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1.Загальна характеристика:

Факультет : гуманітарний

Кафедра іноземних мов та перекладу

Індекс групи : рп

Семестр : 8

Заключна форма контролю : іспит

Кількість модулів: 3

Викладач: Богатирьова О.Є.

Укладач електронної версії: Богатирьова Олена Євгеніївна

2.Структура екзаменаційного білета :

Спеціальність Переклад Семестр VIII

Навчальний предмет Практика усного та письмового мовлення


1. Make a synopsis of the article into English and develop the problem of mass media development in Ukraine.

2. Render the sentences and word combinations using your active vocabulary.

3. Read and translate the extract. Make a literary comment on it.
Затверджено на засіданні кафедри перекладу та іноземних мов

Протокол № _____________ від р.
Зав. Кафедрою _____________ Лазаренко Л.М.
Екзаменатор ________Богатирьова О.Є.

3.Структура питань білета :

1. Перше питання:

а)переклад-реферування статті з державної англійською мовою (обсяг реферування від 10 речень, але не більш 25 % від обсягу статті). Статті готуються за семестровою тематикою з періодичних видaнь України ( в тому числі –електронних видань) за поточний рік. Обсяг статті- до 2500 друкованих знаків.

б) спонтанне висловлювання студента на запропоновану тему, що є пов’язаною зі змістом статті (до 7 хвилин ) за наступними темами:

  1. Women in the modern world

  2. Feminism

  3. Mass Media

  4. Advertising

  5. Modern art

  6. Mixed art

  7. Books

  8. Literature and morality

  9. The English language

  10. Prominent people of the English-speaking world.

2. Друге питання: переклад речень з англійської мови українською з використанням активного вокабуляру семестрової тематики:

  1. Among the rights sought currently by feminist groups throughout the world are the right to serve on juries, the right to retain earnings and property after marriage, the right to retain citizenship after marriage to an alien, and the right to equal pay and equal job opportunity.

  2. Finally, it has been argued that advertisers exercise an undue influence over the regular contents of the media they employ--the editorial stance of a newspaper or the subject of a television show.

  3. To trace the precise relations between art and morality is far from easy; for want of a better term, "interactionism" could be used to label the view that aesthetic and moral values each have distinctive roles to play in the world but that neither operates independently of the other.

  4. Among the rights sought currently by feminist groups throughout the world are the right to serve on juries, the right to retain earnings and property after marriage, the right to retain citizenship after marriage to an alien, and the right to equal pay and equal job opportunity.

  5. In response it has been pointed out that such influence is counteracted, at least in the case of financially strong media firms, by the advertiser's reliance on the media to convey his messages; any compromise of the integrity of a media firm might result in a smaller audience for his advertising.

  6. It would be admitted, first of all, that works of literature (which will be examined first, since of all the arts the relation of literature to morality is most obvious) can teach valuable moral lessons through explicit presentation: the genre that has this as its aim is didactic literature, as exemplified by Pilgrim's Progress by the English Puritan John Bunyan and Back to Methuselah by the Irish dramatist George Bernard Shaw.

  7. Women’s rights guarantee that women will not face discrimination on the basis of their sex, though until the second half of the 20th century, women in most societies were denied some of the legal and political rights accorded to men.

  8. Comparable changes are taking place in the office with the extended use of computers and data processors, which provide for the storing and recall of information in amounts unknown 20 years ago.

  9. But most works of literature do not exist to teach a moral lesson: possibly, Shakespeare did not write Othello merely to attack racial prejudice or Macbeth to prove that crime does not pay. Literature does teach but in a far more important way than by explicit preachment: it teaches, as John Dewey said, by being, not by express intent.

  10. Many people believed that women’s natural roles were as mothers and wives and considered women to be better suited for childbearing and homemaking rather than for involvement in the public life of business or politics.

  11. The other advertising media include direct mail, which can make a highly detailed and personalized appeal; outdoor billboards and posters; transit advertising, which can reach the millions of users of mass-transit systems; and miscellaneous media, including dealer displays and promotional items such as matchbooks or calendars.

  12. Literature presents characters and situations (usually situations of difficult moral decision) through which the reader can deepen his own moral perspectives by reflecting on other people's problems and conflicts, which usually have a complexity that his own daily situations do not possess.

  13. Widespread belief that women were intellectually inferior to men led most societies to limit women’s education to learning domestic skills while well-educated, upper-class men controlled most positions of employment and power in society.

