1. Детям прочитали рассказ Сетона Томпсона (Seton Thompson). 2. Когда упомянули этот факт, всем стало ясно, что имелось в виду. 3. Жизнь бедняков описана во многих романах Диккенса. 4. Ему часто задают такие вопросы. 5. Для чего предназначается эта вещь? 6. Этот случай нельзя упустить. 7. Я не совсем понял, что мне делать, потому что мне не объяснили мою задачу. 8. Их разговор был прерван неожиданным приходом еще одного гостя. 9. Нам не было холодно. Мы были тепло одеты. 10. Ему дали еще три дня, чтобы закончить работу. 11. Эта книга продается везде. 12. Над тобой будут смеяться, если ты наденешь эту шляпу. 13. Нужно тщательно изучить инструкцию, прежде чем пользоваться машиной.
Ех 46 Open the brackets, using correct tense forms (active and passive. Retell the passage in narrative form.
When he (be) twenty-three years old Paul Morel (send) in a landscape to the winter picture show at Nottingham Castle. His pictures already (admire) greatly and (talk) much about.
One morning the young postman (come) just as Paul (wash) in the kitchen. Suddenly Paul (hear) a loud cry that (come) from the front door. He (hurry) to the door and (find) his mother with a letter in her hand that the postman (hand) to her.
Mrs. Morel (cry): "Hurrah!"
Paul (be) surprised and shocked. "Why, Mother!" he (exclaim).
"Hurrah, my boy! I knew you (get) it!"
He (be afraid) of her — that small woman with grey hair who (cry) so excitedly. The postman (соте) back, as he (be afraid) something (happen). Mrs. Morel (open) the door to him.
"His picture (get) first prize, Fred!" she (cry). "And it (buy) by a Major Moreton!"
The young postman, whom they (know) all his life was glad he (bring) such an important letter.
"— the letter (say) how much the picture (sell) for?"
"It (sell) for 20 guineas!"
Paul (follow) his mother into their room. He (be sure) his mother (make) some mistake reading the letter and now he (want) to read it. He slowly (read) the letter over unable to believe that it (be) true.
"Mother!" he (exclaim).
"Didn't I say we (do) it, Paul!"
(After "Sons and Lovers" by D. H. Lawrence)
Ex 47 Rewrite (or retell) in narrative form the text of the lesson.
The Article
Ex 48 Watch the use of the article with proper names. Translate the sentences into Russian.
1. Mr Brown called while you were out. 2. The local museum has a Cezanne and several Van Goghs. 3. There are two Marys in the family, mother and daughter. 4. The Browns are our next-door neighbours now. 5. Who is the Lobachevsky of our times? 6. He is no longer the argumentative John he used to be. 7. He drives a Bentley. 8. This writer has the style of a Dickens.
Ex 49 Insert articles.
1 He felt like — Columbus on his way to an unknown land. 2.1 don't know anybody who could afford to buy — Repin. 3. The young writer has the humour of — J. K. Jerome. 4. Are you — Anne Bolton whose picture is in today's paper? 5. She is not exactly — Cleopatra, yet a very beautiful girl. 6. He had just enough money to buy — second-hand Ford. 7. I know as much about him as you do; he is — Mr. Kingsley. 8. Now she no longer looks like — Jane you used to go to school with. 9. This promising scientist is — Lomonosov of our times.
Ex 50 Translate the following into English.
1. У них «Волга». 2. Тебя спрашивал какой-то Иванов. 3. О нем много говорят, как о новом Чайковском. 4. Интересно, сколько сейчас стоит картина Пикассо? 5. Москва сегодня сильно отличается от Москвы, какой она была даже 30 лет тому назад. 6. Мне надо навестить Петровых, пока они не уехали на дачу. 7. Вы упомянули какого-то Степанова. Это не тот Степанов, который собирается присоединиться к нашей туристской группе? 8. У него прекрасный стиль, он, можно сказать, современный Тургенев. 9. Кого из наших поэтов вы назовете Маяковским наших дней?
READING
Ex 51 Read the text, and do the assignments coming after it.
Modern art is first of all a point of view. The modern artist looks at the world — or that part of it he chooses to paint — as though it has been created fresh this morning and he is the first to paint a horse, a face, a landscape. As he has never seen these objects before, he must look at them. He must get his own first impression from the object itself. A hundred years ago Courbet* said: "The museums should be closed for twenty years so that today's painters may begin to see the world with their own eyes."
It is this sort of seeing, in a very real meaning, that makes the modern artist different from the traditional or academic artist. Not all living or contemporary artists are modern. Many artists of today consciously or subconsciously repeat old forms and styles. On the other hand, a genuine modern artist can take an old style and recreate it in terms of today or his own individuality.
The best known — because of the many reproductions of it that have been sold — of all Picasso's** paintings is Woman in White, a beautiful portrait done in the classic Greek style. Yet no one would confuse it with the early Greek sculpture it so plainly looks like, for Picasso has put the stamp of his own art into its every line and brushstroke.
In general, the modern artist looks at both the inner world of mind or emotion and the outer world of the senses as though he were the very first person not only to see but to present that world in art form.
