Chapter 1: Introduction
1.1. Rationale
In English teaching, the main objective is to prepare students for communication in the real
world and it is very important for a learner to efficiently equip himself with four skills,
together with relatively sufficient background knowledge. However, obtaining a good
command of English communication is not easy for all students; it needs a great effort from
them which emphasizes much practice, especially self-study.
Of the four language skills-Listening, Speaking, Reading, and Writing-that all language
learners are supposed to acquire. Listening is believed to be the most challenging due to the
complex and subtle nature of listening comprehension in a second or foreign language.
Teaching listening is not an easy job at all when we, the English teachers, face the fact that
learners have met many difficulties in comprehending the information due to unfamiliarity
with the pronunciation of the target language and a lack of listening skills. To overcome
those difficulties, it is necessary for students to keep on practice overtime, and one of the
ways to make students practice is by using portfolios to learn at home. This means of study
is rather effective for students to improve their listening skills as portfolios are systematic,
purposeful, and meaningful collections of students' works in one or more subject areas and
they reflect the actual day-to-day learning activities of students.
For the third year English major students at Hong Duc University, they can not avoid
common problems related to listening. When dealing with a listening lesson, they often
experience a lack of background knowledge and cultural understanding, poor ability to
understand spoken language, irrelevant teaching materials etc. Besides, two periods (45
minutes each period) of listening every week is not enough for students to be good listeners
if they do not spend much more time than that on their self-study. Clearly, portfolios which
reflect what has been done at home are an important element in language teaching and
learning, which on one hand helps the teachers to assess what their students have done at
home and on the other hand keeps students continuously learning. Hence, they need a lot of
modifications for the sake of perfection. To enhance students’ listening skill development,
it’s the teacher’s job to create more opportunities for the students to learn from their own
strengths and weaknesses as well as their peers' weaknesses and strengths. It is, therefore,
necessary to bring them opportunities to overcome those difficulties and among the

Division of Language skills Development
- To examine the students’ preferences for the portfolios.
- To give some suggestions for using the portfolios to enhance students' self-listening
learning.
1.3. Research questions
As a basis for my investigation, the following research questions were formulated:
1. What are the teachers’ and students’ attitudes towards the application of listening
portfolios in self-learning?
2. What are the teachers’ and students’ opinions of the current portfolio contents?
3. How can portfolio contents be improved to help students develop their self-listening
study?
1.4. Methods of the study
To seek answers to the research questions, the data are analyzed from material collection
and were collected from survey questionnaires.
First of all, for the theoretical basis, a lot of reference materials on listening skills and
portfolios have been collected, analyzed and synthesized carefully with the due
consideration for the teachers’ and students’ teaching and learning situations.
Secondly, the questionnaires are carried out with the teachers and the students to collect the
most reliable data for the study.
1.5. Design of the study
2
The thesis is divided into five chapters: Chapter I: Introduction; Chapter II: Literature
review; Chapter III: The study; Chapter IV: Major findings and Discussions and Chapter V:
Conclusion.
Chapter I: Introduction
This chapter provides an overview of the study such as the rationale, the scope, the aims,
research questions, significance and methods of the study.
Chapter II: Literature review
This chapter conceptualizes the nature of the listening comprehension, the importance of
listening and the importance of students' self-access listening, definitions of the portfolio,

it oral), "it is of vital importance that our pupils be taught to listen effectively and
critically" he says.
Bentley & Bacon (1996) state that listening, an important part of the second language
learning process has also been defined as an active process during which the listener
constructs meaning from oral input.
Grey Buck (2001: 31) shares the idea that " listening comprehension is an active process of
constructing meaning and this is done by applying knowledge to the incoming sounds" in
which " number of different types of knowledge are involved: both linguistic knowledge
and non-linguistic knowledge". In another expression, Grey Buck (2001: 31) points out
"comprehension is affected by a wide range of variables, and that potentially any
characteristic of the speaker, the situation or the listener can affect the comprehension of
the message."
Scarcely and Oxford (1992) also point out that comprehension of a spoken message can
either through isolated word recognition within the sound stream, phrase or formulae
recognition, clause or sentence, and extended speech comprehension.
Woven and Coakley (1985) hold the different idea. They see listening as "the process of
receiving, attending to and assigning meaning to aural stimuli". This definition indicates
that listening is a complex process which students have to deal with. The task of listening is
not only perception of sound, but it also requires comprehension of meaning. This
definition is the same with second language theory which regards listening to spoken
language as an active and complex process in which listeners pay much attention to aspects
of aural input, generate meaning, and link what they hear to existing knowledge (O'Malley
& Chabot, 1989; Byrnes, 1984; Richards, 1985; Howard, 1983).
Scott Shelton (2008) thinks that listening effectively is a demanding and involved process.
One must be able to deal with different accents or pronunciation, unfamiliar lexical items
and syntactic structures, competing background noise, and also make a conscious effort to
not 'switch off' or become distracted while listening. All of this must be achieved and dealt
with more or less simultaneously in order to identify and understand the meaning in any
given message.
To sum up, the issue of whether which view is the best is controversial. However, in the

