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5. BUYERS BOX FOR PACKER $ 350 m prace tag is put on Waddington

A J350 million bidding war is set to erupt for Waddington, the packaging group that last month admitted it had received a takeover approach from its management team.

At least two venture capital firms are understood to be looking at Leeds-based Waddington, which is expected to command a takeout of at least £325 a share against Friday's close of£247. One of the potential buyers is believed to be CinVen.

Waddington's management team, led by chief executive Martin Buckley and finance director Geoffrey Gibson, are preparing their own offer for title company. They are being advised by NatWest Equity Partners, which last week backed the management buyout of Noreros, the building materials outfit.

Waddington's three non-executive directors, led by chairman John Hollowood, are thought to have been alerted to the prospect of rival bidders.

City analysts said rival approaches were expected in the wake of Waddington's recent announcement, since the takeout price originally mooted was far too low.
6. REVEALED: BRITAIN'S SECRET NUCLEAR PLANT

A SECRET nuclear fuel plant processing radioactive material a mile from the centre of a British city has been revealed to have serious safety flaws.

Nuclear fuel more volatile than the uranium which caused the recent radioactive leak at a Japanese facility is being secretly manufactured in the Rolls-Royce plant in Derby.

Highly enriched uranium fuel is processed at the factory for the Ministry of Defence (MoD) - although this has never before been disclosed and the local population has not been told because the work is classified. They are only aware that the factory makes engines for Trident nuclear submarines.

Leaked company documents reveal that there is a risk of a "criticality accident" - the chain reaction which caused the nuclear disaster at a fuel manufacturing plant in Tokaimura last month. It has also emerged that after a safety exercise at the plant this year, inspectors concluded that it was "unable to demonstrate adequate contamination control arrangements". There is still no public emergency plan in case of disaster.

"I can't believe that they make nuclear fuel in Derby and don't have an off-site public emergency plan," said a nuclear safety expert who has visited the plant. "Even in Plymouth where they [the MoD] load the uranium fuel into the submarines, they have a publicised plan for the local population."

In the Tokaimura disaster two weeks ago, clouds of deadly radiation poured out from a nuclear fuel plant after a nuclear fission chain reaction. Most nuclear plants in Britain use fuel containing about 3% uranium 235, but in the Tokaimura incident it was about 20%, which was a contributory factor for the chain reaction.

In Derby the fuel is potentially even more unstable, containing more than 90% uranium 235. Rolls-Royce has always said that its marine power division at Raynesway, Derby, makes propulsion systems for nuclear submarines. It has never previously admitted processing the uranium fuel. (S.T.)
7. I hear America singing

I hear America singing, the varied carols I hear,

Those of mechanics, each one singing his as it should be

Blithe and strong,

The carpenter singing his as he measures his plank or beam,

The mason singing his as he makes ready for work, or

Leaves off work,

The boatman singing what belongs to him in his boat, the

Deckhand singing on the steamboat deck,

The shoemaker singing as he sits on his bench, the hatter

Singing as he stands,

The wood-cutter's song, the ploughboy's on his way in the

Morning, or at noon intermission or at sundown,

The delicious singing of the mother, or of the young wife

At work, or of the girl sewing or washing,

Each singing what belongs to him or her and to none else,

The day what belongs to the day - at night the party of

Young fellows, robust, friendly,

Singing with open mouths their strong melodious songs.
8.

Professor W.H. Leeman

79 Rigby Drive London

Dorset, Merseyside 10th March 1998

Dear Sir!

Contributed papers accepted for the Conference will be presented in oral sessions or in poster sessions, each type of presentation being considered of equal importance for the success of the conference. The choice between the one or the other way of presentation will be made by the

Programme Committee. The first is a ten-minute talk in a conventional session, followed by a poster presentation in a poster area. In the poster period (about two hours) authors will post visual material about their work on a designated board and will be prepared to present details and answer questions relating to their paper. The second mode of presentation is the conventional format of twenty-minute talks without poster periods. This will be used for some sessions, particularly those for which public discussion is especially important or for which there is a large well-defined audience.