Cezanne, sometimes called the father of modern painting, saw nature as made up of the cube, the cylinder, the sphere — and he painted in that way. Yet his landscapes, his compositions with fruit, his figure paintings, do not look strange. Cezanne's greatest landscapes are those of his favourite model — the Monte Sainte Victoire which dominated the landscape around Aix.*** Cezanne painted his mountain again and again; in fact, to know any of his canvases of Monte Sainte Victoire is to know Cezanne.
(After "Enjoying Modern Art" by Sarah Newmeyer)
Assignments
(a) Quickly look through the list and mark the lettered word or phrase nearest in meaning to the word or phrase tested.
1. Point of view: (i) a belief; (ii) a way of thinking; (iii) a way of looking at the world.
2. Impression: (i) an idea; (ii) a feeling; (iii) a picture in the mind's eye.
3. Consciously: (i) knowingly; (ii) unknowingly; (iii) not fully understanding.
4. Subconsciously: (i) knowingly; (ii) unknowingly; (iii) not fully understanding.
5. Genuine modern artist: (i) a modern artist of genius; (ii) a modern artist in the true meaning of the word; (iii) a modern artist who paints scenes of contemporary life.
6. In terms of: (i) in the style of; (ii) giving every detail of; (iii) in the language of.
7. Brushstroke: (i) the colours used in painting; (ii) the painter's manner of manipulating the brush; (iii) forms and shapes.
(b) Complete the following.
1. Artist is synonymous with —. 2. Traditional is synonymous with —. 3. Living is synonymous with —. 4. Modern is contrasted with —. 5. Consciously is contrasted with —. 6. The mind is contrasted with the —. 7. Inner is the opposite of —.
(c) Choose the answer that expresses most accurately what is stated in the passage. Only one answer is correct.
The idea behind the sentence "Yet no one would confuse it (Picasso's Woman in White) with the early Greek sculpture it so plainly looks like, for Picasso has put the stamp of his own art into its every line and brushstroke" is that: (i) though Picasso's genius is seen in every line and brushstroke of Woman in White, it is plainly done in the classic Greek tradition and you can easily mistake it for an example of early Greek sculpture; (ii) though Woman in White is done in the classic Greek style and the figure looks like early Greek sculpture it is nevertheless unique; there can be no mistake about the genius of the man who painted it, his greatness is felt in its every line and brushstroke; (iii) Woman in White plainly imitates early Greek sculpture, and for Picasso, the great painter he was, it was easy to copy the model in every line and brushstroke.
(d) Select the statement which best expresses the main idea of the text. Give your reasons.
1. Modern art is first of all a point of view. 2. It is this sort of seeing, in a very real meaning, that makes the modern artist different from the traditional or academic artist. 3. Not all living or contemporary artists are modern. 4. In general, the modern artist looks at both the inner world of mind or emotion and the outer world of the senses as though he were the very first person not only to see but to present that world in art form.
(e) Explain what was behind Courbet's idea to close all the museums for twenty years.
(f) Say what, in your opinion, the author is trying to prove by quoting the example of Picasso's Woman in White.
(g) Explain why Cezanne is sometimes called the father of modern art. Say how Cezanne's vision of the world differed from that of other artists of his time.
(h) Say if you believe the following statement of the author's to be complimentary to Cezanne's genius, or not. Give your reasons.
"... in fact, to know any of his canvases of Monte Sainte Victoire is to know Cezanne."
(i) Sum up (orally, or in writing) what the author has to say on each of the following points.
1. The definition of modern art. 2. The modern artist and how he sees the world. 3. The modern artist and how he differs from the traditional or academic artist. 4. The contemporary and the modern artist.
(j) Read the text critically, and state your agreement (or disagreement) with the author's arguments or conclusions.
(k) Write a close summary of the text.
Ex 52 Read the text carefully, without a dictionary. While reading, pay special attention to the words you don't know: look carefully at the context and see if you can get an idea of what they mean. Pick out the facts and arrange them in note form.
THE TRETYAKOV GALLERY
A two-storey dark-red brick building in the old part of Moscow known as Zamoskvorechye is the home of the illustrious Tretyakov Gallery. The central part of the facade was designed at the beginning of the century by the painter Vasnetsov. The Tretyakov Gallery is one of the greatest in the world, and is named after its founder, Pavel Tretyakov. In 1856, at the age of 24, this young Moscow merchant bought a painting called "Temptation" from the Russian painter N. Schilder. This was the painting that initiated the internationally famous collection.
Pavel Tretyakov collected art for 40 years. He bought paintings at exhibitions or right from the artist in the studio.
Beginning with the 1860s, he established a gallery of portraits of outstanding Russian scientists and people in culture, commissioning the famous painters of the time — Vassily Perov, Nikolai Ghe, Ivan Kramskoy and Ilya Repin.
One portrait stands out in this vast collection. It is of Leo Tolstoy, painted by Ivan Kramskoy in 1873.
In 1892 Tretyakov presented the Gallery to the city of Moscow. His collection then numbered 1,200 paintings and 500 drawings.
Tretyakov's undertaking was continued by his followers and grew to an unprecedented scale under Soviet power. The Gallery continues to receive the finest of Russian and multinational Soviet art, and its collection now contains over 60,000 works of art.
SPEECH AND COMPOSITION
