Методические указания по выполнению контрольных работ для студентов 1 курса факультета технологий и дизайна заочной формы обучения (контрольная работа №2)
| скачать ФЕДЕРАЛЬНОЕ АГЕНТСТВО ПО ОБРАЗОВАНИЮ ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ «РОССИЙСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ ТУРИЗМА И СЕРВИСА» ФГОУВПО «РГУТиС» Кафедра___________________Иностранные языки_______________ УТВЕРЖДАЮ Проректор по учебной работе, д.э.н., профессор ________________________Новикова Н.Г. «_____»_______________________200__г МЕТОДИЧЕСКИЕ УКАЗАНИЯ ПО ВЫПОЛНЕНИЮ КОНТРОЛЬНЫХ РАБОТ для студентов 1 курса факультета технологий и дизайна заочной формы обучения (контрольная работа №2) Дисциплина ____________Иностранный язык (английский)___________________ Москва 2009г. Методические указания по выполнению контрольных работ составлены на основе рабочей программы дисциплины ______________________ _Иностранный язык_(английский)_____ ______________ (название дисциплины) Методические указания по выполнению контрольных работ рассмотрены и утверждены на заседании кафедры _________________________^ ______________________ (название кафедры) Протокол № 2 «15»__ сентября_2008г. Зав кафедрой к.и.н.,доц. Юрчикова Е.В. Методические указания рекомендованы Научно-методической секцией общеуниверситетских кафедр Протокол №_______ «_____»______________________200__г. Председатель Научно-методической секции общеуниверситетских кафедр д.и.н., проф. Багдасарян В. Э. Методические указания по выполнению контрольных работ одобрены Научно - методическим советом ФГОУВПО «РГУТиС» Протокол № ________ «____»_______________200_г. Ученый секретарь Научно-методического совета К.и.н., доцент Юрчикова Е.В. Методические указания разработал: Преподаватель кафедры «Иностранные языки» ст.преп. Костоварова В.В. ^ ПО ВЫПОЛНЕНИЮ КОНТРОЛЬНЫХ РАБОТ Цель данных методических указаний и контрольных работ – помочь студенту в самостоятельной работе над развитием практических навыков чтения и перевода общенаучной литературы и литературы по специальности широкого профиля. В сборнике имеется серия грамматических и лексических упражнений, направленных на развитие устной и письменной речи. Студент выполняет один вариант контрольной работы в соответствии с последним шифром студенческого билета: студенты, шифр которых оканчивается на нечетное число, выполняют вариант №1, на четное – вариант №2. Выполнять письменные контрольные работы следует в формате Word. На титульном листе укажите факультет, курс, номер группы, фамилию, имя и отчество, номер контрольной работы и варианта. Контрольные задания следует выполнять c соблюдением полей, оставленных для замечаний, комментария и методических указаний преподавателя. Строго соблюдайте последовательность выполнения задания. Фрагменты текста, предназначенные для письменного перевода перепишите на левой стороне страницы, а на правой представьте его перевод на русском языке. В конце работы поставьте свою личную подпись. ^ Variant 1 1. Read the text. Translate Passage 2 in writing. Decide if the sentences below are true or false. Put “T” is it is true, put “F” if it is false. European fashion People`s clothes were not only their cover, but their symbol. Even an amulet was a piece of clothes because it was like a bridge between a bare human body and surrounding world. The most bright examples of symbolic meaning of some clothes are firmrules of medieval classes and Spanish monarch. Such rules of peoples appearance can be found even nowadays. French revolution abolished wigs. Since that time the absence of wig was as obligatory in the society as it is to wear jeans now.The Europian idea of fashion as a personal statement rather than a cultural expression begins in the 16th century: ten portraits of German or Italian gentlemen may show ten entirely different hats. Fashions among upper-class Europeans began to move in synchronicity in the 18th century; though colors and patterns of textiles changed from year to year, (Thornton), the cut of a gentleman's coat and the length of his waistcoat, or the pattern to which a lady's dress was cut changed more slowly. Men's fashions derived from military models, and changes in a European male silhouette are galvanized in theatres of European war, where gentleman officers had opportunities to make notes of foreign styles: an example is the "Steinkirk" cravat (a necktie). By 1800, all Western Europeans were dressing alike: local variation became first a sign of provincial culture, and then a badge of the conservative peasant. Fashion in clothes has allowed wearers to express emotion or solidarity with other people for millennia. Modern Westerners have a wide choice available in the selection of their clothes. What a person chooses to wear can reflect that person's personality or likes. When people who have cultural status start to wear new or different clothes a fashion trend may start. People who like or respect them may start to wear clothes of a similar style. Fashions may vary significantly within a society according to age, social class, generation, occupation and geography as well as over time. If, for example, an older person dresses according to the fashion of young people, he or she may look ridiculous in the eyes of both young and older people. The term "fashion victim" refers to someone who slavishly follows the current fashions. This is an example list of some of the fads and trends of the 21st century: Capri pants, handbags, sport suits and sports jackets, ripped jeans, designer jeans, blazer jackets, and high-heeled shoes. 1. People`s clothes were not only their cover, but their symbol. 2. Аn amulet was a piece of clothes. 3. The most bright examples of symbolic meaning of some clothes are firmrules of medieval classes and Spanish monarch. 4. The Europian idea of fashion as a personal statement rather than a cultural expression begins in the 18th century. 5. Fashions among upper-class Europeans began to move in synchronicity in the 16th century. 6. Women's fashions derived from military models/ 7. Gentleman officers had opportunities to make notes of foreign styles. 8. By 1800, all Americans were dressing alike: local variation became first a sign of provincial culture, and then a badge of the conservative peasant. 9. Fashions may vary significantly within a society according to age, social class, generation, occupation and geography as well as over time. 10. The term "fashion victim" refers to someone who slavishly follows the current fashions. ^
The old man (be) a great traveller in his youth and could tell a tale about many strange places.