Sincerely T. W. Thomas, Chairman.
9. My Lord, February 7th, 1755

I have been lately informed, by the proprietor of "The World", that two papers, in which my "Dictionary" is recommended to the public, were written by your Lordship. To be so distinguished is an honour, which, being very little accustomed to favours from the great, I know not well how to receive or in what terms to acknowledge.

When, with some slight encouragement, I first visited your Lordship, I was overpowered, like the rest of mankind, by the enchantment of your address, and could not forbear to wish that I might boast myself "Le vainqueur du vainqueur de la terre", - that I might obtain that regard for which I saw the world contending; but I found my attendance so little encouraged that neither pride nor modesty would suffer me to continue it. When I had once addressed your Lordship in public, I had exhausted all the art of pleasing which a retired and uncourtly scholar can possess. I had done all that I could; and no man is well pleased to have his all neglected, be it ever so little.

Seven years, My Lord, have now passed since I waited in your outward rooms or was repulsed from your door; during which time I have been pushing on my work through difficulties, of which it is useless to complain, and have brought it at last to the verge of publication, without one act of assistance, one word of encouragement, or one smile of favour. Such treatment I did not expect, for I never had a patron before. The shepherd in Virgil grew at last acquainted with love, and found him a native of the rocks. Is not a patron, My Lord, one, who looks with unconcern on a man straggling for life in water, and when he has reached ground, encumbers him with help?

The notice you have been pleased to take of my labours, had>it been early, had been kind; but it has been delayed till I am indifferent, and cannot enjoy it; till I am solitary and cannot impart it; till I am known and do not want it. I hope it is no very cynical asperity, not to confess obligations when no benefit has been received; or to be unwilling that the public should consider me as owing that to a patron, which Providence has enabled me to do for myself.

Having carried on my work thus far with so little obligation to any favourer of learning, I shall now be disappointed though I should conclude it, if less be possible, with less; for I have been long wakened from that dream of hope in which I once boasted myself with so much exultation,
My Lord

Your Lordship's most humble,

most obedient Servant

Sam Jonson.

10.

Liverpool, 17^th July 19...

Messrs. M. Worthington & Co., Ltd., Oil Importers,

c/o Messrs. Williams & C.; Ship Agents,

17 Fenchurch Street,London, Е., С., England

Dear Sirs,

Re: 9500 tons of Edible Oil under B/LNos.:

2732, 3734, 4657 m/t Gorky ar'd 16.07.
In connection with your request to start discharging the above cargo first by pumping out bottom layer into barges and then to go on with pumping the rest of the cargo into shore tanks I wish to point out the following.

As per clause of the Bill of Lading "Weight, quantity and quality unknown to me" the carrier is not responsible for the quantity and quality of the goods, but it is our duty to deliver the cargo in the same good order and conditions as located. It means that we are to deliver the cargo in accordance with the measurements taken after loading and in conformity with the samples taken from each tank on completion of loading.

Therefore if you insist upon such a fractional layer discharging of this cargo, I would kindly ask you to send your representative to take joint samples and measurements of each tank, on the understanding that duplicate samples, jointly taken and sealed, will be kept aboard our ship for further reference. The figures, obtained from these measurements and analyses will enable you to give us clean receipts for the cargo in question, after which we shall immediately start discharging the cargo in full compliance with your instructions.

It is, of course, understood, that, inasmuch as such discharging is not in strict compliance with established practice, you will bear all the responsibility, as well as the expenses and / or consequences arising therefrom, which please confirm.

Yours faithfully

C.LSh....

Master of the m/t Gorky

2.38 p.m.

11. Speech of Viscount Simon of the House of Lords:

Defamation Bill

3.12p.m.

The noble and learned Earl, Lord Jowitt, made a speech of much persuasiveness on the second reading raising this point, and today as is natural and proper, he has again presented with his usual skill, and I am sure with the greatest sincerity, many of the same considerations. I certainly do not take the view that the argument in this matter is all on the side. One could not possibly say that when one considers that there is considerable academic opinion at the present time in favour of this change and in view of the fact that there are other countries under the British Flag where, I understand, there was a change in the law, to a greater or less degree, in the direction which the noble and learned Earl so earnestly recommends to the House. But just as I am very willing to accept the view that the case for resisting the noble Earl's Amendment is not overwhelming, so I do not think it reasonable that the view should be taken that the argument is practically and considerably the other way. The real truth is that, in framing statuary provisions about the law of defamation, we have to choose the sensible way between two principles each of which is greatly to be admired but both of which ran into some conflict. (July 28, 1952.)