- social
Procedural knowledge
- how language is used in discourse
Knowledge of situation
- physical setting, participants, etc
Knowledge of co-text context
- what has been/ will be said (written)
Knowledge of the language system
- semantic
- syntactic
systematic
knowledge
- phonological
Figure 1. Information sources in comprehension
(Adapted from Anne Anderson & Tony Lynch, 1988, p.13)
According to Mendelson (1994: 94, cited by Vandergrift, 1999: 176), the performance
checklist for listening comprehension

process is to be used during learner's listening
process:
Name: ___________________________ Date: ____________________
Question: After first listening Before second
listening
Guess? Reason(s) V Other possibilities?
5
C
O
M
P
R

meaning from the phoneme-level up to discourse-level features.
Richards (1990:50) breaks down the process used in listening comprehension into two
distinct types, referring to them as 'bottom-up' and 'top-down' processing. The former is
described in Cook's Discourse (1989) as: 'Interpreting the lowest-level units first, and then
proceeding to an interpretation of the rank above, and so on upwards.' In other words, we
sometimes need to rely on our knowledge of grammar, syntax, and lexis, and apply that
knowledge when confronted with an incoming message in order to achieve comprehension.
On the other hand, we might apply a top-down approach to aid comprehension. This is
defined as:
'Interpreting discourse by hypothesizing about the most general units first, then moving
downwards through the ranks below.' This means applying our background knowledge to
aid in understanding the meaning of a message.
Richards (1990:51) explains that:" This may be previous knowledge about the topic of
discourse, it may be situational or contextual knowledge, or it may be knowledge stored in
long-term memory in the form of 'schemata' and 'scripts' - plans about the overall structure
of events and the relationships between them."
Anderson and Lynch (1988:22) argue that research has shown that the assumptions in the
'bottom-up' model are incorrect. They state that: "Listeners would not be able to perceive
speech as successfully as they do if they were in fact engaged in a process of building up
the recognition of words solely by attempting to identify their constituent phonemes."
6
In teaching listening skills, we need to be aware of how these processes work and guide our
students, through the use of different tasks if we are to aid them in improving their listening
comprehension. I believe we can help advanced learners by drawing attention to these
strategies and overtly practicing these listening skills in the classroom.
2.2.2. The importance of Listening
Listening is getting more and more important in many foreign language contexts, which
have until relatively recently focused their efforts on the development of other language
skills such as writing skills. This growing importance is reflected in the proliferation of
commercial listening courses. The importance of listening in second and foreign language

grasping his meaning (Howatt and Dakin). An able listener is capable of doing these four
7
things simultaneously. Willis (1981:134) lists a series of micro-skills of listening, which
she calls enabling skills. They are: (1) predicting what people are going to talk about, (2)
guessing at unknown words or phrases without panic, (3) using one's own knowledge of the
subject to help one understand, (4) identifying relevant points; rejecting irrelevant
information, (5) retaining relevant points (note-taking, summarizing), (6) recognizing
discourse markers, e. g., Well; Oh, another thing is; Now, finally; etc, (7) recognizing
cohesive devices, e.g., such as and which, including linking words, pronouns, references,
etc, (8) understanding different intonation patterns and uses of stress, etc., which give clues
to meaning and social setting, (9) understanding inferred information, e. g. , speakers'
attitude or intentions.
Edurne Scott (2008) also points out that the sub-skills that can be emphasized in a listening
lesson include: (1) listening for specific information, (2) following topic shifts, (3)
predicting, (4) recognizing transitions and sequence markers, (5) recognizing word
boundaries, (6) identifying key words, (7) and taking notes.
According to Austin Shrope (1970), it is listening on the fourth level that primarily
concerns us in our teaching. Such listening may add an emotional and dramatic quality.
Radio and recordings highlight the importance of listening. Listening is as active as
speaking (the other productive skill), and in some ways even more difficult. It well requires
attention, thought, interpretation, and imagination. To improve our learners' listening skills,
they should be allowed to: (1) adopt a positive attitude, (2) be responsive, (3) shut out
distractions, (4) listen for the speaker's purpose, (5) look for the signals of what is to come,
(6) look for summaries of what has gone before, (7) evaluate the supporting materials, (8)
and look for non-verbal clues.
Richards, J. C. (2005) also provides such skills taxonomy for developing students'
listening skills as presented in Appendix P.xix
To sum up, as the focus of language teaching and learning has moved from teacher-
centered approaches to more learner-centered ones, the focus of listening teaching and
learning has also changed a lot. That's why listening is now recognized as an active

