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Eternity in Fragility

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Eternity in Fragility Міністерство освіти і науки України Полтавський державний педагогічний університет імені В.Г.Короленка Кафедра іноземних мов Навчально-методичний посібник з англійської мови ETERNITY IN FRAGILITY для студентів І-ІІ курсів факультету технології та дизайну Автори-укладачи: ст. викладач Сосой Г. С. ст. викладач Тимінська І. М. Полтава – 2009 Eternity in Fragility : навч.-метод. посіб з англ. мови для студенів І-ІІ курсів факультету технології та дизайну / [Г.С.Сосой, І.М. Тимінська] – Полтава, 2009. – 127 с. Методичний посібник “Eternity in Fragility” являє собою збірник текстів і вправ та складений з урахуванням програми з англійської мови для студентів I-II курсів факультету технології та дизайну денної та заочної форм навчання. Метою посібника є розвиток навичок читання, усного мовлення, літературного перекладу, збагачення фахової лексики та словникового запасу студентів в цілому, закріплення студентами граматичного матеріалу з англійської мови. Методичний посібник структурований за тематичним принципом. Загальна кількість текстів – 22 основних та 10 додаткових. Тексти подаються в комплексі з вправами на закріплення лексичного-граматичного матеріалу. Для полегшення розуміння текстів до кожного з них доданий міні-словник. Рекомендовано до друку вченою радою Полтавського державного педагогічного університету імені В.Г. Короленка. (протокол № 13 від 28.05.2009 року) 2 CONTENTS ПЕРЕДМОВА…………………………………………………………………….. 3 The Historical Development of Costumes……………………………………….. 5 Costumes of the Scythians………………………………………………………... 7 Costumes of Ancient Rus’ (10th – 13th centuries)……………………………….. 10 Ukrainian Costumes (15th – 17th centuries)……………………………………… 16 Ukrainian National Costume as a Witness of the Past………………………….. 22 Hutsul National Dress…………………………………………………………….. 27 Enthusiasts of Ukrainian Decorative Art and Embroidery……………………… 30 Symbolic World of Pysanka………………………………………………………. 35 Eternity in Fragility………………………………………………………………… 39 Glass Beads Rainbows…………………………………………………………….. 43 Straw Art…………………………………………………………………………… 47 Vytynanka – an Art of Decorative Paper Cutting………………………………… 50 Flowers and Stars on Hope Chests and Walls……………………………………….. 54 Wooden Churches – Marvels of Folk Architecture…………………………………. 59 A Part of Handcrafted Wrought Iron……………………………………………… 65 Ukrainian Beryl, a Valuable Gem Material……………………………………….. 67 Lost Paradise in Old Lethographs………………………………………………… 71 Art of Postage Stamps in Ukraine ……………………………………………….. 76 Dolls created at Yury Melnychuk’s Studios……………………………………… 80 Russian Stacking Dolls……………………………………………………………. 84 Golden Khokhloma………………………………………………………………… 89 Zhostovo Trays……………………………………………………………………. 92 APPENDIX Embroiderer Who Was Born in Russia to Become a Master Embroiderer in the Traditional Ukrainian Style………………………………………………………. 97 Wonderful Embroidery created by Nina Ipaty…………………………………… 99 Ivanna Kushnir Upholds the Traditions of Ukrainian Embroidery……………… 102 Scythian and Ancient Rus’ Traditions in the Art of Ukrainian Jewelry…………. 104 Ancient Ceramics in a Private Collection built by an enthusiast………………… 107 Ceramics from Kosiv – Clay from the Carpathians Warmed and Shaped by Human Spirit……………………………………………………………………………… 112 Exclusive Beads of Albina Polyanska……………………………………………. 115 Games and Toys Ukrainian Children Used to Play………………………………. 116 Ukrainian Traditional Embroidery Can Be Traced Hundreds, if not Thousands of Years Back into History………………………………………………………… 120 БІБЛІОГРАФІЯ………………………………………………………………… 127 3 ПЕРЕДМОВА На етапі формування незалежної європейської держави важливого значення набуває якісна підготовка спеціалістів зі знанням англійської мови, оскільки її опанування стає нагальною потребою в усіх аспектах життя європейського суспільства. Україна чітко визначилась та зорієнтувалась стосовно входження до освітнього простору Європи, наполегливо працює над практичним приєднанням до Болонського процесу. Відповідно до вимог нової програми впровадження новітніх ідей щодо мети Болонського процесу, випускники вищих навчальних закладів повинні зокрема на високому рівні володіти мовними знаннями, навичками, уміннями. За цих умов вдосконалення процесу навчання іноземним мовам потребує нових навчально-методичних посібників, різноманітних словників, тестів, інших засобів навчання та контролю. У циклі гуманітарних дисциплін професійної підготовки баклаврів та спеціалістів усіх спеціальностей особливе місце посідає така дисципліна як “Англійська мова”. Навчально методичний посібник “Eternity in Fragility” містить матеріал, що є частиною курсу “Іноземна мова” та має професійно-орієнтований характер. Посібник містить 22 основних і 10 додаткових адаптованих і оригінальних текстів, пов’язаних з життям, народними традиціями та ремеслами. Основні