Stylistic Analysis

Exercise 1. Work out the scheme of the stylistic analysis of a text.
Exercise 2. Produce the stylistic analysis of the following texts:

(Coketown)… was a town of red brick or of brick that would have been red if smoke and ashes had allowed it; but as matters stood, it was a town of unnatural red and black like the painted face of a savage. It was the town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of buildings full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness. It contained several large streets all very like one another, and many small streets more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and tomorrow, and every year the counterpart of the last and the next (Ch. Dickens. Hard Times).

(Rochester tries to convince Jane not to pull out of their marriage just after she has learnt that he is already married to the insane woman. Jane’s moral principles are fighting with her feelings)

This was true: and while he spoke my very conscience and reason turned traitors against me, and charged me with crime in resisting him. They spoke almost as loud as Feeling: and that clamoured wildly. ‘Oh, comply! It said. ‘Think of his misery; think of his danger – look at his state when left alone; remember his headlong nature; consider the recklessness following on despair – soothe him; save him; love him; tell him you love him and will be his. Who in the world cares for you? Or who will be injured by what you do?’ (Ch. Bronte. Jane Eyre).

(Mr Hyde is transforming into Dr Jekyll before the eyes of astonished Dr Lanyon, a friend and colleague of the famous scientist)

‘It is well,’ replied my visitor. ‘Lanyon, you remember your vows: what follows is under the seal of our profession. And now, you who have so long been bound to the most narrow and material views, you who have denied the virtue of transcendental medicine, you who have derided your superiors – behold!’

He put the glass to his lips, and drank at one gulp. A cry followed; he reeled, staggered, clutched at the table and held on, staring with infected eyes, gasping with open mouth; and as I looked, there came, I thought, a change – he seemed to swell – his face became suddenly black, and the features seemed to melt and alter – and the next moment I had sprung to my feet and leaped back against the wall, my arm raised to shield me from the prodigy, my mind submerged in terror.

‘O God!’ I screamed, and ‘O God!’ again and again; for there before my eyes – pale and shaken, and half fainting, and groping before him with his hands, like a man restored from death – there stood Henry Jekyll! (R.L. Stevenson. The Strange Case of Dr Jekyll and Mr Hyde).

(Johnny’s mother is taking her son to a grand festival in honour of Queen Victoria held in Dublin)

It’s a great thing, said Johnny’s mother, to see such enormous crowds so ordherly, beset only with one thought of enjoyin’ themselves. If the government ‘ud establish a Royal Residence here, there’d be no more loyal and law-abidin’ people in the whole livin’ world than the Irish people. We are coming now to the heart of it all, she added – Trinity College an’ the Bank of Ireland.

The tram slowly glided, with the crowd around it, into a wide well of gleaming, glittering, rippling lights, turning the night into a laughing day. Through the first few streets, Johnny had seen the jewels hanging from Dublin’s ear and a shimmering circle of gems around her neck; but here he stared at the beautiful crown set lovingly on her head. Trinity College and the Royal Bank of Ireland were dripping in jewels of light, and the countless banners fluttered like broad blossoms flowering in the midst of flames. The great mass of people stood silent and still, gazing spellbound in the midst of the wonder. The silence was fraught with a quiet passion of esteem and fealty. It was adorning of the rock ot their salvation, and Johnny and his mother pressed each other’s hands (S. O’Casey. I Knock at the Door)
Методические рекомендации по организации самостоятельной работы студентов

Подготовка к семинарским занятиям требует самостоятельного углубленного изучения теоретических вопросов (тех или иных стилистических средств английского языка), анализа и синтеза учебно-методических материалов с подготовкой выступления (презентации) на семинарских занятиях подготовленных материалов с изложением теоретических положений и иллюстрацией примеров;
Углубленное изучение темы предполагает индивидуальное исследование актуальных проблем стилистики с изучением научных источников и изложением в форме доклада/реферата (рекомендуется в качестве альтернативной формы итогового контроля);
Практикум требует предварительной самостоятельной подготовки студентов чтения, перевода и стилистического анализа фрагментов англоязычного художественного текста с последующим обсуждением на семинарских занятиях;
Самостоятельный стилистический анализ текста предполагает творческий поиск стилистических средств языка в англоязычной литературе и анализ их функционирования с изложением в форме творческой работы (рекомендуется в качестве альтернативной формы итогового контроля).