other hand, difficulties that teachers anticipate can produce no trouble at all. Teachers must
be prepared to interrupt their planned sequence to cover points that are causing difficulty, or
that students themselves bring up, rather than working mechanically from step one to the
end of their lesson plan, with no deviations for student needs.
• Allowing students time to reconsider
We all know that a lesson is not a test but a training session. It is therefore not cheating to
let students hear a passage several times, in small sections, with pauses, or in any other way
that is helpful to them. They should not be expected to find the answers immediately,
either. Students often need time to think about their initial answers and reconsider them. It
is very useful to give the students the chance to get some of the answers, and then to listen
again. The next time they listen they will already be altered to those parts when they need
to pay more attention. This really works in a listening lesson.
• Preventing panic
The feeling of anxiety at impending failure often totally incapacitates a student. This can be
alleviated in several ways:
- The idea of a lesson as a training session, not a test, should be stressed at all costs.
- Recorded materials can offer their own sense of security while the students are learning to
listen better, provided that they or the teachers are able to use the controls of the playback
machine in a way that lets them hear that parts that bother or interest them as often as
necessary.
9
- Face to face listening offers the chance to interrupt and ask for clarification or repetition,
and students should be trained not to be shy about this.
- It gives the students a sense of autonomy and self-reliance if teachers teach them ways of
writing down words or phrases that they do not understand. So they can read them back
later.
- The teachers should always try to use listening experiences to illustrate 'reasons to be
hopeful about making sense of spoken English.
2.2.3.3. Teacher's roles
According to Austin Shrope (1970), a teacher's roles in a listening lesson are to create

It is clear that classroom listening activities tend to be controlled by the teacher. Even when
students listen privately for part of the time, this is only because the teacher has planned it
that way. In self-access listening, the teacher uses no such control, but he does still have a
responsibility to enable students to finds ways of working that suit them.
* Autonomy for the students
Is it possible for all students to work well by themselves from the very beginning? The
answer is 'No' because autonomy is often developed from having the right amount of
support at the right time, with the support being gradually lessened as students become
more confident. According to Shelagh Rison (1986), a good catalogue, usable worksheets
and your guidance will all contribute as follows:
• The teacher's role changes in self-access work. He becomes more of a manager and
a counselor than an informant. All the students need the teacher to be available as a source
of advice, or just as someone to boast to about an achievement.
• Having the right equipment also counts. Cassettes are much more convenient and
tangle-free than reel-to-reel tape for use in a self-access library.
• It's necessary that when a listening task involves searching for certain information,
there is an answer sheet that the students can find easily for themselves. Another loose-leaf
binder, with all the answer keys in it, can be kept next to the main catalogue. Students will
then need to consult the teacher only in cases where they don't understand why a certain
answer is wrong or right, and will be independent as far as checking routine answers are
concerned.
* Listening outside the classroom
Most of the English teachers hope that students will be able to use English learnt at
schools, universities or other institutions in real life at some point. It's because that not
everyone will have the chance to go abroad, or even to use the language often within his
own country, but opportunities do exist to listen to English in a pleasurable or useful way.
For teachers working with students within the United Kingdom, or other English speaking
countries, the opportunities to use English outside school are huge, but those working
abroad need not despair either. There are two ways in which you can encourage students to
listen to outside the school. The first is to get students to exercise their listening outside

