UNIVERSITATEA DIN CRAIOVA

FACULTATEA DE LITERE
SPECIALIZAREA: ROMANA / ENGLEZA
INVATAMANT LA DISTANTA

PROGRAMA ANALITICA
DISCIPLINA: CURS PRACTIC LIMBA ENGLEZ
Anul III Semestrul I
TITULARUL DISCIPLINEI: Iulia Ciurezu

I.
-

II.

OBIECTIVELE DISCIPLINEI:
exersarea si fixarea folosirii corecte a verbelor modale; subjonctivului in propozitii
subordonate; a constructiilor cu infinitivul, participiul si gerunziul (recunoasterea functiilor
sintactice ale acestora)
revizuirea si aplicarea practica a conceptelor si notiunilor teoretice de baza accumulate in
cadrul cursului de sintaxa frazei privind negatia, coordonarea si subordonarea, constructii
complexe cu gerunziul si infinitivul, statutul subiectului acestora, transformari sintactice)
familiarizarea studentilor cu structuri sintactice complexe, specifice limbii literare/ scrise prin
accesul la si lucrul cu texte autentice.

TEMATICA CURSURILOR

Cap.1: The English verb and related syntactic complexities

1. Phrasal verbs;
2. Deontic and epistemic uses of English modals
3. Negative sentences: syntactic patterns, polarity items, idioms and translation
Cap.2: Sentence Coordination
1. Sentences with incomplete conjuncs
2. Coordinators, correlative coordinators
Cap.3: Finite subordination
1. The use of the subjunctive in THAT clausess, the sequence of tenses
2. Syntactic functions of finite clauses
Cap. 4:

Non-finite Subordination
1. Accusative with Infinitive and Nominative with Infinitive constructions
2. The gerundial clause; verbs followed by infinitives and /or gerunds (DO
clauses)
3. The Infinitive after prepositional verbs and adjectives (PO clauses)
4. Participial constructions

III.

EVALUAREA STUDENTILOR
Examen scris si oral la sfarsitul fiecarui semestru (semestrul I capitolele I, II si III;
semesrul II capitolul IV)
Stabilirea notei finale: raspunsurile la examen 70% ,
teme de control (exercitiile incluse in suportul de curs) 20%

IV.
BIBILIOGRAFIE GENERALA
A:
1. A Guide To Patterns and Usage In English (A.S. Hornby, Oxford University Press,1962)
2. The Infinitive (Alexandra Cornilescu & Ioan I. Dimitriu, Institutul European, 2000)
B:
1. Cornilescu, A. (1995): Concept of Modern Grammar, EUB, Bucuresti;
2. Cornilescu, A. (1986): English Syntax, vol. 2, EUB, Bucuresti
3. Galateanu-Farnoaga, G., Comisel, E (1993).: Gramatica Limbii Engleze, Omegapres & Rai,
Bucuresti,
4. Heageman, L and J. Gueron (1999): English Grammar, Blackwell
5. Radford, A. (1997): Syntactic theory and the structure of English, CUP, Cambridge

UNIVERSITATEA DIN CRAIOVA

FACULTATEA DE LITERE
SPECIALIZAREA: ROMANA / ENGLEZA
INVATAMANT LA DISTANTA

SUPORT DE CURS
DISCIPLINA: CURS PRACTIC LIMBA ENGLEZ
Anul III Semestrul I, II
TITULARUL DISCIPLINEI: Iulia Ciurezu

Cap.1: The English verb and related syntactic complexities.....................................................2

1. Phrasal verbs;........................................................................................................................2
2. Deontic and epistemic uses of English modals....................................................................2
3. Negative sentences: syntactic patterns, polarity items, idioms and translation....................6
Cap.2: Sentence Coordination....................................................................................................10
1. Sentences with incomplete conjuncts.....................................................................................10
2. Coordinators, correlative coordinators...................................................................................10
Cap.3: Finite subordination.......................................................................................................11
1. The use of the subjunctive in THAT clausess, the sequence of tenses...................................11
2. Syntactic functions of finite clauses.......................................................................................11
Cap. 4: Non-finite Subordination............................................................................................13
1. Accusative with Infinitive and Nominative with Infinitive constructions..............................13
2. The gerundial clause; verbs followed by infinitives and /or gerunds (DO clauses)...............13
3. The Infinitive after prepositional verbs and adjectives (PO clauses).....................................13
4. Participial constructions.........................................................................................................13
BIBILIOGRAPHY:......................................................................................................................15

Cap.1: The English verb and related syntactic complexities

1. Phrasal verbs;
2. Deontic and epistemic uses of English modals

(1). Insert prepositions/ particles wherever you think they are needed. Make a list of the
phrasal verbs you have found, check them with a dictionary and use them in sentences
of your own.
A
I WAS BORN PREMATURE AND HAVE BEEN LATE EVER SINCE. Those you
who are punctual will not know us, the other half of the world, the latecomers. Youll have
waited us; the chances are that youve been kept waiting us many a time, but you wont
understand. In fact, if the truth be told, youre the enemy.
Doubtless, youve seen us. Were quite a spectacle: a vast tribe of electrified
anxiety. We glance our watches and see despair. Youve probably noticed us leaping
and taxi cabs throwing notes (no time change!). We dodge you the street, jumping
puddles, weaving the traffic. We are the strange, scuttling creatures bursting wild eyes
restaurants, the hope that youve waited us.
Youll have observed us hovering nervously every lobby and entance hall the
world. In theatres and cinemas you stand as we creep the row trying so hard not to
knock your knees or tread your toes. And you, what do you do? You tut the dark. You
dont need to do that, we know what weve done.
But heres a curious thing: these moments we hate ourselves so much that we
have no alternative but to transfer our hatred you, the punctilious, instead.
Here we see this aggressive lateness action:
Im very sorry Im late.
Yes, but why are you late?
I just am.
But why? Where have you been? Whatve you been doing? Do you realise how
long Ive been waiting here? Ive been waiting over an hour!
Does it matter?
Yes. You should respect me enough to show time.
But Im not late purpose. Look, Ill go.
But youve only just arrived!
So you want the truth?
Yes.
Well, Im late because Ive made a choice a choice to be myself. Im the kind
person who has never been time yet and never will be. Thats what Im like. Sorry!