тексти супроводжуються лексико-граматичними вправами, що мають на меті закріпити та актівізувати навчальний матеріал, розвивати навички усного мовлення. Засвоєння відповідних тем дає можливість, з одного боку, глибше вивчити англійську мову, з іншого – розширює кругозір студентів, сприяє їх професійному, патріотичному, культурно- естетичному вихованню. Перед початком роботи над розділом студент повинен уважно прочитати всі нові слова, словосполучення та терміни, звертаючи особливу увагу на вимову, потім прочитати і перекласти тематичний текст (передбачається, що студенти володіють достатнім лексичним запасом, який у поєднанні з поданим до тексту словами дозволить їм зрозуміти зміст тексту; в окремих випадках студенти можуть користуватися англо-українськими словникоми). Після цього потрубно перейти до виконання вправ. Матеріал і система вправ забезпечує оволодіння навичками читання та говоріння (в основному монологічного мовлення), письма та аудіювання. Вправи зібрані наступним чином : 1) вправи до тексту; 2) вправи для закріплення активного словника; 3) вправи для розвитку навичок мовлення Питання про послідовність виконання вправ може бути вирішене викладачем і студентами Цей методичний посібник може бути використаний як для роботи у навчальних закладах, так і для самостійного вивчення англійської мови. 4 THE HISTORICAL DEVELOPMENT OF COSTUMES From the earliest times clothing has always been the object of artistic creativity, and in fact one of the most attractive items of decorative applied art. It reflects the historical, economic, social, ethical and of course the esthetic moments of human life. One of the things having greatest influence on the character of the costume is of course technology: production techniques, especially in the textile and chemical areas, and also modes of transport. It is quite understandable that the textile product plays a key role in the process of costume formation. The level of textile technology and its individual features precludes the character of materials, their diversity, their circulation, length of use and so on. Technology’s swift progress hastens the replacement of one material by another and gives birth to ever new methods of construction of various elements of the costume. The influence of the technology of textile production is reflected in the cut and outward appearance of the clothing. Lifestyle also has a major influence on dress. The appearance of garments such as long pants is obviously allied to a nomadic way of life, which demands comfortable attire suited to a horseback existence. The region of initial spread of pants was in those areas which practised a nomadic way of life from ages past. These were the dry steppes and semideserts of Central Asia and the Near East : Mongolia, Kazakhstan, Iran, the Arabian Peninsula. Among many of the nomads both men and women wore pants. Social morals and ethical norms of behaviour also determine the development of the costume. Ideas about decency and modesty play a very important role in the formation of costume at all times and among all peoples. Acceptable social behaviour, like the moral principles which form its basis, not only appear, change and disappear in the process of general historical development, but are also segregated in social environments. Thus something which is quite unacceptable in one social circle, may not ever raise an eyebrow in another milieu. For example, in Ancient Rus’ it was always considered indecent for married women to appear in public with an uncovered head. Thus the wife of both the peasant and the boyar had to conceal her hair, while girls were allowed to go about without any headgear. Later, in 19th century, this custom survived only among the rural populace, while among the nobility and ever the wealthy townswomen it had long been forgotten. Esthetic tastes and canons of beauty directly influence the character of the costume. Not only the costume decor, but also the cut of the clothing and the external features of the costume are very closely tied to the prevailing esthetic tastes. Like the architecture of buildings, costumes also reflect the style of the period. Fashion is more variable, unstable, and short-lived, but at the same time it is a no less important factor influencing costumes. By fashion we mean the temporary spread of certain tastes, which first appear in a certain social circle, being shaped under the influence of conditions and tastes characteristic of the environment. However, fashion does not change the essence of the costume. It merely brings about partial change, which in the main concern details, only diversifying the external forms 5 of the costume. It is only during the transitional periods of change in style that fashion gradually unites the new features of a costume in a certain direction. The formation of certain
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