve the common men. Believing that art should be placed at the service of humanitarian and social ideals, they produced realistic portrayals of inspiring or pathetic subjects from Russian middle-class and peasant life in a literal, easily understood style.
Forming a Society of Wandering Exhibitions, they organised mobile exhibitions (hence the name) of their works in an effort to bring serious art to the people. The most prominent Russian artists of the 1870s and 1880s, including Ivan Kramskoy, Ilya Repin, Vassily Surikov, Vassily Perov, and Vassily Vereshchagin, belonged to this group. The Wanderers attached much importance to the moral and literary aspects of art than to aesthetics. Its artistic creed was realism, national feeling, and social consciousness. The influence of the Wanderers spread throughout Russia. This group was dominant for nearly 30 years, but by the end of the century it had greatly declined nevertheless it became model for the Socialist Realism of the Soviet Union.
. 3. , :
1. From the last third of the 19th century the history of Russian art is the history of a series of school struggles: the Slavophiles against the Westerners; the Academy against the Wanderers.
2. Nikolay Dobrolyubov and Nikolay Chernyshevsky initiated the Society of Wandering Exhibitions.
3. The most prominent Wanderers were Venetsianov, Fedotov, Ivanov, Kramskoy, Tropinin.
4. The Wanderers attached more importance to the moral and literary aspects of art than to aesthetics.
5. The influence of the Peredvizhniki spread throughout Europe and was dominant for nearly 100 years.
6. The Wanderers believed that art should be placed at the service of humanitarian and social ideals.
TEXT II
. 1. :
tubular [tju:bjulə] , fragmentation [¸frægmentei∫n] , , multiplication [¸mΛltiplikei∫n] (, , ) Grinder [graində] , devise [divaiz] , , secular [sekjulə] 1) , ; 2) , , evidence [evidəns] , reconcile [rekənsail] , intercession [¸intəse∫n] , , infinite [infinit] , avang [əva:ŋ]
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. 2. . :