B
TECHNICAL QUERIES
Your detailed knowledge computers may lead someone to ask you a technical question.
Never be worried these; the fact hat they ask means they wouldnt understand the
answer anyway. The most important rule is, claim to know nothing the insides the
machines. Computer users should know no more what happens the screen than a
television critic. If someone starts talking chips and processors and bus boards, direct
them an electronic engineer.( or caf or London Tramsport timetable, as suitable).

Questions you will be asked are three tipes:

Is there any way I can print sideways my word processor?
Im running Megabase IV version 3 under TOS version 2.15 and there seems to be a
glich at PC=4A2E which resets the defaults by overwriting four bytes at 3E60 when I run
a batch file. How can I get this?
My computer wont work, whats wrong it?
Adopt the old technique used those manning the talls exhibitions when customers ask
them awkward queries:
First ask them if its MS-DOS; if they say it is, say regret that you know nothing MSDOS. If they say its some other system, say you know nothing except MS-DOS. But say
you will listen their questions anyway.
Listen intendly and ask what version the program they are talking, then say Ahhh, that
version, there were problems that one
Go deep thought a few second, then pick the most suitable the following answers:
Yes, you can do it, but its very difficult unless you know assembler. (Nobody asking a
question you will know assembler so no problem here.)
Theres a program the public domain which will do it you a bit tweaking. Ive forgotten
the name, but its something V-G8/ W 0.EXE. (This is always true.)
I think theres a bug that version which has been fixwd the latest version. (All versions
of all programs have bugs which get fixwd the next version to reveal further bugs, so
youre safe here too.)
Remember, those asking queries only want your time, not your advice. If they really
wanted to find how to do it, they would go a computer consultant and pay $50 hour;
talking you they think they are getting attention, free. They will therefore be unimpressed
a short reply which answers the question perfectly and succinctly. They will the other
hand be pathetically grateful ten minutes you scratching your head, erming and ahing
and ending saying you can do it but its very difficult, unless you know assembler.
(2). III. Fill in the blanks with appropriate particles and prepositions:
Mike was born a cute African-American guy. "Normal", if you will, and very talented.
Despite the current, sad stories about his lonely, sad childhood, Mike grew __
surrounded __ famous people and an adoring public.(...) By age 11, Mike was a
Superstar. At age 13 he went solo and had his first #1 hit at 14 with "Ben" (a touching
love song __ a rat). Who knew he'd get addicted __ plastic surgery, face accusations __
child molestation and end __ America's Most Famous Sideshow?(...)He had
unprecedented sponsorship deals __ Pepsi, and LA Gear Sportswear. People stood __
line __ 1AM to purchase "Thriller" when it came __, even though the store didn't open
until 9 AM. (...). He's started the Spin __ the misunderstood, picked-__ __ Victim instead
__ an increasingly weird 30 year old man. He's creepy. People are making jokes that
only __ America can you be born a black man and end __ a white woman.(...)The public,
who forgave his mounting eccentricities because __ his incredible talents nod __ silence
__ it all, unsurprised. Most remark that someone __ this going __ visibly outside has to
have a lot __ demons going __ inside. __ his defense, Mike launches his second career
as Whining, Weeping, Hurt, Offended, Innocent Victim. (...) The "Alcocholic Housewife"
look didn't catch __ either. Even the staunch defenders __ Michael's sanity have to
admit the boy's cheese has slid __ his cracker.
(3). Read and analyze syntactically the following examples of phrasal verb uses of the
verbs hand and break: Use these verbs (in as many of their phrasal meanings as you
can) in sentences of your own:

Hand
-----hand something around phrasal
verb

break into something phrasal verb

1
to enter a building or car by using force, in

to offer something to each person in a

group
Willie helped hand the mugs around.

order to steal something

Someone broke into my car and stole the
radio. Her house was broken into last
week.
------hand something back phrasal verb
2
1
to become involved in a new job or
to give something back to the person who
business activity
gave it to you, with your hand
She made an attempt to break into
hand something back to
journalism. It's a profession that is very
Kurt examined the document and handed it hard to break into. Many British firms have
back to her.
failed in their attempts to break into the
hand somebody something back
American market.
She handed him his pen back.
3
2
to start to spend money that you did not
to give something back to the person who
want to spend
used to own it
I don't want to break into my savings
hand something back to
unless I have to.
The land was handed back to its original
4
owner.
break into a run/trot etc
hand somebody something back
to suddenly start running
The government has promised to hand
He broke into a run as he came round the
investors back their money.
corner.
5
break into a smile/a song/applause etc
------------hand over phrasal verb
to suddenly start smiling, singing etc
1
Her face broke into a smile. He suddenly
hand something over
broke into song. The audience broke into
to give something to someone with your
loud applause.
hand, especially because they have asked break somebody of something phrasal verb
for it or should have it
to make someone stop having a bad habit
The soldiers were ordered to hand over
Try to break yourself of the habit of eating
their guns.
between meals.
hand something over to
break off phrasal verb
He handed the phone over to me.
1
to suddenly stop talking
2
She started to speak, then broke off while
to give someone power or responsibility
a waitress served us coffee. He broke off in
over something which you used to be in
mid-sentence to shake hands with the new
charge of
arrivals.
hand something over (to somebody)
break something off
On his retirement, he handed the business I broke off the conversation and answered
over to his son. Political control has been
the phone.
handed over to religious leaders.
2
hand over to
break something off
Now she feels the time has come to hand
to end a relationship
over to someone else.
She broke off their engagement only a few
weeks before they were due to be married.
Break
The US has broken off diplomatic relations
break away phrasal verb
with the regime.
1
3
to leave a group or political party and form if something breaks off, or if you break it
another group, usually because of a
off, it comes loose and is no longer
disagreement
attached to something else
More than 30 Labour MPs broke away to
One of the car's wing mirrors had broken
form a new left-wing party.
off.
break away from
break something off