Lima and Devito, 1994); their contents and their implementation. For instance, Patricia L.
Rieman and Jeanne Okrasinski (2000) state that " a portfolio is an assessment tool that
allows creator to put his or her best foot forward and document the knowledge and skills
mastered through the learning process". Other authors share the same idea that the
portfolio is a part of an alternative assessment program. Arter and Spandell (1996: 210)
consider portfolio as "a purposeful collection of student work that tells the story of the
student's efforts, progress or achievement". Also Freeman and Lewis (1998: 271) state
portfolio as "a collection of materials assembled by students to demonstrate achievement".
The portfolio definition given by Murray (1995) is that the teacher should decide how the
portfolio is to be used before deciding on the content. If the portfolio is to be used for
summary evaluation, such as tenure decisions, then it should probably only contain the best
of a student's work.
Our working definition for our students' listening portfolio is a collection of materials
related to our class interactions and readings. You may put them in any appropriately-
sized binder or folder'. In other words, the students' self-listening portfolio is 'an organized
collection of their work in listening skills that indicates the products of their own learning
process'. The collection is made up of listening portfolio cover sheet, declaration and
statement of authorship, index of listening files, listening portfolio - File identification, text
outline, team work - collaboration peer assessment, portfolio assessment checklist. This
12
working definition is regarded as a good foundation for the researcher to deal with the
portfolio contents as mentioned in the following section.
2.3.3. The contents of Portfolios
Each kind of portfolio contents serves its own purpose. For instance, showcase portfolios
are made up of the best work that illustrates outcomes; evaluation portfolios include formal
and best work samples while most of the portfolio types focus on student self-assessment.
The contents of portfolios are also constructed from class assignments. It is the teacher who
knows his students best initiates the portfolio contents. The development of portfolios may
focus on a single area such as reading, writing, literature and science or other portfolio
programs that cover two or more fields such as reading and writing.

in the student portfolios, and that can be arise from a review of portfolios that show
a particular interest or challenge to overcome.
For each item, a brief rationale for choosing the item should be covered. This may relate to
students' performance, to their feelings considering their progress and themselves as
learners.
According to Nguyen Thi Huong et al (2007: 11-13), Listening portfolio entails teamwork,
exposure to a variety of listening resources, and listening practice. Thus, apart from
listening skill building, the task also aims at students’ development of information literacy
and collaboration skills. The contents of portfolios are presented as follows:
A. Cover Sheet (See Appendix 3, p.viii)
B. Declaration and Statement of Authorship (See Appendix 4, p. ix)
C. Index of Listening Files (See Appendix 5, p. x)
D. Listening Files
1. File identification (See Appendix 6, p. xi)
2. Full script
E. Reflection checklist
Students are to write only one reflection for the whole portfolio, and this should not exceed
600 words (two pages). The reflection should contain the following components:
1. Reflection on strategies used.
- The steps students went through when doing the portfolio.
- The strategies students used while transcribing the files, especially how they coped with
words that are hard to identify.
2. Reflection on the contents of the files.
- What (background) knowledge students have gained through flowing the issues.
- What contents students like and dislike most or any information that makes a deep
impression on them.
F. Glossary (See Appendix 7, p. xii)
G. Work distribution (See Appendix 8, p. xiii)
H. Collaboration peer assessment sheets (See Appendix 9, p. xiv)
I. Portfolio assessment sheet (See Appendix 10, p. xvi)

interaction in order to facilitate focused intervention, decision-making or joint problem-
solving in due time.
Principle 2: a portfolio should document the reflective thought of the learner.
2.3.5. Stages of Portfolio implementation
There are various authors whose recommendations for portfolio implementation emerge in
the literature (Wiener and Cohen, 1977; Hill, Kamber and Norwich, 1994; Valencia and
Place, 1994) and include criteria to be observed for effective implementation and
procedures to be done. For instance, Hill et al. (1994) recommend a range of steps
including defining the portfolio purpose, teaching students self-reflection, structuring
portfolio reviews, making time for peer evaluation, and sharing portfolios with parents.
Also, Wiener and Cohen (1979) support a process relating to a succession of self-reflection
and dialogue among students, teachers and parents.
15
According to Mattew and Shimo (2002), there are five basic stages that must exist in the
implementation of portfolios. They are: collection, selection, reflection, evaluation and
celebration. These steps make portfolio implementation better and more thoughtful
learning.
Stage 1: Collection
In this stage, teachers and students work together to save artifacts that represent successes
and opportunities for growth.
Stage 2: Selection
In this stage, teachers and students review and assess the saved artifacts and jointly decide
which of those artifacts best demonstrate the achievement of learning goals.
Stage 3: Reflection
In this stage, students express their thinking about each piece in the portfolios. They assess
their own growth overt time as well as identify and gaps in their development. It can't be
denied that this stage is the most important and it is what enables portfolios to become
lifelong tools.
Stage 4: Evaluation
In this stage, students compare their reflections to the pre-set goals and other achievement

