Education of the republic of uzbekistan termez state university foreign philology faculty the department of foreign language and literature

How can these verb Imperative Examples posters be useful?

These brilliant verb Imperative Examples posters offer a brilliant introduction to this topic for students, or a way to compound and build on existing knowledge. These posters present a series of practical examples of how imperative verbs can be manifested in instructions, in the context of some colourful posters. 
These verb Imperative Examples posters have been designed by teachers to ensure that they cater to the needs and capabilities of students at this stage of their academic development, and they're easy to download and print out to ensure that they won't eat into much of that all-important lesson planning time.
If you're feeling creative, you might put your students to the test by tasking them with producing their own sets of brief instructions that incorporate imperative verbs. Bonus points if these instructions relate to other topics in English to ensure a bit of crossover learning!

What else like these verb Imperative Examples posters is there?

If this resource has proven useful to you and your students in the classroom, you might be interested in trying another of our fantastic resources that relate to instructions. Here is a brief selection of relevant content that might prove itself to be useful in this area: 
These brilliant Instructions Writing Display Posters lay out for students in simple terms how they can write effective instructions. This resource would make for a brilliant addition to an in-class wall display, and students can consult the posters as they're producing pieces of their own written work.
For a set of instructions that relate to how to teach the students about a particular piece of literature, try this Iron Man Instructions Lesson Teaching Pack. This useful teaching pack helps illustrate how lessons built around this topic can be effectively carried out.
3 Subjunctive mood
Subjunctive Mood
If imperative verbs deal with real things like statements, facts and personal opinions, then subjunctive verbs deal with imaginary things like wishes, possibilities and guesses.
It's an unusual kind of verb because it doesn’t describe any particular tense like the past or the present. This is one reason why it’s important to learn about the three moods of verbs, as it helps us to describe other situations within language.
It's also now less commonly used in modern English, appearing mostly in formal communication and writing. One common feature of the subjunctive mood is changing the word ‘was’ to ‘were’, like in the following examples:
The subjunctive mood is useful if we want to show that the situation we are describing isn’t likely to happen. It’s also an easy change to make because the subject (he/she/it/they) stays the same even if we change the mood!
For more on the subjunctive mood, check out this Wiki page. Or, try this PowerPoint on using ‘Was’ or ‘Were’. It’s a great chance to explain this idea to your class.An ESRC-funded project (E. Grabe, B. Post and F. Nolan) to study the intonation of nine urban accents of British English in five different speaking styles has resulted in the IViE Corpus and a purpose-built transcription system. The corpus and notation system can be downloaded from the project's website.[39] Following on this work is a paper explaining that the dialects of British and Irish English vary substantially.[40]
A project to bring together descriptions of the intonation of twenty different languages, ideally using a unified descriptive framework (INTSINT), resulted in a book published in 1998 by D. Hirst and A. Di Cristo.[41] The languages described are American English, British English, German, Dutch, Swedish, Danish, Spanish, European Portuguese, Brazilian Portuguese, French, Italian, Romanian, Russian, Bulgarian, Greek, Finnish, Hungarian, Western Arabic (Moroccan), Japanese, Thai, ⁴Vietnamese and Beijing Chinese. A number of contributing authors did not use the INTSINT system but preferred to use their own system.
DisordersEdit
Those with congenital amusia show impaired ability to discriminate, identify and imitate the intonation of the final words in sentences The intonation group is a stretch of speech which may have the length of the whole phrase. But the phrase often contains more than one intonation group. The number of intonation groups depends on the length of the phrase and the degree of semantic importance or emphasis given to various parts of it: This bed was not' slept, in - This be was not' slept in. An additional terminal tone on this bed expresses an emphasis on this bed in contrast to other beds. Not all stressed syllables are of equal importance. One of the syllables has the greater prominence than the others and forms the nucleus, or focal point of an intonation pattern. Formally thenucleus may be described as a strongly stressed syllable which is generally the last strongly accented syllable of an intonation pattern and which marks a significant change of pitch direction, that is where the pitch goes distinctly up or down. The nuclear tone is the most important part of the intonation pattern without which the latter cannot exist at all. On the other hand, an intonation pattern may consist of one syllable which is its nucleus. The tone of a nucleus determines the pitch of the rest of the intonation pattern following it which is called the tail. Thus after a falling tone, the rest of the intonation pattern is at a low pitch. After a rising tone the rest of the intonation pattern moves in an upward pitch direction: No, Suzie — Well, Suzie. The nucleus and the tail form what is called terminal tone. The two other sections of the intonation pattern are the head and the pre-head which form the pre-nuclear part of the intonation pattern and, like the tail, they may be looked upon as optional elements: Lake District is one of the loveliest 'parts of, Britain. The pre-nuclear part can take a variety of pitch patterns. Variation within the prе-nucleus does not usually affect the grammatical meaning of the utterance, though it often conveys meanings associated with attitude or phonetic styles. There are three common types of prе-nucleus: a descending type in which the pitch gradually descends (often in "steps") to the nucleus; an ascending type in which the syllables form an ascending sequence and a level type when all the syllables stay more or less on the same level. Some intonation patterns may be completely colorless in meaning: they give to the listener no implication of the speaker's attitude or feeling. They serve a mechanical function — they provide a mold into which all sentences may be poured