.

- Usage of interjections and particles as the footholds in speech.

III. .

III. Purism and a conceived mistake.

.

Overpurified speech as a symptom of restrained speaking in a foreign language:

1. , .

1. Standards of impurity admissible in a language.

2. (-). - "".

2. Words introduced as violators and colourings of time (parasite words). The positive and necessary role they play.

3. - .

3. Language cliches and colourful metaphoric speech.

IV. .

IV. Rhythm and language.

1. .

1. Link between an image and rhythm.

2. () .

2. Rhythm and semantic (foothold) accents in the native and foreign languages.

3. .

3. Speech intonation and perception of music.

V. .

V. Sphere of intonation.

1. .

1. Language as a system of intonations with conceived phonetic barriers.

2. .

2. Undetailed speaking in the native language.

3. .

3. Comprehension of the principles of careless literary colloquial speaking in a foreign language.

tez07

* * *

. !.. , ,

,

, ,

.

- ,

.

.

.

,

,

, ,

.

,

,

, - ,

,

,

,

,

.

* * *

Like every earthling I adore the heaven

or firmament or on simple sky

where we do live when on the planet fly,

and that consist, if trust a tale, of seven.

And I'm obedient to the order: << Cleave in

two parts - celestial and terrestreal. Spy

on evident yourself, on monarchy,

on inner land, on Stratford and on Avon!>>

May be the only joke that here is purposed

is that here everything is ever earnest.

We are in cage of seriousness, of which

nobody can get rid and, though we laugh

at every trifle, the act is sad enough,

because we may existence to impeach.

7.

Theme 7

Comparativism and selfstudying

I. . ().

I. Knowledge of linguistics and language studying. Comparative reading and morphological perception of languages (the algorithm).

1. .

1. Identification of structures.

2. .

2. Looking for structural patterns.

3. .

3. Nuances and meanings.

4. .

4. Reproduction and meaning.

5. .

5. Rhythm and intoning.

6. : , , .

6. Practise repeated reproduction, attentive listening, analysis of muscular sensations.

7. - :

7. Focusing in the instruments of aesthetic appeal of morphological structures:

) ( );

) -;

) .

a) semantic (reading along the vertical line);

b) intonational and rhythmical;

c) phonetic.

8. .

8. Account for actual spiritual state.

9. :

9. Comparison of perceptions:

) - " " " -" ; . - . ;

a) contrast the perceptions: "the day before yesterday's Bach" and "today's Bach" for the society and for the individual; P. Brook: translations from A. Chekhov;

) :

b) necessity for re-reading;

- ;

- ;

- ( - ).

- re-reading as a discovery of the new;

- re-reading and development of taste;

- re-reading and adaptation (perception becomes dull: the masterpiece stops being regarded as a masterpiece).

10. -:

10. Comparative reading of books by various writers and from various sources:

) , ;

) ;

a) reading of books by various writers, choice by interrelations;

b) simultaneous work with various books;

) ();

c) slow reading as a foothold for learning (perusal);

) ;

d) analitism and complete perception;

) : ;

) ;

) ;

) ;

) - ( ).

e) fast reading: method of supposed motion of thought;

f) actualization of feelings and experiences when reading;

g) left and right brain setting;

h) comparative reading as a continuum;

i) a fragment-sampling and perception of the style (the doom to read a fragment or the doom to fragmentary reading).

11. :

11. Comparative reading and comparison of opinions:

) : , - ;

) ;

) ( , ..);

) ( - ).

a) the choice of an expert: the intuitive, socio-ethic act;

b) foothold estimations and sense of taste;

c) authority of someone else's opinion and perception (the epidemic of reading this or that book; the epidemic of laughing or crying, etc.);

d) eternal and temporary guidelines (the choice of a company - the anecdote about a gypsy man).

12. , : . . , . .

12. Comparison of styles, genres and epochs: J. Donne; T Eliot; W. Yeats.

13. :

13. Divertissements in selfstudying:

) ( ) - , ;

) , :

a) comparison of entertainments (times and nations) - rudeness and refinement; depth and superficiality;

b) interest, comprehension and entertainment:

The law of the irreversible development of taste.

14. - :

14. Dialectics of the rational and imaginary - associative in comparative reading:

) , , ;

) :

a) fixation of floating images; their influence on the rational activities and feelings;

b) behaviour during comparative reading:

- ;

- .

- heuristic experience;

- step-by-step accumulation of elements for wholistic perception.

15. . .

15. Selfstudying and comparative reading. Usage of the greatest possible variants of comparative reading.

tez08

* * *

- ! -

, .

, - , ,

,

,

- ,

,

,

.

* * *

This quiet place is in some sense a torment,

the still of air hold hidden a whirl - wind.

I touch the piano like a bottom and my mind

again can push itself and it's existence from it.

The smoothness always lies, the false informant

we truly live when hills about themselves remind

when in a straight line different spirals wind

when an awaken thought has something dormant,

and every bottom hides another one,

thus we can take if always like a stone

another layer of the Sense, dispersed

in our living space, under the table

and in the bed, on every wall, that's able

to be a mask, in which the Cosmos forced.

8.

Theme 8

.

Repetition, iteration and summing-up

I. . (.. ).

I. Motion. Evolution and repetition (i.e. nature and evolution).

( , ..)

Evolution of movements through repetition (endless perfection but in an individual's existence is limited physiologically by death, etc.)

1. .

1. Development of speech apparatus through repetition.

2. (, - , - , , ).

2. Repetition: fruitful and fruitless (restraint, neglect of the speech production rule; disregard for the analysis of the speech apparatus movements through the phases: preparation -resulting movement - relaxation).