  14. Advertising is the techniques and practices used to bring products, services, opinions, or causes to public notice for the purpose of persuading the public to respond in a certain way toward what is advertised.

  15. The reader can view such situations with a detachment that he can seldom achieve in daily life when he is immersed in the stream of action; by viewing these situations objectively and reflecting on them, he is enabled to make his own moral decisions more wisely when life calls on him in turn to make them.

  16. Because most women lacked the educational and economic resources that would enable them to challenge the prevailing social order, women generally accepted their inferior status as their only option.

  17. Most advertising involves promoting a good that is for sale, but similar methods are used to encourage people to drive safely, to support various charities, or to vote for political candidates, among many other examples.

  18. Through literature the reader is carried beyond the confines of the narrow world that most persons inhabit into a world of thought and feeling more profound and more varied than his own, a world in which he can share the experiences of human beings (real or fictitious) who are far removed from him in space and time and in attitude and way of life.

  19. At this time, women shared these disadvantages with the majority of working class men, as many social, economic, and political rights were restricted to the wealthy elite.

  20. In many countries advertising is the most important source of income for the media (e.g., newspapers, magazines, or television stations) through which it is conducted, in the non-communist world advertising has become a large and important service industry.

  21. Through literature the reader is carried beyond the confines of the narrow world that most persons inhabit into a world of thought and feeling more profound and more varied than his own, a world in which he can share the experiences of human beings (real or fictitious) who are far removed from him in space and time and in attitude and way of life.

  22. In the late 18th century, in an attempt to remedy these inequalities among men, political theorists and philosophers asserted that all men were created equal and therefore were entitled to equal treatment under the law.

  23. The great expansion of business in the 19th century was accompanied by the growth of an advertising industry; it was that century, primarily in the United States, that saw the establishment of advertising agencies. The first agencies were, in essence, brokers for space in newspapers.

  24. Literature enables the reader to enter directly into the affective processes of other human beings, and, having done this, no perceptive reader can any longer condemn or dismiss en masse a large segment of humanity as "foreigners" or "wastrels," for a successful work of literature brings them to life as individuals, animated by the same passions as he is, facing the same conflicts, and tried in the same crucible of bitter experience.

  25. In the 19th century, as governments in Europe and North America began to draft new laws guaranteeing equality among men, significant numbers of women—and some men—began to demand that women be accorded equal rights as well.

  26. But by the early 20th century agencies became involved in producing the advertising message itself, including copy and artwork, and by the 1920s agencies had come into being that could plan and execute complete advertising campaigns, from initial research to copy preparation to placement in various media.

  27. Through such an exercise of the sympathetic imagination, literature tends to draw all men together instead of setting them apart from one another in groups or types with convenient labels for each.

  28. The growing split between home and work reinforced the idea that women’s “rightful place” was in the home, while men belonged in the public world of employment and politics.

  29. There are eight principal media for advertising. Perhaps the most basic medium is the newspaper, which offers advertisers large circulations, a readership located close to the advertiser's place of business, and the opportunity to alter their advertisements on a frequent and regular basis.

  30. Far more than preaching or moralizing, more even than the descriptive and scientific discourses of psychology or sociology, literature tends to unite mankind and reveal the common human nature that exists in everyone behind the facade of divisive doctrines, political ideologies, and religious beliefs.

  31. The second wave of organised efforts by women to achieve greater rights gained momentum during the civil rights movement of the 1960s, when the struggle by African Americans to achieve racial equality inspired women to renew their own struggle for equality.

  32. Magazines, the other chief print medium, may be of general interest or they may be aimed at specific audiences (such as people interested in outdoor sports or computers or literature) and offer the manufacturers of products of particular interest to such people the chance to make contact with their most likely customers.

  33. Still, wide and serious reading of literature has an observable effect: people who do this kind of reading, no matter what their other characteristics may be, do tend to be more understanding of other people's conflicts, to have more sympathy with their problems, and to be able to empathize more with them as human beings than do people who have never broadened their horizons by reading literature at all.

  34. Most Enlightenment thinkers had little to say about the position women held in society, and many of their followers assumed that the concepts of liberty, equality, and political representation applied only to men.

  35. A strategy will combine creativity in the production of the advertising messages with canny scheduling and placement, so that the messages are seen by, and will have an effect on, the people the advertiser most wants to address.