They broke away from the national union

and set up their own local organization.
see also breakaway 2
2
to leave your home, family, or job and
become independent
break away from
I felt the need to break away from home.
3
to move away from someone who is
holding you
She started crying and tried to break away.
break away from
She broke away from him and ran to the
door.
4
to move away from other people in a race
or game
Radcliffe broke away 200 metres before
the finish.
5
to become loose and no longer attached to
something
Part of the plane's wing had broken away.
break down phrasal verb
1
if a car or machine breaks down, it stops
working
The car broke down just north of Paris. The
printing machines are always breaking
down.
see also breakdown
2
to fail or stop working in a successful way
Negotiations broke down after only two
days. I left London when my marriage
broke down.
see also breakdown
3
break something down
if you break down a door, you hit it so hard
that it breaks and falls to the ground
Police had to break down the door to get
into the flat.
4
break something down
to change or remove something that
prevents people from working together and
having a successful relationship with each
other
Getting young people together will help to
break down the barriers between them. It
takes a long time to break down
prejudices.
5
if a substance breaks down or something

He broke off a piece of bread.

break out phrasal verb
1
if something unpleasant such as a fire,
fight, or war breaks out, it starts to happen
I was still living in London when the war
broke out. Does everyone know what to do
if a fire breaks out? Fighting broke out
between demonstrators and the police.
see also outbreak
2
to escape from a prison
break out of
Three men have broken out of a top
security jail.
see also breakout
3
to change the way you live because you
feel bored
break out of
She felt the need to break out of her daily
routine.
4
break out in spots/a rash/a sweat etc
if you break out in spots etc, they appear
on your skin
I broke out in a painful rash. My whole
body broke out in a sweat.
break through phrasal verb
1
break through (something)
to manage to get past or through
something that is in your way
Several demonstrators broke through the
barriers despite warnings from the police.
After hours of fierce fighting, rebels broke
through and captured the capital.
2
break through (something)
if the sun breaks through, you can see it
when you could not see it before because
there were clouds
The sun broke through at around lunch
time. The sun soon broke through the mist.
3
to manage to do something successfully
when there is a difficulty that is preventing
you
He's a very talented young actor who's just
ready to break through.
break through into
It is possible that at this election some of
the minority parties might succeed in
breaking through into parliament.
see also breakthrough
break up phrasal verb

breaks it down, it changes as a result of a

chemical process
break something down
Food is broken down in the stomach.
Bacteria are added to help break down the
sewage.
6
to be unable to stop yourself crying,
especially in public
He broke down and cried. She broke down
in tears when she heard the news.
7
break something down
to separate something into smaller parts so
that it is easier to do or understand
He showed us the whole dance, then
broke it down so that we could learn it
more easily. The question can be broken
down into two parts.
see also breakdown
break for something phrasal verb
to suddenly run towards something,
especially in order to escape from
someone
He broke for the door, but the guards got
there before he did.
break in phrasal verb
1
to enter a building by using force, in order
to steal something
Thieves broke in and stole 10,000 worth
of computer equipment.
see also break-in
2
to interrupt someone when they are
speaking
break in on
I didn't want to break in on his telephone
conversation.
break in with
Dad would occasionally break in with an
amusing comment.
3
break something in
to make new shoes or boots less stiff and
more comfortable by wearing them
I went for a walk to break in my new boots.
4
break somebody in
to help a person get used to a certain way
of behaving or working
She's quite new to the job so we're still
breaking her in.
5
break something in
to teach a young horse to carry people on

1
if something breaks up, or if you break it
up, it breaks into a lot of small pieces
It seems that the plane just broke up in the
air.
break something up
Use a fork to break up the soil.
2
break something up
to separate something into several smaller
parts
There are plans to break the company up
into several smaller independent
companies. You need a few trees and
bushes to break up the lawn.
3
break something up
to stop a fight
Three policemen were needed to break up
the fight.
4
break something up
to make people leave a place where they
have been meeting or protesting
Government soldiers broke up the
demonstration . Police moved in to break
up the meeting .
5
if a marriage, group of people, or
relationship breaks up, the people in it
separate and do not live or work together
any more
He lost his job and his marriage broke up .
The couple broke up last year. Many bands
break up because of personality clashes
between the musicians.
break up with
Has Sam really broken up with Lucy?
see also breakup
6
if a meeting or party breaks up, people
start to leave
The party didn't break up until after
midnight. The meeting broke up without
any agreement.
7
British English when a school breaks up, it
closes for a holiday
School breaks up next week.
break up for
When do you break up for Easter?
8
break somebody up
American English informal to make
someone laugh by saying or doing
something funny

its back
We break the horses in when they're about
two years old.

He really breaks me up!

break with somebody/something phrasal
verb
1
to leave a group of people or an
organization, especially because you have
had a disagreement with them
She had broken with her family years ago.
They broke with the Communist Party and
set up a new party.
2
break with tradition/the past
to stop following old customs and do
something in a completely different way
Now is the time to break with the past. His
work broke with tradition in many ways.

