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The improvement of work on the rhythm in the classes of english on the materials of limericks

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Фонарь садовый «Тюльпан».
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Eve E glish acquired a s a us of he hird la guage i Kazakhs a , bu i is remai ed as he foreig la guage for majori y of people, mas ery of which is s ill problema ical. E glish a high schools some imes does o come easily o s ude s ha hey make u believable effor s o ca ch he se se of he E glish speech. Who does o dream abou he easy way of lear i g E glish? Because, usually i is ra her lo g a d exhaus i g process. I is commo ly k ow , ha la guage lear i g will become far i eres i g a d produc ive, whe he s ude s are i volved i crea ive ac ivi y. I erac ive forms of eachi g give a cha ce o develop o o ly li guis ic skills a d abili ies, bu also permi o s ude s usi g of E glish as he mea s of commu ica io , hey adva ce ow imagi a io a d memory. All of i raises a mo iva io o s udy he la guage. O e of he effec ive modes of mo iva i g s ude s o s udy he la guage is he usi g of crea ive works, such as dramas a d composi g he rhymes i possessi g he la guage. his ech ology ope s vas possibili ies for i dividual a d posi io -fi di g eachi g, because here lear ers apply ow u ique life experie ce, ow ou look . I remi isce ce ha he mai hero of Paul Maare’s fairy- ale “Ei e Woche voller Sams age” & dash; das Sams applied he me hod of composi g ursery rhymes a he school, a d his crea ive lesso pleased pupils, because hey wa ed him o each agai a d agai . he give ar icle exami es he ques io s of improvi g he pro u cia io a d rhy hm by he ma erial of limerick or how i is said popularly, of E glish chas ooshka. Limericks is represe ed i egral par of li guis ic cul ure of A glopho ic a io i he world. Limerick & dash; is a popular form of shor humorous poem, buil o playi g wi h o se se, which is appeared i Grea Bri ai . he origi of he limericks is u k ow , hough i is co sidered, ha a ame desce ded from he refrai s of he so gs, sa g by Irish soldiers-mili iame upo Fre ch ki g Louie XVI. A he par ies he soldiers performed he so gs, each s a za of which e ded wi h he refrai s & dash; Will you come up o Limerick? (or by a o her versio : Wo ’ you come up o Limerick?). herefore, he E glish word ‘limerick’ is pro ou ced wi h a s ress o he firs syllable & dash; like he ame of he ci y i Irela d, from which he i le is came . I is believed o be exis ed a o her hypo hesis ha he word ‘limerick’ is origi a ed o from he ame of Irish ci y, as majori y hi k, bu from he Irish words ‘laoi meidbreach’ or ‘a merry lay’, which mea ‘a merry so g’ . “ he fa her of limericks” is co sidered o be he famous E glish poe , he ki g of E glish o se se verse Edward Lear (1812-1888). Lear himself ever called his comic verses ‘limericks’. he word ‘limerick’ firs ly appeared pos humously i pri i 1892. O e way or a o her, af er he e d of XIX ce ury limericks became broadly famous. Ma y well-k ow wri ers a d poe s as Lewis Carroll, Rudyard Kipli g, Joh Galswor hy, Mark wai a d Ar old Be e composed limericks. Pu charac er of limericks admi s he free varyi g of he li guis ic mea s i he frames of harsh rhyme.

he charac eris ics of limerick are i e io al play of words, homopho y, ambigui y (homo ymy), sy o ymy, polysema ic a d he rich s ylis ic diversi y of E glish words. Limerick plays wi h curious amusi g discrepa cy of E glish or hography a d pro u cia io , fou d heir reflec io i he special form of limerick, which is called ‘visual’ or ‘or hographical’. he pe mode of limerick au hors & dash; is usi g of eologisms. he eologisms a d o se se words of Edward Lear s ro gly e ered he E glish li era ure a d la guage . he pe ame er of he classical limerick builds by he scheme AABBA, ha is, firs , seco d a d fif h li es are rhymed, i accorda ce wi h hird a d four h. Here prevails he size of a a apes , a d a qua i y of he syllables i he firs , seco d a d fif h li es are lo ger for hree syllables, ha i he hird a d four h . Limericks are co sidered o be he sple did ma erial for he produc io of correc pho e ic orga iza io of he E glish speech a d especially of i s rhy hm. So, E glish scie is Joh orrish wri es abou i : “…. E glish is a s ress- imed la guage…. Similarly, i is difficul for he speaker of he ‘syllable- imed’ la guage o u ders a d ormal E glish pro u cia io … Way of overcomi g his problem of eachi g s ress pa er s is by usi g he ‘limerick’, he comic verse from which relies for much i s effec o he s ro gly marked rhy hm. eachers could demo s ra e a d e courage s ude s o read aloud some of hese verses: here `was a you g `lady of ` iger, Who `smiled whe she `rode o a ` iger. hey re` ur ed from he `ride Wi h he `lady i `side & dash; A d he `smile o he `face of he ` iger. As ca be see , he rhy hmic pa er i volves he s ressed syllables each i he firs a d seco d li es, wo i he ex wo li es a d hree o ce agai i he fi al, fif h li e. Whe reci ed, i is impor a ha he s resses come a regular i ervals… As we have see , he s ress imi g of he limerick is also a charac eris ic of E glish speech. his is wha makes i a useful eachi g ool… such a eachi g ech ique ca be used as successfully for i i ial eachi g of s ress as for remedial eachi g o eradica e errors” . hus, he s ruc ure of he limericks is he same, which very helps he s ude s o read hem easy a d wi h he i o a io . For i s a ce, he varia crea ed he humorous effec o he firs li e ca correspo d wi h he i o a io of Low Rise, he i o a io of he seco d wi h Low Fall. Fur her, he i o a io sample repea s Low Rise i he hird li e, Low Fall i he four h. I he las li e here is he fi al loweri g o e of he Low Fall. Gradually falli g a d slippi g melodic scale has emo io al- eu ral charac er. o i freque ly before he las li e, which has a ou come, we may sus ai a lo g pause. he give varia of a oral impleme a io charac erizes rapid empo of he pro u cia io . Duri g he audi orium lec ures he limericks are read aloud by keepi g heir rhy hmical form a d by u derli i g he s ro g par s i each li e. For he clear rhy hm produc io I recomme d o use a me ro ome, he s rike speed of which ca be cha ged i accorda ce wi h he give empo & dash; from he fas o he slow (le o, le issimo &g ; allegro, allegrissimo).