Творческая работа

Assignment

Choose 30 text fragments (sentences, SPU, paragraphs) from the book of your individual reading. Identify stylistic means and present the commentary on their functions.

Illustrations

(1) I could have done very well if I had been without the Murdstones; but the influence of the Murdstones upon me was like the fascination of two snakes on a wretched young bird (Ch. Dickens. David Copperfield).

After the death of David Copperfield’s mother the boy is left in the care of his cruel and tyrannical stepfather Mr Murdstone and his unpleasant sister Miss Murdstone. The boy’s feelings of fear and wretchedness in his life with the Murdstones are expressed with the help of the bright simile.
(2) Then she would take up a pen, and begin to write, and find a hair in it. Then she would take up another pen, and begin to write, and find that it spluttered. Then she would take up another pen, and begin to write, and say in a low voice, ‘Oh, it’s a talking pen, and will disturb Doady!’ And then she would give it up as a bad job, and put the account-book away, after pretending to crush the lion with it (Ch. Dickens. David Copperfield).

David Copperfield tells how his young and inexperienced wife, Dora, tried to come to grips with household management. The unserious and playful attempts of David’s child-wife to be good make us feel sympathy to her. “Trying to be good” is underlined by the parallel constructions the effect of which is marred by humour.

Вопросы для самоконтроля

What is “STYLE”?
Is Stylistics a science? What does it study?
What are the relations of Stylistics with other sciences? What did the Theory of Information give to Stylistics?
What notions does Stylistics operate with? What are the categories of Stylistics?
What is Stylistic function?
What is “neutrality”? What is “norm”? Does “norm” mean “invariant”?
Is Stylistics a level linguistic discipline? What branches does Stylistics include?
What does Stylistics deal with in case of Paradigmatics? What does it deal with in case of Syntagmatics?
What are the main statements of the theory of Linguistic Context? What is Stylistic Context? How is Stylistic Context subdivided?
What is “image”? How does imagery appear? What is imagery and its structure?
How does Stylistics treat synonymy? What are the types of synonyms?
How are stylistic means subdivided? What’s the difference between an expressive means and a stylistic device? What are the types of syntagmatic relations?
What is “forgrounding”? What are its functions? What are the types of forgrounding?
What does Stylistic Semantics study? What are tropes? How may tropes be subdivided? What are the types of meaning transfer? What’s the problem of an epithet?
What are the types of meanings interaction? What stylistic devises belong to each type?
What are the types of semantic syntagmatic relations?
What are the main components of the lexical meaning? What are the types of the connotative meaning?
What are the criteria of lexical classification? What are the features of the two groups of words?
What are the characteristics and functions of Elevated lexis and Degraded lexis? What does stylistic phraseology study?
What does Stylistics deal with in Phonetics? What is “onomatopoeia”? What are phonetic stylistic means?
What are the main graphic stylistic means? What is “graphon”?
What morphemes is Stylistics interested in? What are the types of morphological stylistic devises? What is stylistic usage of a noun, an article, a pronoun, an adjective, a verb?
What is a Sentence Model? What are the types of syntactic expressive means? What are the types of syntactic stylistic devises?
What is a functional style? What are the main classifications of functional styles? What are the chief characteristics of Belles-Lettres, Publicist, Newspaper, Scientific, Official, Colloquial Styles?
What level of language is supersyntactic? What unit is bigger than a sentence? What groups may texts be deviled into? What is a Text Model? What are the main text parameters? What types of text information are identified?
What text categories may be recognized? What does a text have an integral character due to? What role does author’s plain play in a text? How is coherency carried out in a text?
What are the ways of text discreteness? What are discourse and functional types of discreteness?