(4). The text below is the correct and complete version of the text used in exercise (2)
above. Make a list of (a) the phrasal verbs in it (with and without prepositions); (b) the
modal verbs (specifying whether they have been used in their deontic or epistemic
meanings):
Mike was born a cute African-American guy. "Normal", if you will, and very talented.
Despite the current, sad stories about his lonely, sad childhood, Mike grew up
surrounded by famous people and an adoring public.(...) By age 11, Mike was a
Superstar. At age 13 he went solo and had his first #1 hit at 14 with "Ben" (a touching
love song to a rat). Who knew he'd get addicted to plastic surgery, face accusations of
child molestation and end up America's Most Famous Sideshow?(...) He had
unprecedented sponsorship deals with Pepsi, and LA Gear Sportswear. People stood in
line at 1AM to purchase "Thriller" when it came out, even though the store didn't open
until 9 AM. (...) In a mere year and a half his skin's gone from beautiful cocoa bronze to
fish belly white. He first denies this, then blames it on the medical condition Vitiligo which
causes people of color to develop light patches of skin that lack pigment.(...) He's talking
in a Marilyn Monroe Little Girl Whisper. He's started the Spin of the misunderstood,
picked-upon Victim instead of an increasingly weird 30 year old man. He's creepy.
People are making jokes that only in America can you be born a black man and end up a
white woman.(...)The public, who forgave his mounting eccentricities because of his
incredible talents nod in silence about it all, unsurprised. Most remark that someone with
this going on visibly outside has to have a lot of demons going on inside. In his defense,
Mike launches his second career as Whining, Weeping, Hurt, Offended, Innocent Victim.
(...) The "Alcocholic Housewife" look didn't catch on either. Even the staunch defenders
of Michael's sanity have to admit the boy's cheese has slid off his cracker. Mike gets a
fake chin implant and suddenly loses his cleft chin, the sides of his face are stretched
taut, his nose isn't pointing North anymore and it's anyone's guess what the hell he did
to his skin this time. The Art of Cosmetology seems to be an unknown science in his part
of the world and he's getting his face done at the local morgue. He has new lipstick and
jokes abound that he's turned into Diana Ross. (...) Each photo that shows up in the
coming years never fails to make people's jaws drop. Mike gets worked up saying he
doesn't see why everyone but him can have a little nip and tuck on the nose... He
doesn't think he looks that different and wishes people would leave him alone. We wish
he'd leave his face alone.

(5). Respond to the statements or questions below (in long, complex sentences or
paragraphs) using the modal verb given in brackets:
1.
Why didn't she arrive in time yesterday morning? (must)
2.
Let's not wait any longer. (may)
3.
It's strange that he hasn't said any more about his plans to emigrate. (might)
4.
Be very careful if he starts asking questions. (can)
5.
I'm afraid he failed that test. (be able to)
6.
She invited her new neighbours to our party. (need)
7.
I can see the lights are still on. (must)
8.
What he told me was really amazing. (can)
9.
What's going on here? (should)
10
This is so like George. (will)
11.
I wonder what has come up. (could)
12.
It was such a bad idea to borrow Ann's car. (would)
13.
They should have been here long before now. (may)
14.
We will have to return to B. next month. (be allowed to)
15.
I was surprised to hear the news. (ought to)

3. Negative sentences: syntactic patterns, polarity items, idioms and translation

(1). Say whether the following sentences are syntactically negative. What is the DStructure of a negative sentence?
He isnt writing any novels at present, is he? / He dislikes presents, doesnt he? / He
hardly understands you, does he? / He hasnt ever liked any linguists, not even Noam
Chomsky. / He isnt working anywhere, and he isnt writing novels either. / This approach
is non-scientific. / John is not kind. John is unkind. / Mike doesnt like smart girls, not
even pretty ones. / John is unhappy and his wife is also unhappy. John is unhappy, and
his wife isnt happy either. / John isnt happy, and neither is Mary. John is unhappy and
neither is Mary.
(2). Explain the derivation of the following sentences:
(1) You cannot say that. (2) Carol has not been listening to this lecture. (3) He should not
ever have responded to her. (4) Horace often does not believe the New York Times. (5)
Horace does not often believe the New York Times. (6) Wont you stay until tomorrow?
(7) Couldnt you have rescheduled that lecture? (8) He doesnt love her. You are wrong;
he does love her. (9) Didnt he say he was coming? (10) Well, I never did hear anything
like that.
(3). Sentences with negative quantifiers.
a) Show that the following sentences are negative:
They found nobody alive. / Nobody has helped her so far and nobody will help her from
now on, either. / He could find nothing of interest there.
b) Use the examples below to explain the difference between negative-concord
languages and non-negative-concord languages:
STANDARD ENGLISH
NON-STANDARD ENGLISH
Harry didnt talk to anyone.
Harry didnt talk to nobody.
There isnt any cat there.
There aint no cat there.
I cant tell anyone.
I cant tell no one.
She wont give me any cookies.
She wont give me no cookie.
She didnt say anything to anyone.
She didnt say nothing to no one.
Youll go nowhere.
You wont go nowhere.

c) Explain the structure of the sentences of the standard dialect.

(4). Negation and Quantification
Comment on the relative scope of quantifiers and negation. Specify the preferred
reading of potentially ambiguous sentences:
Every man loves a woman. // Every man fights for a cause/ his cause/ this cause. //
Every arrow hit one target. // John visited a museum every day. // Someone has always
come late.
(b) They always havent liked their leaders. / They havent always liked their leaders.
He hasnt once come to this class. / He once hasnt come to this class.
Carol hasnt contacted many of them. / Many of them havent been contacted by Carol.
The police didnt catch three (of the) escaped convicts.
b) SOME / ANY Define inherent scope. Comment on the interpretation of SOME /
ANY in the following sentences:
I saw some of your friends at your party. / I didnt see some of your friends at your
party. / I didnt see any of your friends at your party. // He talked to some of my students
at the lecture. / He didnt talk to any of my students at the lecture. / He didnt talk to
some of my students at the lecture.
Dont you open a window. / You open a window. / *Dont somebody open a window. /
Somebody open a window. / Dont everybody open a window. / ?Nobody open a window.
/ Dont anybody open a window. / *Anybody open a window.
There are three unicorns in the garden. / There are some unicorns in the garden./
*There are any unicorns in the garden. / There are no unicorns in the garden. / There
arent three unicorns in the garden. / ??There arent some unicorns in the garden. /
There arent any unicorns in the garden.
c) What is the relative position of ANY words with respect to negation? State the
relevant .rules.
I saw no one. / I didnt see anyone. // No one can help her in her present condition./
*Anyone cannot help her in her present condition. // I can find no pickles anywhere in my
house. / *I can find any pickles nowhere in my house.
Comment on the interpretation and derivation of the following sentences:
(a) Not many people attended the lecture. / Not much rain fell and neither did any
snow. // They sent not many of them to study abroad. / They didnt send many of them to
study abroad. / Not many of them were sent to study abroad. *They were unhappy. // I
saw not some of them. / *Not several of them/ *some of them came. / *Not each of them
received flowers.
(b) Not all her letters were concerned with these technicalities. / We are not cotton
spinners all. / But all men are not born to reign. / Not all that glitters is gold. / All the
money in the world wont make her happy.
(c) Not everyone can understand that. / Everyone is not able to stand the temptations of
political life. / What we would like to suggest is that every pro-Iranian paper which lays
any claims to honesty should not print such stuff. / I don'tlook on every politician as a
scoundrel.
(d) Not a word fell from her lips. / A certain fellow she was expecting did not show up. / It
all took a minute. / That next lunch she said not a word when I spoke to her and I said I
was ready to let bygones be bygones. / He rested but two hours and rested not at all.
(5). Emphatic negatives. Rephrase the sentences below using other negative sentence
patterns, comment on the differences:
He scarcely likes linguistics.
Hardly anyone likes linguistics.