so that they achieve utterance. Such intonation patterns represent the intonational minimum of speech. The number of possible combinations is more than a hundred but not all of them are equally important. Some of them do not differ much in meaning, others are very rarely used. That is why in teaching it is necessary to deal only with a very limited number of intonation patterns, which are the result of a careful choice. It is still impossible to classify, in any practical analysis of intonation, all the fine shades of feeling and attitude which can be conveyed by slight changes in pitch, by lengthening or shortening tones, by increasing or decreasing the loudness of the voice, by changing its quality, and in various other ways. On the other hand, it is quite possible to make a broad classification of intonation patterns which are so different in their nature that they materially: change the meaning of the utterance and to make different pitches and degrees of loudness in each of them. Such an analysis resembles the phonetic analysis of sounds of a language whereby phoneticians establish the number of significant sounds it uses. The distinctive function of intonation is realized in the opposition of the same word sequences which differ in certain parameters of the intonation pattern. Intonation patterns make their distinctive contribution at intonation group, phrase and text levels. Thus in the phrases: If Mary, comes let me  know at once (a few people are expected to come but it is Mary who interests the speaker) If —>Mary comes let me  know at once (no one else but Mary is expected to come) the intonation patterns of the first intonation groups are opposed. In the opposition I enjoyed it - I enjoyed it the pitch pattern operates over the whole phrase adding in the second phrase the notion that the speaker has reservations (implying a continuation something like 'but it could have been a lot better'). The most powerful phonological unit is the terminal tone. The opposition of terminal tones distinguishes different types of sentence. The same sequence of words may be interpreted as a different syntactical type, i.e. a statement or a question, a question or an exclamation being pronounced with different terminal tones, e.g.: Tom saw it (statement) - Tom saw it? (general question) Didn't you enjoy it? (general question) - Didn't you enjoy it? (exclamation) Will you be quiet? (request) - Will you be quiet? (command). The number of terminal tones indicates the number of intonation groups. Sometimes the number of intonation groups may be important for meaning. For example, the sentence My sister, who lives in the South, has just arrived may mean two different things. In oral speech it is marked by using two or three intonation groups. If the meaning is: 'my only sister who happens to live in the South', then the division would be into three intonation groups: My sister, who lives in the South, has just arrived. On the other hand, if the meaning is 'that one of my two sisters, who lives in the South', the division is into two intonation groups. Together with the increase of loudness terminal tones serve to single out the semantic center of the utterance. By semantic center we mean the information center which may simultaneously concentrate the expression of attitudes and feelings. The words in an utterance do not necessarily all contribute an equal amount of information, some are more important to the meaning than others. This largely depends on the context or situation in which the intonation group or a phrase is said. Some words are predisposed by their function in the language to be stressed. In English lexical (content) words are generally accented while grammatical (form) words are more likely to be unaccented although words belonging to both of these groups may be unaccented or accented if the meaning requires it. Let us consider the sentence It was an unusually rainy day. As the beginning of, say, a story told on the radio the last three words would be particularly important, they form the semantic center with the nucleus on the word day. The first three words play a minor part. The listener would get a pretty clear picture of the story's setting if the first three words were not heard and the last three were heard clearly. If the last three words which form the semantic center were lost there would be virtually no information gained at all. The same sentences may be said in response to the question What sort of day was it? In this case the word day in the reply would lose some of its force because the questioner already possesses the information that it might otherwise have given him. In this situation there are only two important words - unusually rainy - and they would be sufficient as a complete answer to the question. The nucleus will be on the word rainy. Going further still, in reply to the question Did it rain yesterday? the single word unusually would bear the major part of the information, would be, in this sense, more important than all the others and consequently would be the nucleus of the intonation pattern. Grammatical words may be also important to the meaning if the context makes them so. The word was, for instance, has had little value in the previous examples, but if the sentences were said as a contradiction in the reply to It wasn 't a rainy day yesterday, was it, then was would be the most important word of all and indeed, the reply might simply be It was, omitting the following words as no longer worth saying. In this phrase the word was is the nucleus of the semantic center. These variations of the accentuation achieved by shifting the position of the terminal tone serve a striking example of how the opposition of the distribution of terminal tones is fulfilling the distinctive function. If the phrase I don't want you to read anything has the low-falling terminal tone on the word anything, it means that for this or other reason the person should avoid reading. If the same word sequence is pronounced with the falling-rising tone on the same word, the phrase means that the person must have a careful choice in reading. It should be pointed out here that the most important role of the opposition of terminal tones is that of differentiating the attitudes and emotions expressed by the speaker. The speaker must be particularly careful about the attitudes and emotions he expresses since the hearer is frequently more interested in the speaker's attitude or feeling than in his words - that is whether he speaks nicely or nastily. For instance, the special question Why? may be pronounced with the low falling tone sounding rather detached, sometimes even hostile. When pronounced with the low-rising tone it is sympathetic, friendly, interested.