Loe raamatut: «Практикум по чтению и переводу профессиональных текстов по книгоизданию и редактированию. Английский язык», lehekülg 2
Unit 2
1. Read and learn the following words and expressions:
1. ezine – электронный журнал
2. subscriber – подписчик
3. opt-in – подписка
4. submission – представление
5. handy – удобный, находящийся рядом
6. heart- суть
7. checklist – инструкция, перечень
8. startling fact – поразительный факт
9. introduction – вступительная часть
10. submit – дать подзаголовок
11. tips- сведения
12. yawn – зевота
13. on track- согласно плану
14. compelling – привлекающий внимание
15. tougher – жесче
16. coach – инструктор
17. tip – намек
18. to compel – заставлять, понуждать
19. linking verbs – глаголы-связки
20. to talk down – заставить замолчать
21. to stare – смотреть не отрываясь, пристально
22. sparingly – бережно, экономно
23. to quadruple – увеличить в четыре раза
24. redundance – излишество, дублирование
25. to avoid – избегать
26. coach – инструктор (репетитор)
27. precious – драгоценный
28. syllable – слог
29. cliché – штамп, избитое выражение
30. emphasis – подчеркивание, акцент
31. pompous – напыщенный, громкий
32. fine work of art – произведение изящного искусства
2. Read the text below and retell it:
http://globalinx.ca/writing-articles/How-To-Edit-Your-Articles-As-You-Write_49268/index.html
HOW TO EDIT YOUR TEXTS AS YOU WRITE
Increase your ezine subscribers by submitting texts once or twice a week to the opt-in ezines. Read by thousands, even hundreds of thousands, you get 10—25 new subscribers for each submission. Your texts also bring people to your Web site to buy your products. Use this checklist to edit your own work.
Knowing these benefits, you want to create and submit as many excellent texts as you can. At times, you have the texts complete, but don’t have anyone handy to edit them. While it’s best to get at least two other edits from business associates, you can edit your texts yourself with a little help.
Use this checklist to edit your own work:
1. Start your introduction with a question or startling fact. You must hook your readers with something that reaches their emotions.
2. Make your introduction only a few sentences. Your readers want to get to the heart of your text fast. They want easy-to- read quick tips. Long stories can bring a yawn to your reader.
3. At the end of your introduction, include your text’s thesis to stay on track and make your text clear and compelling. For instance, «use this checklist to edit your own work.»
4. Make all of your sentences short. Since standard sentence length is 15—17 words, make most of your sentences under that number. Complex sentences and multiple phrases make the reading tougher. Make it easy for your readers to find the subject and verb of each sentence, so they get the point fast.
5. Avoid dull, slow sentences. To avoid passive construction, start them with a subject, and then follow with a verb. For instance, «The coach marketed her business and books through submitting texts online» is an active sentence. «The coach’s books were marketed online through submitting texts.» is passive. Drop linking verbs such as «is,» «was,» «seemed,» or «had.» Replace them with power, active verbs. Instead of «She is beautiful,» you could say, «Her beauty compels you to stare at her.»
6. Aim for compelling, clear copy. Write for the 8—10th grade reader. Don’t try to impress with pompous words such as «utilize.» Always think «What’s in it for them?»
7. Use specific nouns and names. General references don’t engage your readers’ emotions. Let them see the size, color, and shape. Rather than say, «Write your book fast to make lifelong income,» say «Write and finish your book fast so you can take that long vacation to a Caribbean island.» Money alone doesn’t motivate, but what we can do with it does.
8. Let go of certain adverbs. Words like very, suddenly, and sparingly, tell instead of show. Use adverbs as often as you celebrate your birthday. Did I show, rather than tell? Your readers are hungry to experience feelings as well as picture themselves in your examples.
9. Let go of adjectives. Instead of saying, She is a super-intelligent person,» you could say, «She’s a genius.»
10. Appeal to the senses of sight, sound, and emotions. Telling is not effective. Instead of «Buy this book today because it is so useful,» say, «Would you like to double, even quadruple your Online income in three months?»
11. Cut redundancies. Too much repetition in your texts speaks boring or «talking down» to your readers. Be willing to part with some of your «precious» words. Your first edit should reduce your words at least by one-fourth.
12. Don’t use pompous words to try to impress your reader. Use the shortest, simplest, most well-know word. Check your word’s number of syllables. The more syllables, the more difficult.