Seldom has anyone performed so well.

Nothing have I seen that would rival London.
Hardly ever does anyone buy turnips.
Never has Ferguson written anything half so exciting.
(6). Polarity Items.
Define polarity items. Pick out the NPIs/APIs below. Give possible
corresponding APIs/NPIs
If you dont like my manners, I wont speak to you at all in the future. / She wouldnt
marry him until/before his mother died. / The eclipse isnt there yet/anymore. / Not
everyone can do what they want with their spare time. / She isnt any smarter for having
learned linguistics. / You neednt write any exercise as far as Im concerned. / You need
have no fear. / You must be Mr. Smith. / He never touches a drop before noon. / He
would rather marry Janes sister. / I fired the gun right under his nose, but he didnt
budge. / No one has found a solution to some of these problems. / She isnt all that
interested in modern art after all. / I dont like it much. / She lives a long way off.
Give the affirmative counterparts of the sentences below; give alternatives where
possible:
(1)Someone came here sometime after five. (2)She managed to find something
appropriate somewhere else. (3)He may be somewhat displeased when you tell him the
news. 4)Anyone can swim. 5)John will arrive here before midnight. 6)I would much
rather live in London. 7)Some of the questions on this test he knew how to answer. 8)I
think that John is a fool. 9)Many people can sing and dance. 10)There has been only
one train since two oclock. 11)Peter knows some English and so does John. 12)Both
John and Peter have pretty wives. 13)Its a long time since we last saw them. 14)She
lives a long way off from here. 15)He is already an expert on the sublect. 16)He drinks a
lot of coffee, and now he misses it quite badly. 17)I nearly always have to clean it myself.
18)Almost everyone of them did well on that exam. 19)You must pay that fine. 20)You
must be telling lies. 21)You may smoke in the nursery. 22)Let us open the window.
(7). Evolution of the Auxiliary. Study the following examples. Describe the grammar of
main verbs and of modal verbs; how does it differ from the grammar of the contemporary
language?
Main verbs:
a. Than longen folk to goon on pilgrimages.
Then long people to go on pilgrimages.
b. Seis thou noght hir that sitts thee besyde.
Sees thou not her that sits thee beside.
c. What menythe this pryste.
What means this priest
d. they wist not what it was
they knew not what it was
In doleful wise they ended both their ways.
Modal verbs:
a. Wilt thou any thinge with him
b. Thy godfadirs wyff thou shall not take
c. Ich hit wulte heortlicher
(8). Translate into English

