The system of exercises on training the intercultural-communicative competence of the bachelor students

CONTENT
INTRODUCTION
STRUCTURE OF THE INTERCULTURAL-COMMUNICATIVE COMPETENCY

INTRODUCTION
An intercultural communicative competence is defined by scholars as a capability, which allows a language personality to overcome the borders of his native culture and get a quality of not only languages but also cultures mediator without losing his native cultural identity.

STRUCTURE OF THE INTERCULTURAL-COMMUNICATIVE COMPETENCY BY S.S.KUNANBAYEVA

DISCRIPTORS FOR THE FIRST COURSE LEVELS BY CEFR

COMMUNICATIVE SUB-COMPETENCY
Theme: Different cultures in different countries. (Make a dialogue between two people)
Skills: Verbal communication skills. (to describe desires, experiences and events, dreams, hopes and ambitions and briefly give reasons and explanations for opinions and plans)
Courgette
Zucchini
Drawing pin
Thumbtack

COGNITIVE SUB COMPETENCY refers to the cognitive processes that comprise creative thinking, which includes various creative thinking styles, such as legislative, global, and local thinking styles; and critical thinking, which includes reasoning, making inferences, self-reflection, and coordination of multiple views.
Questions
1) What problem regarding colour does the writer explain in the first paragraph?
? Our view of colour is strongly affected by changing fashion.
? Analysis is complicated by the bewildering number of natural colours.
? Colours can have different associations in different parts of the world.
? Certain popular books have dismissed colour as insignificant.
2) What is the first reason the writer gives for the lack of academic work on the history of colour?
? There are problems of reliability associated with the artefacts available.
? Historians have seen colour as being outside their field of expertise.
? Colour has been rather looked down upon as a fit subject for academic study.
? Very little documentation exists for historians to use.
3) The writer suggests that the priority when conducting historical research on colour is to
? ignore the interpretations of other modern day historians.
? focus one's interest as far back as the prehistoric era.
? find some way of organising the mass of available data.
? relate pictures to information from other sources.
4) In the fourth paragraph, the writer says that the historian writing about colour should be careful
? not to analyse in an old-fashioned way.
? when making basic distinctions between key ideas.
? not to make unwise predictions.
? when using certain terms and concepts.
5) In the fifth paragraph, the writer says there needs to be further research done on
? the history of colour in relation to objects in the world around us.
? the concerns he has raised in an earlier publication.
? the many ways in which artists have used colour over the years.
? the relationship between artistic works and the history of colour.

The history of colour
This book examines how the ever-changing role of colour in society has been reflected in manuscripts, stained glass, clothing, painting and popular culture. Colour is a natural phenomenon, of course, but it is also a complex cultural construct that resists generalization and, indeed, analysis itself. No doubt this is why serious works devoted to colour are rare, and rarer still are those that aim to study it in historical context. Many authors search for the universal or archetypal truths they imagine reside in colour, but for the historian, such truths do not exist. Colour is first and foremost a social phenomenon. There is no transcultural truth to colour perception, despite what many books based on poorly grasped neurobiology or - even worse - on pseudoesoteric pop psychology would have us believe. Such books unfortunatley clutter the bibliography on the subject, and even do it harm.
The silence of historians on the subject of colour, or more particularly their difficulty in conceiving colour as a subject separate from other historical phenomena, is the result of three different sets of problems. The first concerns documentation and preservation. We see the colours transmitted to us by the past as time has altered them and not as they were originally. Moreover, we see them under light conditions that often are entirely different from those known by past societies. And finally, over the decades we have developed the habit of looking at objects from the past in black-and-white photographs and, despite the current diffusion of colour photography, our ways of thinking about and reacting to these objects seem to have remained more or less black and white.

SOCIO CULTUROLOGICAL SUB-COMPETENCY in the structural plan includes cultural, cross-cultural, linguocultural, sociolinguistic and social competences of the student and is regarded as an integral part of communicative competence. By V. V. Safonova
Theme: Different cultures in different countries
Skills: Verbal and non-verbal communicative skills (to identify what do the gestures mean in different countries)

CONSEPTUAL SUB-COMPETENCY
Theme: Culture in my mind (Make a mind map which associate with word culture/try to create fairytale with this words)
Skills: ability to work with abstract concepts and ideas.