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Теоретическая фонетика английского языка. Соколова М. А. / English Phonetics: A theoretical course
45
 
 

Теоретическая фонетика английского языка. Соколова М. А. / English Phonetics: A theoretical courseТеоретическая фонетика английского языка. Соколова М. А. / English Phonetics: A theoretical course

В учебнике описана английская фонетическая система. Он со­стоит из шести глав, включает раздел фоностилистики, схемы и таблицы. В учебнике учитываются достижения современных тео­ретических исследований.

Учебник предназначен для студентов, изучающих английский язык в высших учебных заведениях; будет полезен преподавате­лям английского языка.

Язык - английский

English phonology, syllabic system, accent, intonation, standard pronounciation and regional variations.

Written n English

 
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Fundamentals of Language
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Fundamentals of Language

This volume consists of two studies. The first is a joint essay presenting a critical survey of the author's views on phonology, a theory of sound patterns, and their stratification. The second is an individual contribution from Roman Jakobson ranging widely over many problems of language and its disturbances, literature and general symbolic behaviour.

 
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Preliminaries to Speech Analysis: The Distinctive Features and Their Correlates
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Preliminaries to Speech Analysis: The Distinctive Features and Their CorrelatesThis work attempts to describes the ultimate discrete components of language, their specific structure, and their articulatory, acoustic, and perceptual correlates, and surveys their utilization in the language of the world. First published in 1951, this edition contains an added paper on Tenseness and Laxness.
 
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Hejwowski Krzysztof - Translation. A Cognitive - Communicative Approach
50
 
 

Hejwowski Krzysztof - Translation. A Cognitive - Communicative ApproachHejwowski Krzysztof - Translation. A Cognitive - Communicative Approach

Useful for students of Translation Studies
 
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Virginia Woolf - Becoming a Writer
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Virginia Woolf - Becoming a WriterVirginia Woolf - Becoming a Writer

By the time she was twenty-four, Virginia Woolf had suffered a series of devastating losses that later she would describe as “sledge-hammer blows,” beginning with the death of her mother when she was thirteen years old and followed by those of her half-sister, father, and brother. Yet vulnerable as she was (“skinless” was her word) she began, through these years, to practice her art—and to discover how it could serve her. Ultimately, she came to feel that it was her “shock-receiving capacity” that had made her a writer.
 
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