  36. No one who has read great literature widely and for a considerable period, so as to make it an integral part of his life, can any longer share the same provincialism and be dominated by the same narrow prejudices that seem to characterize most people most of the time.

  37. In response to Rousseau and others who belittled the role of women in society, English writer Mary Wollstonecraft wrote A Vindication of the Rights of Woman (1791), in which she argued that, like men, women were naturally rational but their inferior education often taught them to be silly and emotional.

  38. Given a fixed budget, advertisers face a basic choice: they can have their message seen or heard by many people fewer times, or by fewer people many times: this and other strategic decisions are made in light of tests of the effectiveness of advertising campaigns.

  39. Literature, perhaps more than anything else, exercises a leavening influence on the temper of a man's moral life,- it looses him from the bonds of his own position in space and time; it releases him from exclusive involvement with his own struggles from day to day; it enables him to see his own local problems and trials from the perspective of eternity--he can now view them as if from an enormous height.

  40. In the early 19th century, the vast majority of married women throughout Europe and the United States still had no legal identity apart from their husbands ; this legal status—known as coverture—prohibited a married woman from being a party in a lawsuit, sitting on a jury, holding property in her own name, or writing a will. In custody disputes, courts routinely granted permanent custody of children to the father.

  41. In criticism of advertising it has been argued that the consumer must pay for the cost of advertising in the form of higher prices for goods; against this point it is argued that advertising enables goods to be mass marketed, thereby bringing prices down.

  42. Its moral potency is perhaps greatest when it presents not systems but human beings in action, so that through the exercise of the imagination the reader can see his own customs and philosophies as he sees theirs: as some among many of the countless adjustments and solutions to human problems that different circumstances and man's endlessly varied and resourceful nature have produced.

  43. Elizabeth Cady Stanton and Susan B. Anthony insisted that the 15th Amendment be expanded to guarantee suffrage to women, while with the formation of the National American Woman Suffrage Association in 1890, the women’s rights movement focused almost exclusively on attaining the right to vote.

  44. It has been argued that the cost of major advertising campaigns is such that few firms can afford them, thus helping these firms to dominate the market; on the other hand, whereas smaller firms may not be able to compete with larger ones at a national level, at the local level advertising enables them to hold their own.

  45. If these same people had been exposed from early youth to great masterpieces of literature and had learned through them to appreciate the tremendous diversity of human mores and beliefs held by other groups, with the same degree of sincerity that they themselves possess, they would be less likely to be as harsh, intolerant, and rigid as they are.

3.Третє питання: фонетичне читання, літературний переклад зазначеного уривка з неадаптованого художнього твору; перекладацький коментар. Обсяг- до 2500 друкованих знаків. Кількість незнайомої лексики- до 10 % (середній ступінь складності).

Зразок тексту (2501 др.зн. Томас Гарді „ Блакитні очі ”)- виділений уривок для письмового літературного перекладу)

Hardy, Thomas (1840-1928), English novelist and poet of the naturalist movement, who powerfully delineated characters, portrayed in his native Dorset, struggling helplessly against their passions and external circumstances. Hardy anonymously published two early novels, Desperate Remedies (1871) and Under the Greenwood Tree (1872). The next two, A Pair of Blue Eyes (1873) and Far from the Madding Crowd (1874), in his own name, were well received. Far from the Madding Crowd was adapted for the screen in 1967. Thomas Hardy was distinguished for a profoundly pessimistic sense of human subjection to fate and circumstance.

A Pair of Blue Eyes by Thomas Hardy
'A violet in the youth of primy nature,

Forward, not permanent, sweet not lasting,

The perfume and suppliance of a minute;

No more.'

Chapter I
'A fair vestal, throned in the west'
Elfride Swancourt was a girl whose emotions lay very near the surface. Their nature more precisely, and as modified by the creeping hours of time, was known only to those who watched the circumstances of her history.
Personally, she was the combination of very interesting particulars, whose rarity, however, lay in the combination itself rather than in the individual elements combined. As a matter of fact, you did not see the form and substance of her features when conversing with her; and this charming power of preventing a material study of her lineaments by an interlocutor, originated not in the cloaking effect of a well formed manner (for her manner was childish and scarcely formed), but in the attractive crudeness of the remarks themselves. She had lived all her life in retirement--the monstrari gigito of idle men had not flattered her, and at the age of nineteen or twenty she was no further on in social consciousness than an urban young lady of fifteen.
One point in her, however, you did notice: that was her eyes. In them was seen a sublimation of all of her; it was not necessary to look further: there she lived.
These eyes were blue; blue as autumn distance--blue as the blue we see between the retreating mouldings of hills and woody slopes on a sunny September morning. A misty and shady blue, that had no beginning or surface, and was looked INTO rather than AT.
As to her presence, it was not powerful; it was weak. Some women can make their personality pervade the atmosphere of a whole banqueting hall; Elfride's was no more pervasive than that of a kitten.
Elfride had as her own the thoughtfulness which appears in the face of the Madonna della Sedia, without its rapture: the warmth and spirit of the type of woman's feature most common to the beauties--mortal and immortal--of Rubens, without their insistent