2.4. Summary
In this chapter, the relevant literature which is needed to form the theoretical and
conceptual framework for the current study is presented.
To begin with, prominent definitions of listening comprehension are introduced according
to some outstanding scholars, and then the listening process is presented so as to
investigate the nature of listening comprehension.
What's more, the presently prominent groups of models of the listening process have been
discussed as they all have important contributions to the nature of listening comprehension
and the listening process. Also, the importance of listening is mentioned including some
small points relating to the issue.
Last but not least, the concepts and ideas relating to the portfolios such as definitions of
portfolio, stages of portfolios, portfolio contents and importance of portfolios in learning
listening are conceptualized, discussed and analyzed as a base for the study.
Chapter 3: The study
3.1. Introduction
There are two parts in this chapter: The first part is the analysis of the situation of the study
with the description of the subjects, the materials the teachers use, the listening syllabus
and the instruments used to gather data. Later on is the comprehensive analysis of the data
gathered from the survey and the findings.
3.2. Situation analysis
3.2.1. The setting of the study
17
The study was conducted at the Foreign Language Department, Hong Duc University. The
university is a new provincial one; everything is still in the process of innovation and
development. We are on the way to look for better things. The Department offers a four-
year B.A, English program for English major students. EFL is taught and learnt officially
as a university major in an academic setting. Like many other subjects, English is taught in
a formal setting of the classroom. The four-year training program is divided into two
phases. In the first phase, which lasts for the first two years, the students study the four
language skills: Listening, Speaking, Reading and Writing. In the second one, when the

18
Having worked as language teachers for over five years 5/10
Having taught listening for over 3 years 4/10
Table 1: Summary of information about the staff s background’
3.2.3. Listening course books
Actually, all the materials used for teaching and learning listening for the third-year
students are chosen and prepared under the tendency of task-based approaches. The
curriculum for each academic year consists of two terms, 15 weeks for each. During each
term, a number of selected topics together with a wide range of different tasks are covered
with a view to helping the students to enhance their listening skills. These selections are
based on the students’ level of English, their interests and the objectives of the term.
The third – year students under investigation have just finished their first two years.
Students have 2 periods of listening skills per week, equal to 90 minutes every week. In-
class activities are those which focus on listening skills. Students have lessons on listening
skills with P-W-P frame (Pre-listening, While-listening and Post-listening). Teachers play
roles like instructors, monitors, facilitators to help students acquire the knowledge of each
lesson learned.
3.2.4. Teaching and learning listening skills
It stands to reason that listening teachers are in charge of improving students’ skills to
listen to English. In other words, the teachers need to have knowledge of the skills
available to listeners for use while listening. Generally speaking, students are supposed to
be familiarized with basic listening skills, different kinds of listening exercises, and most
widely recognized English accents. The students are also expected to have been able to
understand clearly and slowly articulated English speech related to areas of most
immediate priority (e.g. very basic personal and family information, shopping, local
geography, employment, etc.)
In terms of language, to further develop the students’ listening skills, the teachers address
all the three developmental levels of listening (literal, interpretive and critical), provides
more listening practice with input of higher difficulty and trains a wider range of listening
strategies so that at the completion of the course, students can achieve the objectives.

