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The article deals with the analysis of literary narrative where a possible unreal fictional world and a possible real fictional world usually coexist. When the norms of life plausibility are consciously violated, the real and the unreal possible worlds are emphatically opposed. Hence, their certain aspects are depicted in a fantastically exaggerated form. The interaction of possible worlds in a literary narrative destroys the stereotypes of the reader's perception. It can occur in different planes: structural (a shift of plot elements of the story, transformation, unusual, sharp turns of the borrowed plot, violations of a plotline); fictional (a combination of real and fantastic features in one image); temporal (violations of the chronological flow of time, a shift of time flow); spatial (expansion or contraction of space, magical spatial formations, displacements, deformations). By their nature, the interaction of different possible worlds can be continuous, partial, and fragmentary; resulting from their boundaries may overlap or be violated (entirely or partially). The continuous interaction of different possible worlds, destruction of their borders, although they do not disappear completely, make them largely blurred, interpenetrating each other. In the case of partial interaction of possible worlds, their boundaries intersect. In the case of fragmentary interaction of possible worlds, their common points are slightly visible, for example, only the borrowed title of a literary work or a character's name, or a fantastic concrete event or a place of the event.

This paper aims to demonstrate the effectiveness of the Conversation Analysis Tool in the context of teaching world literature to senior students majoring in English philology. The authors present their experience of undertaking a three-month online course "Constructive Classroom Conversations: Mastering Language for College and Career Readiness," hosted by Stanford University, and discuss the benefits of applying this tool at universities. The study describes the basic mechanisms of the Conversation Analysis Tool aimed at developing specific communication skills in students of English for Speakers of Other Languages. The central research question is whether this method is as feasible for teaching literature as it is for language classrooms. The authors demonstrate their takeaways from applying this technique in teaching world literature, namely, analyzing literary dialogues in different classroom activities. The research findings indicate that the Conversation Analysis Tool is an efficient method for the formative assessment of senior students in the world literature classroom. This technique helps students reveal the pragmatic features of fiction dialogues, the writer's narrative intentions, and the reader's expected reception. The suggested method also demonstrates students' progress in the studied topics and identifies possible gaps in mastering the educational content. The significance of the study extends beyond the specified context, as the search for novel instruction techniques targeted at improving communication skills in the 21st-century globalized world is relevant for any educational sphere. Consequently, the research findings of this paper can be applied in different teaching settings.

Copyright of Scientific Journal of Polonia University is the property of Polonia University of Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scientific Journal of Polonia University is the property of Polonia University of Czestochowa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The idea of the University, which evolved from the concepts of Wilhelm von Humboldt, John Newman, José Ortega y Gasset, Karl Jaspers, Hans-Georg Gadamer and others, under conditions of modern civilizational transformations requires a new (re)interpretation. It is necessary to highlight its meaning-making horizon, to determine its features and place in the latest educational discourse. In accordance with the formation of a new, qualitatively different, cultural and axiological paradigm, education in the humanities acquires special importance. The metamodern worldview and world perception are being developed in the direction, which was metaphorically defined by Claude Lévi-Strauss, because indeed the 21st century more and more convincingly testifies to rapprochement with the humanities. In order to implement the essence and maintain balance in the structure of the University, we must take into account the current challenges, threats and expectations that define the humanitarian horizon. Metamodernist accents highlight the new possibilities of education in the humanities, and open perspectives for personal self-fulfillment in the complex and unpredictable coordinates of the post-digital reality. [ABSTRACT FROM AUTHOR]

The article examines the cognitive aspects of the representation of memory in the artistic narrative of prose works by Jostein Gaarder (Through a Glass, Darkly, The Orange Girl, The Castle in the Pyrenees). In the context of forming the methodological foundations of cognitive narratology, one of the methods for creating a cognitive model has been studied. The article analyzes the category of memory in the ratio of levels of narration, narrative, and reception with subsequent interpretation. Emphasis is placed on the specifics of artistic space and time, primarily on the combination of the most static descriptive and event-related components of the presentation with manifestations of emotional and psychological tension in the perception and understanding of the story. Memory is considered as a factor of correlation of time parameters of the story development, as a means of correlating the time of the story and the time of narration, and further -- their synthesis with the time of interpretation. The concept of the "cognitive model" is applied to study the narrative aspects of text formatting to deepen the psychologization of the image. The study relies on the literary works by the Norwegian writer and clarifies some regularities of the representation of the story in the form of an artistic narrative, as well as in the projection on the psychological aspects of its perception and understanding. [ABSTRACT FROM AUTHOR]