A. Negative phraseology, polarity items:

1) Nevoia te duce si pe unde nu-ti e voia. 2)A:Si cum spui c-a iesit concertul? B:Cum
nu se poate mai bine. 3)Cu dragostea nu e de glumit. 4)In chestiunea asta, principalul
este sa nu te dai niciodata batut. Nu te teme. Dumnezeu are sa te tina mereu in calea
cea dreapta. 5)Pe usa scria;Intrarea oprita, Fumatul interzis. 6)Ce ti-e scris infrunte tie pus. 7)Asta nu e in stare sa cinte de fel. 8)Nu se poate compara nimeni cu el. 9)Are
bani cu toptanul si mai e si un baiat de zahar. 10)Cine nu staruieste, nu izbuteste.
11)Sens interzis 12)Nu-I nimic de facut. 13)Am varsat cafeaua pe covor.
Vai, dar nu face nimic. 14)Rectorul insusi ne-a invatat fonologie. Serios, domle?
15)Propun sa facem seminarul in parc. Destul cu prostiile. 16)Nu este padure fara
uscaturi. 17)Parcarea interzisa. 18)Nu are nici un dram de minte/ nici cea mai mica
dovada. 19)Nu e nici pe departe la fel de bun ca rratele lui. 20)Nu se afla pe acolo nici
tipenie de om. 21)O sa capete el bursa. Pentru nimic in lume. 22)N-a miscat un deget
ca sa ne ajute. 23)Nimeni nu misca cind vine seful in inspectie. 24)Toata afacerea asta
nu face nici cit o ceapa degerata. 25)Cind i-am spus adevarul trist nu a aratat nici cel
mai mic semn de surprindere. 26)In fata ei, nu e in stare sa zica nici pis. 27)Cu asa
tintas nu avem cum cistiga. Asta nu nimereste tinta nici dela un pas. 28)Fata asta n-o sa
se impuna in fata clasei. Nu vezi ca nu e in stare sa omoare o musca? 29)Era o bezna
de nu vedeai la un pas. 30)Hai, scoala-te. Nu vezi ca n-ai patit nimic? 30)Nu prea e
intreg la minte. 31)Nu e prea aratos, si nici nu e ceea ce se cheama un savant, dar e
totusi sotul meu. 32)Nici mort n-as iesi cu asa o femeie in oras. 33)Cum isi permite sa
spuna ca ma imbrac fara gust. Nici n-are habar cum arat la fata. 34)Nu e mare lucru de
capul robotului asta. 35)Halal organizare. Nu stie stinga ce face dreapta. 36)Iti spun eu.
Asta nu mai apuca batrinetile. 37)Perspectivele nu sint prea luminoase. Ca sa vorbim pe
sleau, situatia e de-a dreptul disperata. 38)N-am inchis ochii toata noaptea.
B.1)Nu mai ploua. 2)Nu poti decit sa-l admiri daca ajungi sa-l cunosti. 3)Poti sa
nu mergi daca spui ca te doare capul. 4)Nu juca tenis cind era tinar. 5)Abia daca-l
cunosc pe noul profesor. 6)Foarte rar se culca inainte de miezul noptii 7)E asa de frig ca
s-ar putea sa nu mai merg la bazinul de inot. 8)Nu s-a plins vreodata de munca lui si nici
nu cred ca se va plinge vreodata. 9)Nu trebuie sa platesti despagubiri decit daca vrei.
10) - Ce e cu mine? A intrebat Mitrea ursuz. Unde e scrisoarea?
- Nu e nici o scrisoare. Chestia e ca trebuie sa ne faci o marturisire.
- Nu fac. N-am ce face.
- Asculata, Mitre, fii cu minte. Nu raspunde asa ca nu e bine.
11) - Ti-e foame, Darie?
- Nu, tata, nu mi-e foame. Nu mi-e nici macar sete.
12) - Cum trebuie sa mearga scolarul pe ulita?
- Linistit, sa nu asmuta ciinii, sa nu injure si sa nu se bata.
Nu-I rau, mai Stefane, sa stie si baietul tau oleaca de carte, nu numaidecit pentru popie,
cum chiteste Smaranda, ca si popia are multe nacafale, e greu de purtat.
Uite ca nu ies, cucoane. Nu vreau sa ies. Ca nici nu mai e curtea dumitala si nici n-am
pofta sa ies, uite-asa.
Eminescu n-avea ochi pentru asemenea amanunte din mijlocul lumii in care se afla.
Oricit de multa lume si oricit de mare galagie ar fi fost imprejurul sau, el tot nu se abatea
de la cele ce se petrec in sufletul sau.
Ce mi-o dai mie? Arat-o boierului.
- Ce, sa ma bata iar? Arata-i-o dumneata.
- Ba eu nu ma duc la el ca ma apuca de datorie.
- Mosnege, da-mi si mie niste galbeni, zise ea, rusinata.
- Ba pune-ti pofta-n cui, mai baba.
(9). Parapfrase the following sentences using: no soonerthan; scarecelywhen;
hardlywhen.

1)I turned round the corner and bumpde into a stanger. 2)I read only a few pages and
the main ideea of the book became clear to me. 3)She left the house and remembered
the appointment.4)He entered the room and immediately the telephone rang. 5)He took
a seat at the table and a plate of steaming soup appeared before him as if by magic.
6)He came into the garden and was enchanted by its beauty.

Cap.2: Sentence Coordination

1. Sentences with incomplete conjuncts
2. Coordinators, correlative coordinators
(1) Perform deletions on the following strings; identify the rules you are using:
(a) She hasnt answered your letters, but her sister has answered your letters.
(b) Those boring papers and those boring articles wear me out.
(c) She danced at the party and he drank himself under the table at the party
(d) Before the end of the journey they were tired and before the end of the journey they
were short of money.
(e) Some of them enjoyed that show, but many others were simply mad about that show.
(f) I asked Dan to help us and Jane asked Mary to help us.
(g) I surely enjoyed asking those questions and you definitely hated answering those
questions. (h) She likes to read poems and I like to read short stories.
(i) Everybody knows the right answer to that, but you dont know the right answer to that.
(j) Many times they didnt understand you, or many times they didnt understand your
work.
(k) You just spend your week-ends in that house, but your mother really lives in that
house.

(2) In the text below:

-(a) find all the coordinated structures, establish whether they are instances of sentence
or phrasal coordination, whether Reduction rules (may) have applied and discuss the
correlative elements (conjunctions, coordinators).

From the corner of the divan of Persian saddle-bags on which he was lying, smoking, as
was his custom, innumerable cigarettes, Lord Henry Wotton could just catch the gleam
of the honey-sweet and honey-coloured blossoms of a laburnum, whose tremulous
branches seemed hardly able to bear the burden of a beauty so flamelike as theirs; and
now and then the fantastic shadows of birds in flight flitted across the long tussore-silk
curtains that were stretched in front of the huge window, producing a kind of momentary
Japanese effect, and making him think of those pallid, jade-faced painters of Tokyo who,
through the medium of an art that is necessarily immobile, seek to convey the sense of
swiftness and motion. The sullen murmur of the bees shouldering their way through the
long unmown grass, or circling with monotonous insistence round the dusty gilt horns of
the straggling woodbine, seemed to make the stillness more oppressive. The dim roar of
London was like the bourdon note of a distant organ.
In the centre of the room, clamped to an upright easel, stood the full-length portrait of a
young man of extraordinary personal beauty, and in front of it, some little distance away,
was sitting the artist himself, Basil Hallward, whose sudden disappearance some years
ago caused, at the time, such public excitement and gave rise to so many strange
conjectures.
As the painter looked at the gracious and comely form he had so skilfully mirrored in his
art, a smile of pleasure passed across his face, and seemed about to linger there. But
he suddenly started up, and closing his eyes, placed his fingers upon the lids, as though
he sought to imprison within his brain some curious dream from which he feared he
might awake.
"It is your best work, Basil, the best thing you have ever done," said Lord Henry
languidly. "You must certainly send it next year to the Grosvenor. The Academy is too
large and too vulgar.Whenever I have gone there, there have been either so many
people that I have not been able to see the pictures, which was dreadful, or so many
pictures that I have not been able to see the people, which was worse.The Grosvenor is
really the only place."