We ca pro ou ce he limerick by ourselves, he whisper, a d a las , aloud, accompa yi g he pro u cia io wi h he k ocki g o he s ressed syllables of he li es. O he fi al s age of he worki g o limericks he s ude s are offered o lear by hear a d reci e hem, o pu o he music a d si g, o drama ize. he i eres i g ype of he work is ra sla i g he limericks. he secre of ra sla i g is co sis ed i savi g he rhyme, poe ical size of he limerick, a d o o lose heir fu y esse ce. Freque ly, o keep he poe ical form a d he pa , he ra sla ors have o cha ge proper ames a d ‘geography’ of he limerick. Give examples of ra sla io by O. As afyeva clearly shows a i erpre a io of he limericks i Russia . Origi al : here was a old perso of Dea , Who di ed o o e pea a d o e bea ; For he said, ‘More ha ha Would make me oo fa ’, ha cau ious old ma of Dea . (Edward Lear). ra sla io by O. As afyeva: Одинокий старик из Туниса На обед съедал зернышко риса. «Больше есть я не смею, А не то растолстею», & dash; Объяснял он друзьям из Туниса. Here we ca see ha he ra sla or had o cha ge he ame of spo ‘Dea ’ i o ‘ u isia’, as well as he peas a d bea s ra sformed i o he rice. I is commo case, whe he ra sla ors cha ge he proper ames o keep he mai se se of he comic verse. Also, here is a o her example which was made by wo ra sla ors a d shows he s ric a d u cha geable frames of he limerick rhyme. Origi al: As a beau y I’m o a grea s ar, here are o hers more ha dsome by far, Bu my face, I do ’ mi d i , Because I’m behi d i & dash; ‘ is he folks i he fro ha I jar. (A o y Euwer). he ra sla io close o he origi al (u k ow au hor): По красоте я вообще не звезда, Есть люди симпатичнее меня. Но не против лица я & dash; Ведь не вижу себя я, Плохо лишь тем, кто видит меня. he ra sla io by M. Lorie: Я красотой не блистал никогда, Я не роза, скорей лебеда. Это мне не обидно & dash; Мне себя ведь не видно. Вот для встречных так, правда, беда. he ra sla io by M. Lorie is dis i guished wi h he freedom of he i erpre a io , bu hey keep he rhyme of E glish limerick. he seco d varia from he pe of u k ow ra sla or does o possess he perfec form, bu correc ly se ds he humorous se se of he limerick. hus, limericks are co sidered o be he grea ma erial for worki g o he correc pho e ic orga iza io of E glish speech a d i s rhy hm. he rhy hm of he E glish speech prese s e ormous difficul y o he Russia , as well as o he Kazakh audi orium. he isochro ous form of E glish rhy hm requires especially accura e work o i . Of course, E glish limerick permi s o polish he good ech ique of he rhy hm. he li le limerick compac ly a d orga ically coupled a origi ali y of a plo a d he rhy hm of he li es. Everyo e will es ima e a quai humour of E glish o se se verse rue wor h, who loves good laugh er, play of i ellec , wi y words a d sou ds. REFERE CES 1. ambula ova .K., Usi g of crea ive asks i foreig la guage, Foreig la guages a school. 8 (2008), P. 28 & dash; 31. 2. Maar P. Ei e Woche voller Sams age. Hamburg, 1973. 3. Razheva Y.I

Then the scheduler is invoked to see if one of these newly awakened tasks has a higher priority than the task that was running prior to the timer interrupt. The clock tick routine in ADEOS is almost exactly the same as the one in Chapter 7. In fact, we still use the same Timer class. Only the implementation of this class has been changed, and that only slightly. These changes are meant to account for the fact that multiple tasks might be waiting for the same software timer. In addition, all of the calls to disable and enable have been replaced by enterCS and exitCS, and the length of a clock tick has been increased from 1 ms to 10 ms. Ready list The scheduler uses a data structure called the ready list to track the tasks that are in the ready state. In ADEOS, the ready list is implemented as an ordinary linked list, ordered by priority. So the head of this list is always the highest priority task that is ready to run. Following a call to the scheduler, this will be the same as the currently running task

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