fleshiness. The characteristic expression of the female faces of Correggio--that of the yearning human thoughts that lie too deep for tears--was hers sometimes, but seldom under ordinary conditions.
The point in Elfride Swancourt's life at which a deeper current may be said to have permanently set in, was one winter afternoon when she found herself standing, in the character of hostess, face to face with a man she had never seen before--moreover, looking at him with a Miranda-like curiosity and interest that she had never yet bestowed on a mortal.
On this particular day her father, the vicar of a parish on the sea-swept outskirts of Lower Wessex, and a widower, was suffering from an attack of gout. After finishing her household supervisions Elfride became restless, and several times left the room, ascended the staircase, and knocked at her father's chamber- door.
'Come in!' was always answered in a hearty out-of-door voice from

the inside.

План літературного аналізу уривка:

  1. The composition of the text :

  • narration

  • description

  • the dialogue

  • interior monologue

  • digression

    1. Plot : The plot of a novel is the narrative and thematic development of the story—that is, what happens and what these events mean.

- episodic plot

  • the bildungsroman, a novel about the early years of a person’s life, or a person’s moral or psychological growth.


  • complex plot

  • chronological order of events

  • flashbacks

  • foreshadowings

    1. Structural elements of the plot :

  • exposition

  • complication

  • climax

  • denouement

  1. Point of view - The point of view of a literary work is the perspective from which the reader views the action and characters. The three major types of point of view in novels are omniscient (all-knowing narrator outside the story itself), first-person (observations of a character who narrates the story), and third-person-limited (outside narration focusing on one character’s observations):

  • first person narrative

  • third person narrative

  • omniscient author

  1. Characters :

  • round

  • flat

  1. Conflict :

  • external

  • internal

  1. Setting : The setting of a novel—the time and place of its action—is crucial to the creation of a complete work. Physical places such as deserts and outer space, as well as cultural settings such as hospitals and universities, help determine characters’ conflicts, aspirations, and destinies.

7. Theme : a novel’s theme is the main idea that the writer expresses. Theme can also be defined as the underlying meaning of the story. The theme of a novel is more than its subject matter, because an author’s technique can play as strong a role in developing a theme as the actions of the characters do.

8. Style : Style is the novelist’s choice of words and phrases, and how the novelist arranges these words and phrases in sentences and paragraphs. Style allows the author to shape how the reader experiences the work. For example, one writer may use simple words and straightforward sentences, while another may use difficult vocabulary and elaborate sentence structures. Even if the themes of both works are similar, the differences in the authors’ styles make the experiences of reading the two works distinct.

Style can be broken down into three types: simple, complex, and mid-style. Sometimes authors carry a single style throughout an entire work. Other times, the style may vary within a novel. For example, if the novelist tells a story through the eyes of several different characters, the use of different styles may give each character a distinctive voice.

A simple style uses common words and simple sentences, even if the situation described is complex. The effect of the simple style can be to present facts to the reader without appealing to the reader’s emotions directly. Instead, the writer relies on the facts themselves to affect the reader.

A complex style uses long, elaborate sentences that contain many ideas and descriptions. The writer uses lyrical passages to create the desired mood in the reader, whether it be one of joy, sadness, confusion, or any other emotion.

  1. Imagery and irony.

In addition to point of view, style, and symbolism, novelists use many other specific techniques in their works. Two of the most important are imagery, the collection of descriptive details that appeal to the senses and emotions of the reader by creating a sense of real experience, and irony, the reader’s recognition that what is expected from a statement, situation, or action is different from what actually happens.
10. figures of speech
Poetic, imaginative, or ornamental expression used for comparison, emphasis, or stylistic effect; These

figures include euphemism, hyperbole, metaphor, metonymy, onomatopoeia, oxymoron, personification, simile, synecdoche.