Cap.3: Finite subordination

1. The use of the subjunctive in THAT clausess, the sequence of tenses
2. Syntactic functions of finite clauses
(1). Read the text below and identify all the finite clauses. For each clause specify:
-- its structural type (complement clause - THAT complement, WH complement,
Relative, Adverbial);
-- its syntactic function as a constituent of the matrix (the functional type)
-- for THAT complements discuss the use of mood and tenses in the embedded clause
in re lation with the matrix verb.
In a peculiar sense he will be aware also that he must inevitably be judged by the
standards of the past. I say judged, not amputated, by them; not judged to be as good
as, or worse or better than, the dead; and certainly not judged by the canons of dead
critics. It is a judgment, a comparison, in which two things are measured by each other.
To conform merely would be for the new work not really to conform at all; it would not be
new, and would therefore not be a work of art. And we do not quite say that the new is
more valuable because it fits in; but its fitting in is a test of its valuea test, it is true,
which can only be slowly and cautiously applied, for we are none of us infallible judges
of conformity. We say: it appears to conform, and is perhaps individual, or it appears
individual, and may conform; but we are hardly likely to find that it is one and not the
other.
To proceed to a more intelligible exposition of the relation of the poet to the past: he
can neither take the past as a lump, an indiscriminate bolus, nor can he form himself

wholly on one or two private admirations, nor can he form himself wholly upon one
preferred period. The first course is inadmissible, the second is an important experience
of youth, and the third is a pleasant and highly desirable supplement. The poet must be
very conscious of the main current, which does not at all flow invariably through the most
distinguished reputations. He must be quite aware of the obvious fact that art never
improves, but that the material of art is never quite the same. He must be aware that the
mind of Europethe mind of his own countrya mind which he learns in time to be
much more important than his own private mindis a mind which changes, and that this
change is a development which abandons nothing en route, which does not
superannuate
either Shakespeare, or Homer, or the rock drawing of the Magdalenian
draughtsmen. That this development, refinement perhaps, complication certainly, is not,
from the point of view of the artist, any improvement. Perhaps not even an improvement
from the point of view of the psychologist or not to the extent which we imagine; perhaps
only in the end based upon a complication in economics and machinery. But the
difference between the present and the past is that the conscious present is an
awareness of the past in a way and to an extent which the past's awareness of itself
cannot show.
Some one said: "The dead writers are remote from us because we know so much
more than they did." Precisely, and they are that which we know.
I am alive to a usual objection to what is clearly part of my programme for the
mtier of poetry. The objection is that the doctrine requires a ridiculous amount of
erudition (pedantry), a claim which can be rejected by appeal to the lives of poets in any
pantheon. It will even be affirmed that much learning deadens or perverts poetic
sensibility. While, however, we persist in believing that a poet ought to know as much as
will not encroach upon his necessary receptivity and necessary laziness, it is not
desirable to confine knowledge to whatever can be put into a useful shape for
examinations, drawing-rooms, or the still more pretentious modes of publicity. Some can
absorb knowledge, the more tardy must sweat for it. Shakespeare acquired more
essential history from Plutarch than most men could from the whole British Museum.
What is to be insisted upon is that the poet must develop or procure the consciousness
of the past and that he should continue to develop this consciousness throughout his
career.
What happens is a continual surrender of himself as he is at the moment to
something which is more valuable. The progress of an artist is a continual self-sacrifice,
a continual extinction of personality.
There remains to define this process of depersonalization and its relation to the
sense of tradition. It is in this depersonalization that art may be said to approach the
condition of science. I shall, therefore, invite you to consider, as a suggestive analogy,
the action which takes place when a bit of finely filiated platinum is introduced into a
chamber containing oxygen and sulphur dioxide. (from Eliot, T. S. 1920. The Sacred Wood:
Tradition and the Individual Talent)

(2) Make up complex sentences that contain THAT complements functioning as:
(a) subjects;
(b) attributes - consider the differences between these Attributive clauses and Relative
clauses functioning as attributes (refer to exercise 3. below);
(c) direct objects;
(d) prepositional objects (identify the deleted prepositions! - rephrase these complement
as non-finite ones);
(e) predicatives
(3). Discuss the following sentences; specify the type of RC and the syntactic function of
the RC and of the relative pronoun:
1. This law was what the Senator thought of as his legislative masterpiece.

2. The little girl, whose broken toy was still lying on the pavement, had been taken to the
hospital.
3. I will teach whomever I speak with to speak civilly to me.
4. Any boy that is lazy must be punished.
5. Whom a serpent has bitten a lizard alarms.
6. That J. Smith, whom she mentioned in her letter, had just arrived from Chicago.
7. The woman that I saw on the train was a real beauty.
8. They were interested in alchemy, astrology, as much as in what we should call
philosophy. 9. There is no evidence from which to infer that.
10. Even John, who is a friend of ours, left early.
11. He adopts the word and manner of whoever he happens to live with.
12. What he had to say was the truth.
13. This happens at times when the light intensity is low.
14.Dans new article, which youve all been talking about lately, is quite a success.
15. As for the magazines, he could take whichever of them he liked.

Cap. 4:

Non-finite Subordination

1. Accusative with Infinitive and Nominative with Infinitive constructions

2. The gerundial clause; verbs followed by infinitives and /or gerunds (DO clauses)
3. The Infinitive after prepositional verbs and adjectives (PO clauses)
4. Participial constructions
(1) In the complex sentences below, identify the non-finite clauses, specify their syntactic
function and discuss their subjects (for raised subjects, identify the resulting
constructions):
A:
1. I had undertaken to offer some kind of apology to them for my behaviour.
2. I had obliged him to offer some kind of apology for
3. She appeared to have been lying all the time.
4. Its always amusing to feed ducks.
5. Ducks are always amusing to feed.
6. The noise began/ seemed to annoy the children.
7. It was very nice of you to join us.
8. They preferred him to be their new leader.
9. That poem was difficult for us to recite.
10. They are sure to be late as usual.
11. He remembered that very coat to have been frequently worn by his nephew.
12. She was thought to be honest.
13. They all considered you their best friend.
14. She appeared ignorant.