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6. Fill in each space with a suitable modal verb or its equivalent. Translate the sentences into Russian.
^ Fashion design Fashion design is the applied art dedicated to the design of clothing and lifestyle accessories created within the cultural and social influences of a specific time.Fashion design differs from costume design due to its core product having a built in obsolescence usually of one to two seasons. A season is defined as either autumn/winter or spring/summer. Fashion design is generally considered to have started in the 19th century with Charles Frederick Worth who was the first person to sew their label into the garments that they created. While all articles of clothing from any time period are studied by academics as costume design, only clothing created after 1858 could be considered as fashion design. Fashion designers design clothing and accessories. Some high-fashion designers are self-employed and design for individual clients. Other high-fashion designers cater to specialty stores or high-fashion department stores. These designers create original garments, as well as those that follow established fashion trends. Most fashion designers, however, work for apparel manufacturers, creating designs of men’s, women’s, and children’s fashions for the mass market. Designer brands which have a 'name' as their brand such as Calvin Klein or Ralph Lauren are likely to be designed by a team of individual designers under the direction of a designer director. 1. Is fashion design the applied art dedicated to the design of clothing and lifestyle accessories? 2. Does fashion design differ from costume design? 3.How is a season defined? 4.When has fashion design started ? 5.Who was the first person to sew their label? 6.When was clothing created? 7.Do fashion designers design clothing and accessories? 8.What do other high-fashion designers cater? 9.Do most fashion designers work for apparel manufacturers? 10. Which designer brands have a 'name'? Контрольная работа №2 Variant 2 ^ Fashion design in different countries French Fashion Design The vast majority of French fashion houses are - and always have been - located in Paris, which was once not only the capital of French fashion but the capital of fashion worldwide. French fashion is traditionally chic and stylish, defined by sophistication, skillful cutting, and smart accessories. Paris is the home of many great and influential couture houses, such as Chanel and Christian Dior, who stage exclusive fashion shows in their own salons. Many other famous French designers show their work at the designer collections, which are held twice a year and command international attention. One of the best-known French designers, and a pioneer of ready-to-wear, is Chanel who has consistently turned out stylish, quality garments over many years. Karl Lagerfeld, although a German designer, has a very French approach. One of the major contemporary innovators of French fashion is Jean-Paul Gaultier, who designs unusual, witty clothes which stand apart from the main thrust of French style; the style has become vintage in modern day. Despite the changes that took place in the 20th century, Paris remains the most prestigious and influential global fashion capital. British Fashion Design The first fashion designer, Charles Worth, was a native of Britain, although he made his name in Paris. The majority of British fashion houses are based in London. In the 1920s, Norman Hartnell became known for elaborate evening gowns, and went on to design Queen Elizabeth II's wedding and coronation gowns, and other gowns for members of the British royal family. In the 1960s, the British fashion scene in "Swinging London" exploded with unorthodox clothes and popular appeal that have remained. Mary Quant and Vivienne Westwood pioneered the daring, youthful look which London is known for. Following in their wake, and turning out fresh ideas consistently, are John Galliano and Alexander McQueen. Other well-known names include Zandra Rhodes (known for fairytale clothes in original fabrics) and Bruce Oldfield (known for glamorous evening wear). London is also the home to a more traditional (but still popular) style - the style of the gentry, with many fashion houses such as Burberry and Fred Perry creating athletic yet formal clothes which connotate the upper classes. 1. The vast majority of French fashion houses are - and always have been - located in Madrid. 2. French fashion is traditionally chic and stylish, defined by sophistication, skillful cutting, and smart accessories. 3. Rome is the home of many great and influential couture houses, such as Chanel and Christian Dior. 4. Many other famous French designers show their work at the designer collections. 5. Chanel and Christian Dior, who stage exclusive fashion show in their own salons. 6. Karl Lagerfeld, although a German designer, has a very French approach. 7. One of the major contemporary innovators of French fashion is Jean-Paul Gaultier 8. Despite the changes that took place in the 20th century, London remains the most prestigious and influential global fashion capital. 9. The first fashion designer, Charles Worth, was a native of Britain, although he made his name in Paris. 10. London is also the home to a more traditional style. ^