Written tests

Innumerate: a) branches of Stylistics, b) Stylistic categories
Define: a) Style, b) Stylistics, c) Norm, d) Stylistic function
Define: a) Linguistic Context, b) Stylistic Context, Innumerate a) the elements of Imagery structure, b) the types of Context
Innumerate: a) tropes, b) types of meaning interaction, types of semantic syntagmatic relations
Innumerate: a) types of connotative meaning, b) groups of Elevated Lexis, c) groups of Degraded Lexis
Innumerate: a) Syntactic stylistic devises, b) Syntactic expressive means
Define Foregrounding, Innumerate its types and functions
Innumerate the functional styles

Exam Questions

Stylistics, its Object and Subject, its foundation and development.
Categories of Stylistics, the Notion of “Style”, Stylistic Norm, Stylistic function.
Stylistics and other Linguistic Sciences, the Structure of Stylistics.
Paradigmatics and Syntagmatics of Stylistics.
The Theory of Context.
The Theory of Imagery and Imagination.
Synonymy in Stylistics.
Stylistic Means: Expressive Means and Stylistic Devises.
Foregrounding, its Types and Functions.
The Problem of Tropes. Figures of Quality, Figures of Quantity.
Types of Semantic Relationships: Figures of Identity, Figures of Inequality, Figures of Contrast.
The Semantic Structure of a Word, Stylistic meaning, Functional stylistic meaning.
The English Vocabulary: the Main Criteria of its Classifications.
The Words of Elevated (High) Stylistic Tone, their Functions.
The Words of Degraded (Low) Stylistic Tone, their Functions.
Stylistic Use of Phraseology.
Phonetic and graphic Stylistic Means.
The Problems of Stylistic Morphology. The stylistic use of Noun and Pronoun.
The Problems of Stylistic Morphology. The stylistic use of Article, Adjective and Verb.
Syntactic Expressive Means and Stylistic Devises.
The Theory of Functional Styles. The Classifications of Functional Styles.
Stylistics of Text: Text Models, Types of Information in the text.
Text categories: Integrity.
Text categories: Discreteness.
Metaphor, Personification, Allegory (characterization, functions, examples).
Metonymy, Synecdoche, Antonomasia (characterization, functions, examples).
Irony (characterization, functions, examples).
Hyperbole, Meiosis, Litotes (characterization, functions, examples).
Epithet (characterization, functions, examples).
Simile (characterization, functions, examples).
Zeugma, Pun (characterisation, functions, examples).
Oxymoron, Antithesis (characterization, functions, examples).
Tautology, Climax, Bathos (characterization, functions, examples).
Ellipsis, Nominative sentences, Aposiopesis (characterization, functions, examples).
Anaphora, Epiphora, Anadiplosis, Framing, Chiasmus (characterization, functions, examples).
Inversion, Distancy, Detachment (characterization, functions, examples).
Rhetoric Question, Parcellation (characterization, functions, examples).
Asyndeton, Polisyndeton (characterization, functions, examples).
Repetition, Enumeration, Parallelism (characterization, functions, examples).
Poetic, Archaic and Historic words (characterization, functions, examples).
Barbarisms, Terms, Foreign words (characterization, functions, examples).
Slang words, Jargonisms, Professionalisms (characterization, functions, examples).
Dialectal words, Vulgarisms (characterization, functions, examples).
Literary and Colloquial Coinages, Nonce Words (characterization, functions, examples).
Belles-Lettres Style (Poetic Language, Emotive prose, Language of Drama) (characterization).
Publicistic Style, Newspaper style (characterization).
Scientific Style, Official Style (characterization).
Colloquial Style (Literary, Familiar, Common) (characterization).

Литература

Основная

Арнольд И.В. Стилистика. Современный английский язык. Москва, 2004
Косоножкина Л.В. Практическая стилистика английского языка. Москва – Ростов-на-Дону, 2004
Кухаренко В.А. Практикум по стилистике английского языка. Москва, 2000.
Мороховский А.Н., Воробьева А.П., др. Стилистика английского языка. Киев,1984
Разинкина Н.М. Функциональная стилистика. Москва, 2004
Скребнев Ю.М. Основы стилистики английского языка. Москва, 2003
Шаховский . Стилистика английского языка. - М.: URSS, 2008.
Galperin I.R. Stylistics. Moscow, 1971