13. Keep the subject and verb as close together as possible. Don’t make your reader work to get the meaning.
14. Use the present or past tense of the verb rather than the "-ing“ form of the verb. Instead of „she is singing,“ say, „she sings or she sang.
15. Put your point at the end of a sentence, a paragraph, or chapter for emphasis. This position hooks the reader to pause and notice or hooks him to keep reading.
16. Cut cliches. Once, original metaphors, cliches age and become trite. Instead of «Birds of a Feather Flock Together,» you could say, «Birds of a Feather Need to Fly Away.»
Make your texts sculptured and painted like a fine work of art. Your word choices do make a difference – both in commercial acceptance as well as audience understanding.
Self-editing will help.
Comments:
Judy Cullins, 20-year book and Internet Marketing Coach, Author of 10 eBooks including «Write your eBook Fast,» and «How to Market your Business on the Internet,» she offers free help through her 2 monthly ezines, The Book Coach Says…and Business Tip of the Month at http://www.bookcoaching.com/opt-in.shtml and over 140 free texts.
3. Answer the following questions:
1. Want is the aim of the text?
2. What recommendations do you follow on your writing?
3. Why should we avoid complex words?
4. Why is it better to cut redundancies?
5. What is recommended about the introduction?
6. What Grammar recommendations are given by the author?
7. What kind of words is it better to use?
4. Translate the sentences into Russian:
1. Your texts also bring people to your Web site to buy your products. Use this checklist to edit your own work.
2. While it’s best to get at least two other edits from business associates, you can edit your texts yourself with a little help.
3. Your readers want to get to the heart of your text fast. They want easy-to- read quick tips. Long stories can bring a yawn to your reader.
4. Complex sentences and multiple phrases make the reading tougher. Make it easy for your readers to find the subject and verb of each sentence, so they get the point fast.
5. Cut redundancies. Too much repetition in your texts speaks boring or «talking down» to your readers
6. Don’t use pompous words to try to impress your reader.
7. Use the shortest, simplest, most well-know word.
8. Make your texts sculptured and painted like a fine work of art. Your word choices do make a difference – both in commercial acceptance as well as audience understanding.
5. Give the English equivalents from the text given above:
Статьи привлекут читателя на веб-сайт; коллеги по бизнесу; временами; находящийся под рукой, чтобы отредактировать статью; с небольшой помощью; уловить суть статьи; проверить количество слогов; избегать использование страдательного залога; заставить зевать; затруднить чтение (сделать его труднее); легкие для чтения намеки; быстро понять суть статьи; зрение, слух, чувства; деньги сами по себе не мотивируют; сократить повторы; хорошо известные слова; произвести впечатление на читателя; использовать самые короткие слова, в коммерческом отношении; произведение изящного искусства; понимание аудитории, редактирование самого себя.
6. Fill in the gaps with the words from the text:
1) Knowing these __________, you want to create and submit as many excellent texts as you can.
2) __________ of adjectives. Instead of saying, She is a super-intelligent person,» you could say, «She’s a genius».
3) Keep the __________ and verb as __________ together as possible.
4) Put your point at the end of a sentence, a paragraph, or chapter for __________.
5) Make your texts __________ and painted like a __________ of art.
7. Translate into English:
1. Статьи привлекут читателей на ваш сайт, если вы последуете ряду советов.
2. Не используйте сложные предложения, чтобы не заставлять читателей зевать.
3. Сократите повторы, которые затрудняют чтение статей.
4. Облегчите структуру предложения, чтобы читатель мог быстро найти подлежащее и сказуемое и сразу же понять основную мысль.
5. Можно привлечь ваших коллег к редактированию, но проще редактировать самому, если следовать определенным советам.
6. Следует использовать самые короткие, простые и общеизвестные слова.
7. Выбор слов будет содействовать наилучшему пониманию и коммерческому успеху статей.