3. . .

3. Repetition and automation. Conditions of automation.

4. , .

4. Repetition and adaptation, resistance to nonanalytical perception.

: , - .

The rule: when repeating a movement, analyse it in a new way every next time.

5. " ?" ( - , , , ).

5. "How to make the analysis in a new way?" (view different aspects of a movement; advance analytical approach and heuristic delight, hedonism of the result gained at this stage).

6. , .

6. Repetition of macromovements and micromovements; compre-hension of details.

(.. - ). . - . . , -, ..

With repetitions the development moves towards synthesis (i.e. the densation of ideas). The number of spiritual macromovements indicates the level of development. A spiritual micromovement is the atom of culture. The speech apparatus. The connection social, socio-aesthetic, ethical, etc.

7. " -": , .

7. Organization of repetition and "actualized interest movements": the sources are different, the facts are the same or similar.

8. , - (-), .

8. Repetition and the optimum period of repetition, obedience to the imperative of a moment (the imperative second), the autodidact's field of vision.

: , , , -.

The rule: Make microrepetition of a movement as frequently as possible; don't speed up a macrorepetition, wait for the imperative second.

9. ( - ).

9. Repetition as a precedent for associating (the repetition of similar events - both in history and in the life of an individual).

10. .

10. Repetition and comprehension of the semantic meaning of a word.

11. . , , - , . .

11. Repetition and aesthetic perception of speech. Rhythm, intonation, passages as dynamic stereotypes, gained in the result of analytic repetitions. Repetition and intensity of impressions.

12. : , , , ( , ).

12. The phenomenon of the inner voice and repetition: the inner voice as the instrument of speedy repetition; picturing of muscular movements with the inner voice involved; precise comprehension of all parameters; cultivation of inner voice (the inner voice production, the ability to listen to oneself and one's inner voice).

13. .

13. Repetition and perfection of skills.

II. .

II. Repetition and transmission of cultures.

1. -.

1. Repetition as the means of transportation for travelling in time.

2. .

2. Repetition and rhythm in daily life.

, , , - (: - - - - ).

Rhythm as frequent shifting of activities; frequent substitution of rhythm by arrhythmia; substitution of the three-time rhythm by the two-time one; of beneficial and natural by harmful and automatically rational (the operational formula is: common sense - image - thought - transfer to image - sign).

(- , , - -). -- ( ).

Repetition in daily life (repeating and reproducing for oneself, or even to oneself, fragments of high intellectual and spiritual values and building up a durable psychic framework to support oneself). Spiritual and intellectual arrhythmia as the cause of physical vulnerability (lack of well-produced retransmission of repeated blocks of cultural information).

3. (- ).

3. Selection of the eternal and rational for repeating in selfstudying (choice of studing material for learning foreign languages).

4. .

4. Repetition and eidos imagination.

III. (, , ) (, , ).

III. Repetition of peak experiences with the help of images (literature, music, fine arts) and thoughts (concepts, their beauty, fusion of ethics and aesthetics).

1. - ( ).

1. Cultural significance of the skill to reproduce feelings and experiences (connection with taste orientation).

2. , .

2. Daily significance of the autodidact's skill to produce necessary feelings and states.

3. :

3. Life as a chain of states and feelings:

) ;

) :

- !

a) leitmotiv of states and feelings as the backbone of a personality;

b) accidental states and their erasing with the help of the rule:

I fancy that within this minute a year has passed!
tez09

* * *

, .

, ,

-

,

,

, ,

.

* * *

My room is full of savage silence and

quietness from very old still-life.

And all is like a jelly that a knife

of anxiety cuts and the message, sent

from antic deepness, where begins the end,

already's heard a noise of joy, as if

mad mariners by lost ship bless the cliff

and cruel tempest and our every <<can!>>.

But step by step the wild become domestic,

in a reality transforms the mystic.

A usuallity in the soul reigns.

But floods in your own mind are growing stronger

and you believe in nothing of an anger -

it is when you're lost and Great Nature gains.

9.

Theme 9

Plan-making and plan-fulfilling

I. .

I. General cultural background.

1. . - - ( ).

1. The autodidact's inner culture and the realm of concepts. Clarifying ethic concepts and standards is primary for a young autodidact (correction and correlation for an elderly one).

2. - . , , (. , . ..).

2. General and detailed informativenes for goal setting goals when making plans. The rule of compulsory general acquaintance with the histories of the civilizations, ethnic groups, nations and cultures (J. Frazer, J. Propp, etc.)

3. .

3. History of religions.

4. (legenda libri) - .

4. Primary legenda libri as the basis for the culturological plan.

5. .

5. Acquaintance with music.

6. . ( ) .

6. Acquaintance with painting. Periods and styles (in cultures) - general ideas.

7. -.

7. The role of languages in making plans for general cultural development.

8. . ( ), ..:

8. Pathos behaviour. Assimilation of the past and drawing it closer together to the present, the sense of a tradition as a conceived reality, etc.:

) , ;

) (- );

) "" -;

) ;

) , ( , , , ..);

) ;

) : ( " - "), .

a) pathos behaviour as the result of work with the actualized interest engaged; pathos as the steadfast psychological and socially motivated interest;

b) the role of pathos behaviour as the source of energy (interest provides nourishment);

c) when the people who died long ago start "growing cleverer" in the eyes of the autodidact, it means that he/she is getting matured;

d) from "a clue" to the critical mass of knowledge about the past;

e) planned interest; the problem of the steadfast interest and a social group (active propaganda, attempts to express view-points, opinions, visions, etc.);

f) planning as a concrete attempt to realize a dream;

g) the inner and outer carrier: priorities are give