Дополнительная

Азнаурова Э.С. Прагматика художественного слова. Узбек. ССР,1988.
Арнольд И.В. Семантика. Стилистика. Интертекстуальность. СПб,1999.
Архипов И.К. Творчество языковой личности, текст и контекст // Когнитивно-прагматические и художественные функции языка. Studia Linguistica №9. СПб, Тригон, 2000 – с. 202-213.
Бабенко Л.Г., Казарин Ю.В. Лингвистический анализ текста. М, 2003.
Барт Р. Избранные труды: Семиотика. Поэтика. М,1994.
Виноградов В.В. О теории художественной речи. М., 1971
Гальперин И.Р. Текст как объект лингвистического исследования. М, 1981.
Григорьев В.П. Поэтика слова. М, 1979.
Гюббенет И.В. Основы филологической интерпретации литературно – художественного текста. М, 1991.
Жирмунский В.М. Теория литературы, поэтики, стилистики: избранные труды. Л, 1977.
Жолковский А.К., Щеглов Ю.К. Работы по поэтике выразительности. М. «Прогресс», 1996.
Колшанский Г.В. Контекстная семантика. М, 1980.
Кухаренко В.А. Интерпретация текста. М, 1988.
Левин Ю.И. Избранные труды. Поэтика. Семиотика. М, 1998.
Лотман Ю.М. Структура художественного текста. М, 1970.
Маслова В.А. Филологический анализ поэтического текста. Минск, Изд-во Белорусского республиканского фонда фундаментальных исследований, 1999
Николаева Т.К. От звука к тексту. М. Яз. рус. культуры, 2000
Новое в зарубежной лингвистике. Вып. IX (Лингвостилистика) М, Прогресс, 1988
Пропп В.Я. Морфология сказки. М. Наука, 1997
Стернин М.А. Лексическое значение слова в речи. Воронеж. Воронеж. Ун –т, 1985
Стилистика и теория языковой коммуникации (тезисы докладов международной конференции, посвященной 100-летию профессора МГУ И.Р. Гальперина) М, 2005
Толочин И.В. Метафора и интертекстуальность в англоязычной поэзии. СПб,1996.
Тураева З.Я. Лингвистика текста. М,1986.
Шаховский В.И. Категоризация эмоций в лексико-семантической системе языка. Воронеж, Изд-во Воронеж. Ун-та, 1987
Щирова И.А. Художественное моделирование когнитивных процессов. СПб, 2000.
Щирова И.А. Психологический текст: деталь и образ. СПб, 2003.
Язык и наука конца ХХ века. М, 1995.
Dijk Teun A van. Some aspects of text grammars (a Study in Theoretical Linguistics and Poetics), The Hague, Paris, “Mouton”, 1972
Dijk Teun A van. Text and Context. Explorations in the semantics and pragmatics of discourse. Longman, London and New York, 1980.
Pinker Steven. The Language Instinct (The New Science of Language and Mind). London, New York, “Penguin books”, 1995

Интернет источники

Гальперин И.Р. Очерки по стилистике английского языка. www.durov.com/content/books.html
Кухаренко В.А., Гальперин И.Р., Арнольд И.В. Словарь терминов по стилистике английского языка. www.durov.com/content/books.html
Трыкова М. Стилистика английского языка. www.homeenglish.ru/text-book.htm

Темы рефератов

The problems of Stylistic Analysis
Stylistics and Semantics
Parameters of Context
Synonymy in the sphere of Phraseology
Stylistic Metaphor in modern prose (the writer chosen by a student)
Poetisms in English Literature (the writer(s)/poet(s) chosen by a student)
Imagery in a psychological story (the writer chosen by a student)
Syntactic stylistic devises in modern prose (the writer chosen by a student)
Emotiveness in Language and Text
Stylistic neologisms in a literary text (the writer chosen by a student)
Alliteration in Anglo-Saxon and modern verse
Onomatopoeia in English poetry (the poet chosen by a student)
Antonomasia and its borderlines in a literary text (the writer chosen by a student)
Scientific text vs Literary text
An image and a metaphor
Landscape Descriptions in an English Literary text (the writer chosen by a student)
Pragmatics of a Newspaper text
Psychological Portrait in modern prose (the writer chosen by a student)
Rhythm and Rhyme in modern English poetry (the poets chosen by a student)

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Стилистика английский язык учебно-методическое пособие

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