8. Compose the dialogues on the topics:
1. How do you understand the statement: «Make your texts sculptured and painted like a fine work of art»
2. What is the main advice on the self-editing which you have found in the text.
Unit 3
1. Read and learn the following words and expressions:
1. to step through – пройти через
2. account – отчет
3. to illuminate – проливать свет, освещать
4. creativity – творческие способности, творческий потенциал
5. mortality – смертность
6. transience- быстротечность, мимолетность
7. narrative – повествовательное
8. nonfiction – документальное произведение
9. fascinating – захватывающий
10. rivalry – соперничество, конкуренция, соревнование
11. ambition – честолюбие
12. facet – грань, аспект
13. dazzling – ослепительный
14. juicy – интересный
15. to grapple – пытаться преодолеть
16. challenge – вызов, проблема
17. to limber up- делать разминку
18. scene-setting – построение сцены
19. posturing-маневрирование
20. straightforward – прямой, прямолинейный
21. to thread – вплетать, проводить красной нитью
22. to dispense – освобождать
23. to fortify – поддерживать, защищать от
24. flaws – недостатки
25. pretty – привлекательный
26. to shy away – увиливать, отказываться
27. herd – стадо
28. to snatch away – убивать
29. to struggle through – пробиваться через
30. to scribble – небрежно писать, писать как курица лапой
31. margin – поле страницы
32. hype – рекламная шумиха
33. buzz – слухи шумиха
34. substance – сущность
35. insight – проникновение в сущность, понимание
2. Read the text below and retell it:
EDITING FROM THE INSIDE
TO BE A GOOD EDITOR, IT HELPS TO THINK LIKE A WRITER.
by Jake Morrissey – Publishers Weekly, 7/18/2005
I learned a valuable lesson about editing when I stepped through the publishing looking-glass and became an author: It’s just as important for an editor to understand the author’s writing process as it is to understand the words on the page.
Two manuscripts taught me this. The first was Freud’s Requiem by Matthew von Unwerth. Subtitled Mourning, Memory, and the Invisible History of a Summer Walk (and published by Riverhead on July 7), it’s the account of Sigmund Freud’s investigation into the connections between creativity and mortality in his 1915 essay «On Transience.» It illuminates a time in Freud’s life few know much about, and introduces readers to a fascinating world of ideas and the people who create them.
The second was my own book, The Genius in the Design (published by Morrow last March). Like the Freud book, it’s narrative nonfiction, the story of the decades-long rivalry between two of Italy’s great 17th- century architects, Gianlorenzo Bernini and Francesco Borromini. (Think Amadeus with architects.)
I began editing Matt’s manuscript as I was finishing Genius, and was struck by the similar ambitions of our books. Each illuminates a facet of cultural history through great men. And each focuses on what these men accomplished: in Freud’s Requiem, provocative ways of thinking about creativity; in Genius, dazzling buildings and the invention of the Baroque. Both books demonstrate that great, juicy stories can be found where history, culture and personality meet.
The more of the Freud manuscript I edited, the more I realized that Matt and I had grappled with the same challenges. Among them was finding the narrative in abstract ideas. I told Matt to find the people in the ideas he was writing about. One of my notes suggested, «You’re addressing some pretty abstract ideas here… If you can thread the lives of these three through the manuscript, the book will be both more dramatic on a human level and more psychologically engaging.» I had made a similar mistake myself, in one chapter describing the current appearance of a Roman street instead of the reasons why Borromini was walking down it in the first place.
In addition, Matt’s writing in his early drafts was too cautious. He needed to limber up his prose. I suspected he knew this, as I had when I submitted my manuscript and my editor noted that my complicated scene-setting «feels like posturing to me and it’s not necessary.»
To get Matt to focus on simplifying his language and sentence structure, I told him that «the more theoretical the ideas you want to convey, the more straightforward your prose should be.» I wonder if dispensing such advice would have occurred to me before I had written my own book.
As I edited, I tried to keep in mind that editors too often search only for the flaws in a manuscript. We can be like lions trying to snatch away a herd’s weaker antelopes when sometimes it’s just a joy to watch them run. An occasional positive comment scribbled in the margins can fortify an author during the revision process: a simple «nice» or a more theatrical «Bravo» can help enormously. This is a lesson I learned as I struggled through my own rewrite, where my editor noted on page 42, «Jake, this is wonderful writing.» (I’m thinking of having the page laminated.)
That doesn’t mean that as an editor I shied away from asking questions or requesting revisions. When I thought a point was muddy or that Matt needed to be more specific – I once asked him to be «less psychiatric» – I said so. But I never forgot that this book should sound like him, not me. These were his ideas, not mine; the gold he’d mined was his. It was my job to polish it so that it shone as brightly as it could.