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6. Fill in each space with a suitable modal verb or its equivalent. Translate the sentences into Russian
7. Read the text, translate passages 2, 5 in writing. Answer the questions below in writing. Fashion and the process of change Fashion, by definition, changes constantly. The changes may proceed more rapidly than in most other fields of human activity (language, thought, etc). For some, modern fast-paced changes in fashion embody many of the negative aspects of capitalism: it results in waste and encourages people qua consumers to buy things unnecessarily. Other people, especially young people, enjoy the diversity that changing fashion can apparently provide, seeing the constant change as a way to satisfy their desire to experience "new" and "interesting" things. Note too that fashion can change to enforce uniformity, as in the case where so-called Mao suits became the national uniform of mainland China. At the same time there remains an equal or larger range designated (at least currently) 'out of fashion'. (These or similar fashions may cyclically come back 'into fashion' in due course, and remain 'in fashion' again for a while.) Practically every aspect of appearance that can be changed has been changed at some time, for example skirt lengths ranging from ankle to mini to so short that it barely covers anything, etc. In the past, new discoveries and lesser-known parts of the world could provide an impetus to change fashions based on the exotic: Europe in the eighteenth or nineteenth centuries, for example, might favour things Turkish at one time, things Chinese at another, and things Japanese at a third. A modern version of exotic clothing includes club wear. Globalization has reduced the options of exotic novelty in more recent times, and has seen the introduction of non-Western wear into the Western world. Fashion houses and their associated fashion designers, as well as high-status consumers (including celebrities), appear to have some role in determining the rates and directions of fashion change. 1. Does fashion change constantly? 2. May the changes proceed more rapidly than in most other fields of human activity? 3.Does modern fast-paced change in fashion embody many of the negative aspects of capitalism? 4.What is a way to satisfy their desire to experience "new" and "interesting" things? 5.What became the national uniform of mainland China? 6. Does at the same time there remain an equal or larger range designated (at least currently) 'out of fashion'? 7. Could new discoveries and lesser-known parts of the world provide an impetus to change fashions based on the exotic? 8. What things might Europe in the eighteenth or nineteenth centuries favour? 9. What does modern version of exotic clothing include? 10. Why did fashion houses and their associated fashion designers appear? ПРИЛОЖЕНИЕ 1 ^ ФЕДЕРАЛЬНОЕ ГОСУДАРСТВЕННОЕ ОБРАЗОВАТЕЛЬНОЕ УЧРЕЖДЕНИЕ ВЫСШЕГО ПРОФЕССИОНАЛЬНОГО ОБРАЗОВАНИЯ ^ (ФГОУВПО «РГУТиС») ____________________________________факультет Кафедра______________________________________ КОНТРОЛЬНАЯ РАБОТА по ______________________________________________________ наименование дисциплины ____ -й семестр Студента(ки) заочной формы обучения__________________________________________ ^ _____________________________________________________________________________ № зачетной книжки _________________________ группа__________________________ Специальность _______________________________________________________________ код и наименование специальности _____________________________________________________________________________ № варианта_________________ Выполнила _________________________ подпись студента(ки) Работа предъявлена на проверку «____»_________20__г.__________________________ подпись преподавателя Результаты проверки__________________________________________________________ Замечания, рекомендации_____________________________________________________ _____________________________________________________________________________ Проверил преподаватель «___»__________20__г. ________________________________ Ф.И.О., подпись Вторично предъявлена на проверку «___»__________20__г. ______________________ подпись преподавателя Результаты проверки_________________________________________________________ Замечания_________________________________________________________________________________________________________________________________________________ Проверил преподаватель «___»________20__г. __________________________________ ^ Работа принята (проведено собеседование) «___»_______20__г____________________ подпись преподавателя ПРИЛОЖЕНИЕ 2 РЕЦЕНЗИЯ На контрольную работу Студента(ки) __________________________________ (Ф.И.О.) _________________ группы __________________ курса Специальности ___________________________________ По дисциплине __________________________________ Тема: __________________________________________
Преподаватель: _________________/ ______________________
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