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VERB: GENERAL. NON-FINITE VERBS. VERB AND ITS CATEGORIES
| 20.11.2011, 14:05 | |
| 1. What is the general categorial meaning of the verb? 2. What does the processual categorial meaning of the verb determine? 3. What grammatical categories find formal expression in the outward struc-ture of the verb? 4. What criteria underlie the subclassification of notional verbs? 5. What does aspective verbal semantics find its expression in? 6. What is peculiar to the English lexical aspect? 7. What combinability characteristics does the verb have? 8. What are the mixed lexico-grammaticai features of the verbids revealed in? 9. What is peculiar to the predication expressed by the verbids? 10. Which of the verbids is considered the head-form of the whole paradigm of the verb? 11. What grammatical categories does the infinitive distinguish? 12. What grammatical categories does the gerund have? 13. What grammatical categories differentiate the present participle from the past participle? 14. What considerations are relevant for interpreting the half-gerund as gerun¬dial participle? 15.What is specific to the categories of person and number in English? 17.What does the person-number deficiency of the finite regular verb en¬tail? 18.What does the immanent character of the category of tense imply? 19.What is the main weak point of the traditional "linear" interpretation of tenses? 20.What is the main point of difference between the two categories of tense: the category of primary time and the category of prospect? 21.What categorial meanings do continuous forms and non-continuous forms express? 22.What category do the perfect forms express? 23.What makes the expression of voice distinctions in English specific? 24.What complicates the analysis of English mood forms? 25.What does the category of mood express? I. Define the modal meanings actualized by the infinitive and infinitival com¬plexes (possibility, necessity, desire, expression of an actual fact): a) 1. There is a Mr. Anthony Rizzoli here to see you (Sheldon). 2. I have a regiment of guards to do my bidding (Haggard). 3. I'll send a man to come with you (Lawrence). 4. I never saw anybody to touch him in looks (Haggard). 5. There is nothing in that picture to indicate that she was soon to be one of the most famous persons in France (Christie). 6. It was a sound to remember (Lawrence). b) 1. There were several benches in advantageous places to catch the sun... (Christie) 2. "Why don't you get married?" she said. "Get some nice capable wom-an to look after you." (Christie) 3. It occurred to Tommy at this moment with some force that that would certainly be the line to take with Aunt Ada, and indeed always had been (Christie). 4. With the choice of getting well or having brimstone and treacle to drink, you chose getting well every time (Christie). 5. "I suppose there must be some people who are slightly batty here, as well as normal elderly relatives with nothing but age to trouble them." (Christie) 6. "Pity she hadn't got a fortune to leave you," said Tuppence (Christie). II. Rephrase the sentences so as to use a gerund as an object: 1. I insist on it that you should give up this job immediately. 2. They were surprised when they didn't find any one at home. 3. He went on speaking and was not listening to any objections. 4. When the boy was found he didn't show any signs of being alive. 5. Do you admit that you have made a mistake by divorcing her? 6. They suspect that he has been bribed. III. Choose infinitive or gerund and give your reasons: 1. As some water had got in, the engine of the boat couldn't but... work-ing (to stop). 2. I'm afraid our camera wants ... (to repair). 3. This is not the way ... children (to treat). 4. I soon regretted ... the doctor's recommendations (not to follow). 5. I regret ... that I can't come to your wedding (to say). 6. Did they teach you ... at school (to dance)? 7. Who has taught you ... so well (to dance)?. 8. She demanded ... the whole truth (to tell). 9. On her way home she stopped ... with her neighbour (to talk). 10. Remember ... the gas-stove before leaving the flat (to turn off). IV. Point out Participle I, gerund or verbal noun: a) 1. Curtis Hartman came near dying from the effects of that night of wait-ing in the church... (Anderson) 2. They invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the privilege of exchange in case of duplication (O.Henry). Account for the use of Complex Subject and Complex Object Constructions: 1. He's talked about himself, making no sense at all, seeming to say only that it was a lonely thing to be a writer, it was a painful thing to be no longer the writer you were... (Saroyan) 2. Mrs. Wiley gathered her two rosy-cheeked youngsters close to her skirts and did not smile until she had seen Wiley laugh and shake his head (O.Henry). 3. When Julia called him to come down, the abyss between his fantasy and the practical world opened so wide that he felt it affect the muscles of his heart (Cheever). 4. The waiter poured something in another glass that seemed to be boil¬ing, but when she tasted it it was not hot (O.Henry). 5. This time there was no rush. It was a puff, as of wind that makes a candle flicker and the flame go tall (Hemingway). 6. "Sit down on that stool, please. I didn't hear horse coming." (O.Henry) 7. Stunned with the horror of this revelation, John sat there open-mouthed, feeling the nerves of his body twitter like so many sparrows perched upon his spinal column (Fitzgerald). 8. Willie Robins and me happened to be in our - cloakroom, I believe we called it - when Myra Allison skipped through the hall on her way down-stairs from the girls' room (O.Henry). VII. Translate the sentences into English and comment on the structure of the Complex Object or on the absence of this construction: 1. Затем мы услышали, как одна птица закричала, а другая ей отве-тила. 2. Извините, но я слышал, как вы разговариваете по телефону, пото-му и осмелился войти. 3. Я слышал, что ты уже студент колледжа, не так ли? 4. Я удивился, когда услышал, как он спокойно говорит это. 5. Вы когда-нибудь видели, чтобы она покраснела? 6. Я часто замечал, что как англичане, так и немцы шутят, не полу-чая от этого никакого удовольствия. 7. He так уж трудно было понять, что я вам не нравлюсь. 8. Если ты сейчас к нему зайдешь, ты застанешь его за работой в саду. 9. Ему показалось сложным написать отцу о своих чувствах к ней. 10. Я считаю важным предупредить вас о возможной опасности. I. Dwell upon the categorial features of the verbs in the following sentences: MODEL:A lot of signposts are broken, you know, and the council don’t repair them as they should. are broken - the verbal form is marked by the expression of the categori¬al meaning of voice and is unmarked in the cat¬egories of person and number, tense, aspect and mood; don’t repair - the verbal form is unmarked in the ex¬pression of all categories; should - the verbal form is marked by the expression of the categorical meaning of mood and is unmarked in the categories of person and number, tense, aspect and voice; a) 1. "Well, I am an honest man, though not a very rich one. I only gave 15 shillings for the bust, and I think you ought to know that before I take 18 pounds from you." (Doyle) 2. I thought you might be interested to meet Mr. Anstruther. He knows something of Belgium. He has lately been hearing news of your convent (Christie). 3. "Oh She, as thou art great be merciful, for I am now as ever thy servant to obey." (Haggard) 4. "What is it?" she said confusedly. "What have I been saying?" "It is nothing," said Rose. "You are tired. You want to rest. We will leave you." (Christie) 5. In one of my previously published narratives I mentioned that Sherlock Holmes had acquired his violin from a pawnbroker in the Tottenham Court Road, for the sum of 55 shillings. To those who know the value of a Stradivarius, it will be obvious that I was being less than candid about the matter (Hardwick). 6. Perhaps she wasn't an actress at all. Perhaps the police were looking for her (Christie). | |
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