In a publishing climate where hype seems more important than content and buzz more desirable than substance, it’s easy to forget books are still written the way Edith Wharton, F. Scott Fitzgerald and Ernest Hemingway wrote them: word by word, insight by insight. And no matter which side of the desk I sit on, it helps to remember that all of these writers benefited from having an editor who helped them find the best books in them.
Comments:
Morrissey is an editor at Riverhead Books and the author of The Genius in the Design: Bernini, Borromini, and the Rivalry that Transformed Rome.
Freud’s Requiem
The Genius in the Design
3. Translate the following sentences into Russian:
1. To be a good editor, it helps to think like a writer.
2. It’s just as important for an editor to understand the author’s writing process as it is to understand the words on the page.
3. It illuminates a time in Freud’s life few know much about, and introduces readers to a fascinating world of ideas and the people who create them.
4. I told Matt to find the people in the ideas he was writing about. One of my notes suggested, «You’re addressing some pretty abstract ideas here… If you can thread the lives of these three through the manuscript, the book will be both more dramatic on a human level and more psychologically engaging.»
5. We can be like lions trying to snatch away a herd’s weaker antelopes when sometimes it’s just a joy to watch them run.
6. This is a lesson I learned as I struggled through my own rewrite, where my editor noted on page 42, «Jake, this is wonderful writing.» (I’m thinking of having the page laminated.)
7. And no matter which side of the desk I sit on, it helps to remember that all of these writers benefited from having an editor who helped them find the best books in them.
4. Give the English equivalents from the text given above:
Повествовательное документальное произведение; процесс написания книги автором; длившееся десятилетиями противостояние; захватывающий мир идей; самые слабые в стаде антилопы; аспект истории культуры; привлекательные абстрактные идеи; проходить красной нитью; может помочь невероятно (в огромной степени); пробиваться через; сложное построение сцены; искать только недостатки; шумиха больше нужна, чем сущность; на гуманитарном уровне; золото, которое он выкопал; найти в их книгах самое лучшее.
5. Answer the following questions:
1. How do you understand the statement: «To be a good editor, it helps to think like a writer.»? Do you agree with it and why?
2. What books were Matt and Morrissey editing? What problem did they meet while editing?
3. What can a scribble on the margins do for the author?
4. Is the editor to rewrite or just polish the writer’s work?
5. What do you think about being a good editor?
6. Do you think the writer benefits from a good editor and why?
7. What metaphors are used in this article?
6. Fill in the gaps with the words from the text:
1. It’s just as important for an editor to understand the __________ process as it is to understand the words on the page.
2. Like the Freud book, it’s narrative __________, the story of the decades-long rivalry between two of Italy’s great 17th- century architects, Gianlorenzo Bernini and Francesco Borromini.
3. The more of the Freud __________ I edited, the more I realized that Matt and I had grappled with the same challenges
4. When I thought a point was __________ or that Matt needed to be more specific – I once asked him to be «less psychiatric» – I said so.
5. And no matter which side of the desk I sit on, it helps to remember that all of these writers __________ from having an editor who helped them find the best books in them.
7. Translate into English:
1. Редактор пробивался через сложности повествования, пытаясь исправить стиль, ухватить и упростить основной смысл переведенного произведения.
2. Задача редактора состоит в том, чтобы лишь отшлифовать произведение автора, не искажая сути текста.
3. По мере того как он переводил роман, он постоянно помнил о том, что редактор иногда выискивает только недостатки.
4. Он с удовольствием прочел это документальное произведение, которое ему очень понравилось.
5. Что значит быть хорошим редактором?
6. Не стоит забывать, что после редактирования произведение должно звучать как у автора, а не нести в себе стиль редактора.
7. Быть хорошим редактором означает глубоко проникать в сущность повествования.