Word or phrase that characterizes a person, place, or thing, especially when used instead of the name or in addition to it; for example, Richard the Lion-Heart.


Figure of speech that substitutes a direct or offensive statement with one that is suitably mild or evasive.

Thus, `he passed away’ is used in place of `he died’; `sleep with someone’ substitutes for `have sex with someone’; and `liquidate the opposition’ has a softer impact than `kill one's enemies’.


Figure of speech that is an intentional exaggeration or overstatement, used for emphasis or comic effect. Many everyday idioms are hyperbolic: `waiting for ages’ and `a flood of tears’.


The use of understatement for effect (`He is no Einstein’ = `He is a bit dim’). It is the opposite of hyperbole.

4.A metaphor

A metaphor is a simile expressed without any indication of comparison. For example, the simile `He fought like a lion’ would be expressed in a metaphor as `He was a lion in the fight.’ Similes include the

comparative words `like’ or `as’; metaphors do not.


Figure of speech that works by association, naming something closely connected with what is meant; for example, calling the theatrical profession ` the stage’, horse racing `the turf’, or journalists `the press’.


Figure of speech that uses either the part to represent the whole (`There were some new faces at the meeting’, rather than new people), or the whole to stand for the part (`The West Indies beat England at cricket’, rather than naming the national teams in question).

The figure differs from metonymy in that the substituted word is more closely associated with the one it replaces, but the term metonymy is often used to refer to both figures of speech.


Figure of speech involving the combination of two or more words that are normally opposites, in order to startle. Bittersweet is an oxymoron, as are cruel to be kind and beloved enemy.


(poetic or imaginative expression) in which animals, plants, objects, and ideas are treated as if they were human or alive (`Clouds chased each other across the face of the Moon; `

Nature smiled on their work and gave it her blessing’; `The future beckoned eagerly to them’)

5.Рекомендовані навчально-методичні матеріали :

4.1 Основна та додаткова література


Аракин В.Д.

Практический курс английского языка. 4 курс.

М., «Валдос», 1999


J.,L. Soars

Headway Upper Intermediate

Oxford University Press, 2000


Austen, Jane

Pride and Prejudice

Penguin Books, 1999


Austen, Jane

Mansfield Park

Penguin Books, 1999


Austen, Jane


Penguin Books, 1999


Austen, Jane

Sense and Sensibility

Penguin Books, 1999


Казакова Т.А.

Практические основы перевода



Алексеева И.С

Профессиональный тренинг переводчика

СПб, 2003


Корунець І.В.

Теорія і практика перекладу

Київ, 1987, 2003


Богатирьова О.Є.

Навчально-методична розробка „Women in the Modern World”

ПДТУ, 2003


Богатирьова О.Є.

Навчально-методична розробка “Mass Media and Advertising”

Дискетна версія, ксерокопії


Богатирьова О.Є.

Навчально-методична розробка “Modern Art”

ПДТУ, 2004


Богатирьова О.Є.

Навчально-методична розробка “Novel Evaluation”

ПДТУ, 2002


Богатирьова О.Є.

Навчально-методична розробка “Literary analysis”

Дискетна версія, ксерокопії

4.2 Перелік навчальних та інших посібників та технічних засобів

4.2.1 Відеокасети. Навчальні відеокурси:
Headway Upper Intermediate – відеокурс, 12 уроків з коментарем

Headway Pre-Intermediate– відеокурс, 12 уроків з коментарем

Pride and Prejudice- художній фільм, 4 частини , із субтитрами (англ. мова)

Emma- художній фільм, 2 частини , із субтитрами (англ. мова)

      1. Аудіокасети. Навчальні авдіокасети.

Headway Upper Intermediate – авдіокурс, 3 касети з коментарем

Лондонський лінгафонний курс- 2 авдіокасети з коментарем

      1. Комп'ютерні програми:

Microsoft Encarta Encyclopaedia Deluxe 2001 на трьох компакт дисках

Encyclopaedia Britannica Deluxe 2001 на компакт диску

Hutchinson Educational Encyclopaedia 1999 на компакт диску

Сучасна англомовна література на компакт диску

Англомовна бібліотека на компакт диску

Дискетні версії НМР (5 примірників)
  1. Критерії оцінки

„5” – студент засвідчує високій рівень оволодіння теоретичним матеріалом та його використанням на практиці, легко оперує відповідною термінологією, його відповідь відзначається повнотою та глибиною і він виявляє елементи творчих здібностей. Переклад зроблено з урахуванням всіх потрібних перекладацьких трансформацій та при цьому виказані вміння та навички застосовувати теоретичні знання на практиці.