B:
The artist is the creator of beautiful things. To reveal art and conceal the artist is
art's aim. The critic is he who can translate into another manner or a new material his
impression of beautiful things. The highest as the lowest form of criticism is a mode of
autobiography. Those who find ugly meanings in beautiful things are corrupt without
being charming. This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these
there is hope. They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or
badly written. That is all. The nineteenth century dislike of realism is the rage of Caliban
seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face
in a glass. The moral life of man forms part of the subject-matter of the artist, but the
morality of art consists in the perfect use of an imperfect medium. No artist desires to prove
anything. Even things that are true can be proved. No artist has ethical sympathies. An
ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid.
The artist can express everything. Thought and language are to the artist instruments of an
art. Vice and virtue are to the artist materials for an art. From the point of view of form, the
type of all the arts is the art of the musician. From the point of view of feeling, the actor's
craft is the type. All art is at once surface and symbol. Those who go beneath the surface do
so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not
life, that art really mirrors. Diversity of opinion about a work of art shows that the work is
new, complex, and vital. When critics disagree, the artist is in accord with himself. We can
forgive a man for making a useful thing as long as he does not admire it. The only excuse for
making a useless thing is that one admires it intensely. All art is quite useless. ( from Oscar
Wilde, The Picture of Dorian Gray)

(2). In the text below, rephrase the non-finite structures (infinitives, gerunds, participles)
as finite ones (That complements and Adverbial clauses, respectively). Comment on the
subjects of the non-finite clauses.
In English writing we seldom speak of tradition, though we occasionally apply its
name in deploring its absence. We cannot refer to "the tradition" or to "a tradition"; at
most, we employ the adjective in saying that the poetry of So-and-so is "traditional" or
even "too traditional." Seldom, perhaps, does the word appear except in a phrase of
censure. If otherwise, it is vaguely approbative, with the implication, as to the work
approved, of some pleasing archological reconstruction. You can hardly make the
word agreeable to English ears without this comfortable reference to the reassuring
science of archology.
Certainly the word is not likely to appear in our appreciations of living or dead
writers. Every nation, every race, has not only its own creative, but its own critical turn of
mind; and is even more oblivious of the shortcomings and limitations of its critical habits
than of those of its creative genius. We know, or think we know, from the enormous
mass of critical writing that has appeared in the French language the critical method or
habit of the French; we only conclude (we are such unconscious people) that the French
are "more critical" than we, and sometimes even plume ourselves a little with the fact, as
if the French were the less spontaneous. Perhaps they are; but we might remind
ourselves that criticism is as inevitable as breathing, and that we should be none the
worse for articulating what passes in our minds when we read a book and feel an
emotion about it, for criticizing our own minds in their work of criticism. One of the facts
that might come to light in this process is our tendency to insist, when we praise a poet,
upon those aspects of his work in which he least resembles anyone else. In these
aspects or parts of his work we pretend to find what is individual, what is the peculiar
essence of the man. We dwell with satisfaction upon the poet's difference from his
predecessors, especially his immediate predecessors; we endeavour to find something
that can be isolated in order to be enjoyed. Whereas if we approach a poet without this
prejudice we shall often find that not only the best, but the most individual parts of his
work may be those in which the dead poets, his ancestors, assert their immortality most

vigorously. And I do not mean the impressionable period of adolescence, but the period
of full maturity.
Yet if the only form of tradition, of handing down, consisted in following the ways of the
immediate generation before us in a blind or timid adherence to its successes, "tradition" should
positively be discouraged. We have seen many such simple currents soon lost in the sand; and
novelty is better than repetition. Tradition is a matter of much wider significance. It cannot be
inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the
historical sense, which we may call nearly indispensable to anyone who would continue to be a
poet beyond his twenty-fifth year; and the historical sense involves a perception, not only of the
pastness of the past, but of its presence; the historical sense compels a man to write not merely
with his own generation in his bones, but with a feeling that the whole of the literature of Europe
from Homer and within it the whole of the literature of his own country has a simultaneous
existence and composes a simultaneous order. This historical sense, which is a sense of the
timeless as well as of the temporal and of the timeless and of the temporal together, is what
makes a writer traditional. And it is at the same time what makes a writer most acutely
conscious of his place in time, of his contemporaneity.
No poet, no artist of any art, has his complete meaning alone. His significance, his
appreciation is the appreciation of his relation to the dead poets and artists. You cannot
value him alone; you must set him, for contrast and comparison, among the dead. I
mean this as a principle of sthetic, not merely historical, criticism. The necessity that
he shall conform, that he shall cohere, is not one-sided; what happens when a new
work of art is created is something that happens simultaneously to all the works of art
which preceded it. (from Eliot, T. S. 1920. The Sacred Wood: Tradition and the Individual Talent)

BIBILIOGRAPHY:
A:
1. A Guide To Patterns and Usage In English (A.S. Hornby, Oxford University
Press,1962)
2. The Infinitive (Alexandra Cornilescu & Ioan I. Dimitriu, Institutul European, 2000)
3. The Gerund (Alexandra Cornilescu & Ioan I. Dimitriu, Institutul European, 2000)
B:
1. Cornilescu, A. (1995): Concept of Modern Grammar, EUB, Bucuresti;
2. Cornilescu, A. (1986): English Syntax, vol. 2, EUB, Bucuresti
3. Galateanu-Farnoaga, G., Comisel, E (1993).: Gramatica Limbii Engleze, Omegapres
& Rai, Bucuresti,
4. Heageman, L and J. Gueron (1999): English Grammar, Blackwell
5. Radford, A. (1997): Syntactic theory and the structure of English, CUP, Cambridge