8. Speak out on the text subject using as many words from the text as possible.
Unit 4
1. Read and learn the following words and expressions:
1. Branch – отрасль
2. Appearance- появление
3. social consciousness-общественное сознание
4. genesis – происхождение, зарождение
5. along with- наряду с
6. expansion – распространение, расширение
7. destribution – распределение
8. to encounter-встретить, столкнуться с
9. rapidity -скорость
10. harsh sentences —суровые приговоры
11. secular-светский
12. to facilitate – облегчать
13. cylinder press-плоскопечатная машина
14. in accordance with- в соответствии с
15. contingent – доля, квота
16. bookselling-книгораспространение
17. artisan- ремесленник
18. handicraft – ручная работа
19. editorial – редакторский
20. scribes – писцы, секретари
21. fines —денежные штрафы
22. multivolume-многотомный
23. Cyrillic characters – буквы шрифта кириллица
24. annals-летописи
25. establishment- образование, основание
2. Read the text below:
http://encyclopedia2.thefreedictionary.com/Publishing+industry
PUBLISHING
Publishing is a branch of culture and production that involves the preparation, production, and distribution of books, magazines, newspapers, and graphic material. The level, scope, and orientation of publishing are determined by the material, sociopolitical, and cultural conditions of a society.
Book publishing existed for many centuries before the appearance of printing. As a means of expression of social consciousness, the manuscript book influenced the development and formation of ideas and knowledge; however, its sphere of influence was extremely limited. J. Gutenberg’s invention of the European method of printing (mid-15th century) opened up a new era in the history of books; the printed word became an important factor in social development.
The publishing house emerged as an enterprise for the production of printed matter in Europe in the 16th century. The genesis of publishing houses was integrally associated with the formation of capitalism. Printer-publishers emerged in the 16th and 17th centuries as a result of the expansion of printing houses, an increase in their output, the necessity for technical and especially financial provisions for production (given the lengthy cycle of publication for an individual book), and the need to organize the sale of books. The publishing activity of Aldo Manuzio (Venice) and C. Plantin (Antwerp), along with the families of Elsevier (the Netherlands) and Etienne and Didot (France), was of great significance. Publishers who did not have their own presses and gave the books they published to commercial firms appeared in the 18th century.
The development of publishing encountered considerable difficulties because of the hostile attitude of the feudal and church authorities toward the printing and distribution of secular books, which were a weapon of the bourgeoisie in the struggle against the feudal and clerical system. Publishing was contingent upon special permission; books, journals, and newspapers were subject to strict censorship. Taxes and duties were imposed upon publishing houses; they were punished by fines and shut down, and the owners of publishing enterprises and printing houses were brought to trial and given harsh sentences.
The victory of the bourgeois social system over feudalism in a number of European countries facilitated the development of publishing. From the 18th through the mid-19th century, the process of forming publishing houses and their quantitative growth in all countries proceeded with increasing rapidity. The functions and structure of publishing houses became considerably more complex. Editorial, bibliographical and informational, and advertising activity developed, as well as bookselling (in the «publishers’” book trade). In publishing generally, and in book production in particular, machine technology was rapidly introduced. The invention of machinery for paper manufacture in the late 18th century expanded and considerably improved paper production and made it cheaper; the appearance of the cylinder press in the early 19th century, as well as the invention of other typographic machines, considerably expanded the potential of typography. The process of specialization of publishing and typographic enterprises in the publishing business began in the mid-19th century, with the emergence of a new, strong technical base. As the period of monopoly capitalism began (the late 19th to early 20th century), there was massive organization of publishing houses on the model of joint-stock companies, and thereafter book and newspaper-magazine publishing houses were organized into trusts.
Publishing houses are divided into book, book-magazine, and newspaper-magazine types, depending on their products. The nature of the publishing house is determined by the intended readership – scientific, popular, children, or youth; the subject matter of the publications determines the type of the publishing house – general-purpose or specialized.
The production of books intended for distribution was known in Rus’ as early as the turn of the 11th century. Books were copied by special scribes in monasteries and at princes’ courts and by professional artisans in the cities. In the 15th to the mid-16th century, the book business expanded in conjunction with the formation of the centralized Russian state, the development of handicrafts and trade, and the growth of cities and development of urban culture. Multivolume manuscript works, general Russian annals, and many other works appeared. In 1551, at the Stoglav (Hundred Chapters) Council, Ivan IV declared: «Scribes write from inaccurate translations, and having written, do not correct them… and in God’s churches people read, sing, and write from these books.» Printing was able to facilitate the establishment of uniformity in church books.
The first printed Slavic books using Cyrillic characters were published by Szwajpolt Fiol in Kraków at the end of the 15th century. At the beginning of the 16th century, the first Byelorussian printer, Frantsisk Skorin, organized book printing in Slavonic in Wilno (Vilnius).