„4” - Відповідь студента є достатньо повною, але не відзначається глибиною. Студент виказує певний високий рівень оволодіння засвоєним матеріалом, але є незначні помилки у практичному застосуванні теоретичних знань, тобто у перекладі.

„3” – студент має задовільний рівень знань, вмінь та навичок вивченого матеріалу, але припускає грубі помилки у виконанні перекладу.

„2” – Відтворює окремі фрагменти вивченого теоретичного матеріалу, що становить незначну частину вивченого обсягу , або не дає відповіді зовсім на жодне теоретичне питання і робить найгрубіші помилки у практичному завданні – перекладі.

  1. Урахування рейтингу :

Іспит наприкінці семестру є необхідною ланкою в процесі навчання і не може заміняти окремі контрольні заходи щодо різних розділів (модулів) курсу. Як правило, тільки готуючись до іспиту, студент починає бачити дисципліну в цілому. Пропонується використовувати як заохочення іспит- автомат. На підготовку до іспиту студент має кілька днів, іспит провадиться у визначений час і у визначеній аудиторії.

Екзаменаційна оцінка враховує рейтинг та екзаменаційний результат. Студент має можливість підвищити свій рейтинг на іспиті.

  1. Визначається рейтингова оцінка студента з навчальної дисципліни за семестр. Максимальна кількість рейтингових балів (М) дорівнює загальному числу годин, відведених для дисциплін у учбовому плані.Викладач повинен так оцінити кожен вид контролю, щоб сума максимальних балів (М) кількісно дорівнювала числу годин дисципліни.

  2. Пропонується наступна схема видів поточних контролів:

  1. Відвідування занять- 10%

  2. Письмові види КСРС – 40%

  3. Усні види КСРС -40%

  4. Заохочувальні бали за сумлінність, творчість, науковість - 10%

Наприклад, при навчальному навантаженні 18 годин на семестр викладач може вивести бали за такою схемою:

  1. Відвідування занять- 10%

Навчальне навантаження:














  1. Письмові види КСРС – 40%

Студенти виконують 4 письмові КСРС, кожна з яких максимально оцінюється 5. М2= 20 ОБ2

  1. Усні види КСРС -40%

Студени виконують 5 усних КСРС, кожна з яких максимально оцінюється 5. М3= 25 .

ОБ 3

  1. Заохочувальні бали за сумлінність, творчість, науковість - 10%

Викладач може додати певну кількість балів. Критерієм у такому разі можуть стати: постійний прояв цих якостей- (відмінно) пряв однієї ц цих якостей- (добре) одноразовий - (задовільно) ці якості виявляються рідко або ніколи- (незадовільно).

Всього студент набрав ОБ1+ ОБ2+ ОБ3+ ОБ4=ОБ

М1+ М2+ М3+ М4= М

Його рейтинг складе (ОБ: М)*5

  1. Якщо рейтинг складає від 3,7 балів до 4,6 бали, то пропонується виставити екзаменаційну оцінку- автомат „добре”.

Якщо рейтинг складає від 4,7 балів до 5 балів, то пропонується виставити екзаменаційну оцінку – автомат „відмінно”.

Якщо рейтинг складає від 0 балів до 2 балів то пропонується виставити екзаменаційну оцінку – автомат „незадовільно”.

  1. Студент може спрогнозувати свою рейтингову оцінку за спрощеною схемою таким чином:

Сума оцінок за всі види КСРС поділена на кількість КСРС .

Викладач може окремо врахувати пропуски занять і зняти від 0,1 до0,5 бали, або додати заохочувальні бали від 0,1 до 0,5 і згідно з отриманим підсумковим рейтингом визначити екзаменаційну оцінку.

Примітка :

Рекомендації грунтуються на наступних нормативних документах:

Положення про організацію та контроль самостійної роботи у ПДТУ від 04.03.2002

Положення про визначення рейтингу студентів у навчальному процесі у ПДТУ від 20.03.2003.

Рекомендації щодо впровадження системи рейтингової оцінки знань на кафедрі іноземних мов та перекладу (протокол № 14 от 14.04.2003)


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