summarize, analyze and report the collected data as all informants submit the answers to
the same questions. Finally, the questionnaires offer all informants an opportunity to denote
their attitudes towards teaching and learning the listening skills freely because their
personal information is ensured in the strictest confidence. According to Gillham (2000)
and Nachmias (1996), the respondents are not put under pressure of time i.e. they answer
the questions in their own time and at their own pace, and in an anonymous style of
responding, they undoubtedly feel free and comfortable to answer questions and give
reliable responses. Therefore, questionnaires were chosen as a data collection instrument in
this study because the information collected was objective and reliable.
3.4.1. The questionnaire for the students
The questionnaire was designed with three parts. Part one comprises the first three closed
questions that the author desires to explore the students' attitudes towards the portfolios.
Questions 4, 5, 6 and 7 are aimed at getting data on the response of students' preferences
for portfolio contents. They are multiple choice questions to which the participants can
choose more than one option and if necessary can supply other choices.
20
The final part of the questionnaire was made to find out the students' suggestions for the
application of portfolios.
3.4.2. The questionnaire for the teachers
The questionnaire (with 8 questions) completed by the teachers consisted of three main
points. To begin with, their attitudes towards the role of portfolio will be gathered through
answers to the first four questions. Next, the present use of portfolio for the students' self -
learning will be surveyed with a view to seeing whether all teachers do the same thing in
the portfolios, which portfolio contents are often employed and what are their difficulties
when dealing with them? Finally, the rest of the question (8) is aimed at investigating the
teachers' suggestions to improve them.
3.5. Data analysis
This part of the thesis is the treatment of all the data collected from the survey
questionnaires conducted on 10 teachers and 62 students of the Foreign Language
Department and the researcher's observation in three group meetings. The analysis of the

7 70%
C. To have students peer-coach. 6 60%
D. To help the students to continue their life long learning
process.
8 80%
E. To get the students involved in new ways of teaching
and learning English.
3 30%
Table 2: Purposes of applying the portfolios
It is obvious that before employing the portfolios the teacher often thinks of its purposes.
For the portfolio, certain aims are set for the sake of the students. Table 2 shows that the
first purposes of using the portfolios are to enable the students to study outside the class
(90%) and to help the students to continue their life long learning process (80%). Actually,
students' self - study and life long learning process are the main factors of the portfolios
which can improve the students' listening skills. If the students don't work on the self-
listening portfolios and are not aware of the importance of lifelong learning process, surely
their learning process will be negatively affected. Providing the students with opportunities
to work in teams or groups is another purpose, which is set by 7 informants (70%). Next, 6
out of 10 teachers say that having the students' peer-coach is also one of the purposes.
Three teachers (30%) think that through the portfolios, the students may get involved in
new ways of teaching and learning English.
3.5.1.2. The situation of applying the working portfolio contents in FLD.
Question 5: How often are the following contents employed in the portfolios?
22
Always Sometimes Rarely Never
N
0
% N
0
% N

1. Cover sheet 1 10%
2. Declaration and statement of authorship 1 10%
3. Index of listening files 6 60%
4. Reflection checklist 9 90%
5. Glossary 7 70 %
6. Making text outline of each listening file 9 90%
7. Collaboration peer assessment sheets 6 60%
8. Portfolio assessment checklist 4 40%
9. Final grapes report form 3 30%
10. Attached disc or tape 7 70%
11. Listening files 6 60%
12. Work distribution 8 80%
Table 4: Contents that are useful for enhancing students' self-listening
The table indicates that in the portfolios, making text outline of each listening file, and
reflection checklist are reported to enhance the students' self - learning. Nine teachers
(90%) find them most useful because they help the students to use different listening
strategies for the completion of the tasks. For example, they have to listen to the whole text
for the main ideas and then combine these main ideas to make an outline. Through
listening, they also have to list out new vocabulary, structures and even phonological
23
aspects and listening skills they use for listening. The next group of useful contents falls
on work distribution among group members (80%). What's more, seven informants (70%)
share that writing glossary and attached disc or tape would be of great tool to the students'
self - learning. Index of listening files, listening files and Team work - Collaboration peer
assessment (60%) may help the students get more involved in the right track of their
responsibilities and the ability to assess their peers' work. The rest of contents seem that
they are not really useful for the students ' self - study, however, they are necessary for the
complete and perfect portfolios.
Question 7: Teacher's challenges when applying the portfolios


3.5.2.1. Students' attitudes towards the portfolios
Chart 5: factors affecting students' self-learning portfolios
A. The lack of team spirits.
B. Team leaders are not active and lack of leadership.
C. Some team members are lazy.
D. Difficulty in finding materials for portfolios.
E. Some parts of portfolios are new and difficult.
The chart presents factors which may affect students' self-learning portfolios. The most
influential factor belongs to team members' laziness. 56% of the students say that some of
25