3. Answer the following questions:
1. What is publishing?
2. What is the genesis of publishing houses associated with?
3. What are publishing houses divided into?
4. Who wrote books before the invention of printed press?
5. Where and when was the printing in Belorussia organized?
6. Who are the prominent figures in Russian printing era beginning?
4. Translate the following sentences into Russian:
1. The level, scope, and orientation of publishing are determined by the material, sociopolitical, and cultural conditions of a society.
2. J. Gutenberg’s invention of the European method of printing (mid-15th century) opened up a new era in the history of books; the printed word became an important factor in social development.
3. From the 18th through the mid-19th century, the process of forming publishing houses and their quantitative growth in all countries proceeded with increasing rapidity.
4. Taxes and duties were imposed upon publishing houses; they were punished by fines and shut down, and the owners of publishing enterprises and printing houses were brought to trial and given harsh sentences.
5. The process of specialization of publishing and typographic enterprises in the publishing business began in the mid-19th century, with the emergence of a new, strong technical base.
6. Books were copied by special scribes in monasteries and at princes’ courts and by professional artisans in the cities. In the 15th to the mid-16th century, the book business expanded in conjunction with the formation of the centralized Russian state, the development of handicrafts and trade, and the growth of cities and development of urban culture.
7. The nature of the publishing house is determined by the intended readership – scientific, popular, children, or youth; the subject matter of the publications determines the type of the publishing house – general-purpose or specialized.
5. Give the English equivalents from the text given above:
Отрасль культуры и производства; появление новой технической базы; быстро увеличивается; количественный рост; продажа и распространение книг; писцы; многотомные рукописи; увеличение выхода продукции; издательства делятся; наказывать штрафами и суровыми приговорами; развитие ручного труда; культура города; профессиональные мастера; распространиться в значительной степени.
6. Fill in the gaps with the words from the text:
1. The level, __________, and orientation of publishing are determined by the material, sociopolitical, and cultural __________ of a society.
2. The publishing house __________ as an enterprise for the production of printed matter in Europe in the 16th century.
3. Publishing was __________ upon special permission; books, journals, and newspapers were subject to strict __________.
4. Books were copied by special __________ in monasteries and at princes’ courts and by professional __________ in the cities. In the 15th to the mid-16th century
5. The first printed Slavic books using __________ characters were published by Szwajpolt Fiol in Kraków at the end of the 15th century.
7. Translate into English:
1. Издание печатных книг связано с появлением европейского метода печати.
2. Начиная с 18 века и до середины 19 проходил л процесс образования издательств и их быстрый количественный рост.
3. Функции и структура издательства становились все более сложными.
4. В 1551 года в книге Стоглав Иван Грозный писал: «Писцы переписывают книги из небрежных переводов… и не проверяют после написания, а в церквях люди читают, поют и пишут из этих книг»
5. Печать могла облегчить установление единообразия в церковных книгах.
6. В начале 16века первый белорусский печатник Франциск Скорина организовал книгопечатание в Вильно.
7. На издательские дома накладывали налоги и штрафы.
TEXT 2
1. Read and learn the following words and expressions:
1. scholarly – учебный, научный
2. responsibilities – обязанности
3. bound book – книга в переплете
4. to assume – предполагать, допускать
5. to contract – заключать договор
6. schedule – планировать, разрабатывать план
7. conversion – превращение
8. in the long run – в конечном итоге, в конце концов
9. primary – имеющий первоначальное значение
10. to apply – применять
11. applying the standards – применяя стандарты
12. guidelines – руководства
13. technical editing – техническое редактирование
14. adherence – строгое соблюдение
15. awkward – нескладный, нелепый
16. yearbook – ежегодное издание
17. page layout – компоновка страницы
18. font- вид шрифта
19. header – заголовок
20. to dedicate – предназначать
21. peer-edit – рецензируемое издание
22. dedicated – специализирующийся, специальный
23. punctuation – пунктуация
24. construction of tables – построение таблиц
25. abbreviations – сокращения
26. selection of headings – выбор заголовков
27. citation of references – цитирование источников
28. presentation of statistics – выкладки статистики
2. Read the text below:
http://en.academic.ru/dic.nsf/enwiki/113672#Scholarly_books_and_journals
Tasuta katkend on lõppenud.