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This paper studied the significance of teaching literature in the secondary classrooms in the City of Malolos, Bulacan, Philippines. Literature has been imbedded in the English subject curriculum even before the implementation of the K12 Basic Education and the competencies expected to be mastered by the students are already established by said curriculum; however, there are very limited number of studies about the language and literature teachers’ perspective about the significance of literature in teaching the English language subject. Hence, the study tried to utilize the insider’s perspective, or the emic perspective, of the ethnographic research in identifying its significance and possible drawbacks. Twelve teacher-informants participated in a focus group discussion organized by the proponents of the study. The discussion was led by guide questions that were validated through a peer debriefing. On the one hand, it was concluded that teaching literature in the secondary level classrooms enhances critical thinking, strengthens awareness to cultural diversity, and provides support to creative growth. On the other, some teachers think that the drawbacks include: outdated content of lessons, too much emphasis on “literature component”, and lack of resources. Ultimately, it is recommended to enlarge the sample size of the study to gain more insights from the language and literature teachers and to include the perspective of the learners to corroborate the response of the teachers.

The modern development of literary education involves the search for innovative methods of work with texts of fiction – this, in turn, determines the urgency of this study, as well as the need for humanization of education, spiritual and moral improvement of the senior secondary school student with the aim of upbringing a socially responsible and practically oriented person. The problem of using interpretation tools in analyzing a literary work is especially urgent, and this includes various ways of introducing musical interpretations into the structure of literature lessons, so a detailed consideration of musical interpretation as a means of lyric text analysis is necessary. In particular, this is due to the vision of the poetry of Russian symbolism as a separate category that uses the principle of “musicality” as a basis and requires clarification in the framework of school curriculum. The experimentally obtained data have confirmed the relevance of the topic chosen and have allowed outlining prospects for further research in this area. This article describes the use of musical interpretation, integrated into a comprehensive system of comparative and intertextual analysis, with reference to certain works of Russian symbolism and its philosophical concept, explicated by the activating means (symbols) designed to carry out the systematic inclusion of “conceptual content”. In the 11th grade, each particular student or the whole group of students have an individual understanding of the text through musical interpretations. This is combined with the developmental and psychological characteristics of secondary school students, who tend to improvise in the choice of various musical interpretations of the poem. Taking personal characteristics of senior secondary school students into consideration, it is necessary to pay special attention to what own musical interpretations a student can offer or create in the learning process. On a theoretical level, the article presents a variant of realization of a musical interpretation while working with K. D. Balmont’s poem “I am a wild wind, I blow eternally...” (1897) within an optional course designed for secondary school students with a humanitarian bias. The practical part presupposes testing the materials available and evaluating the empirical data.

Die vorliegende Bachelorarbeit untersucht, welche Themen im Drama Faust I von Johann Wolfgang von Goethe für heutige tschechische Schüler der Mittelschulen aktuell sein können und wie man mit diesem Buch im Unterricht arbeiten kann. Im theoretischen Teil wird die Handlung einzelner Szenen des Dramas vorgestellt. Dabei wird vor allem über die Textstellen diskutiert, die aus der Sicht heutiger Schüler für interessant gehalten werden können. Im folgenden Text wird dann nach Parallelen aus der heutigen Welt zu diesen Stellen gesucht. Der theoretische Teil beinhaltet auch Vorschläge für Fragestellungen, die den Schülern während der Interpretation des Dramas gestellt werden können. In jeder Szene wird eine Stelle oder eine Idee genannt, die für die junge Generation besonders aktuell sein könnte. Der theoretische Teil nimmt den größten Teil der Arbeit ein. Sein Ausgangspunkt ist das im Jahre 1945 in Leipzig bei Reclam-Verlag erschienene Buch Faust I. Die benutzte Nummerierung der Verse entspricht auch dieser Ausgabe. Im praktischen Teil wird eine illustrative Umfrage durchgeführt, die darauf abzielt, die im theoretischen Teil formulierten Annahmen zu untermauern oder zu widerlegen. Ein weiteres Ziel des Fragebogens ist es herauszufinden, ob und wie das Werk Faust I in den heutigen Schulen diskutiert wird....

Graphic Novels nehmen momentan innerhalb der Literatur eine immer bedeutendere Rolle ein. Veranlasst durch ihre Besonderheit in Erscheinungsform und Wirkung, stellen sie mittlerweile ein populäres Genre in der Welt der Literatur dar. Daraus resultiert zwangsläufig die Frage nach der Positionierung von Graphic Novels innerhalb der Literaturdidaktik. Im Zuge der vorliegenden Arbeit werden die grundlegenden Charakteristika und rezeptionsästhetischen Qualitäten der Graphic Novel anhand der Untersuchung dreier wirkungsvoller Graphic Novels (Shaun Tan – „Ein neues Land“, Lukas Jüliger – „Vakuum“ und Gaby von Borstel/Peter Eickmeyer – „Im Westen nichts Neues. Nach dem Roman von Erich Maria Remarque“) erörtert sowie in weiterer Folge die Bedeutung der Graphic Novel im Literaturunterricht und im Kontext gegenwärtiger Leitvorstellungen zum literarischen Lernen diskutiert., Florian Novak, Masterarbeit Universität Klagenfurt 2022

В статье рассматриваются письменные и устные задания, которые могут привести учащихся к пониманию поэзии А. Ахматовой. The purpose of this article is to find approaches to understanding of Anna Akhmatova's poetry in the eleventh grade classroom. The author presents written and oral assignments that can lead students to an understanding of the lyrics through independent reading comprehension.

V magistrskem delu sem se ukvarjala z didaktiko književnosti, natančneje s sodobnimi metodami pouka književnosti. Najprej sem predstavila splošno didaktiko književnosti, pouk književnosti in metode, ki jih uporabljamo pri pouku književnosti, pri čemer sem predstavila tri poglavitne – delno in celostno šolsko interpretacijo, komunikacijski pouk ter problemski pouk. V nadaljevanju sem se osredotočila predvsem na slednjo, jo natančneje opredelila in predstavila izpeljano metodo problemsko-ustvarjalnega pouka književnosti, pri kateri učenci pridejo do spoznanj z raziskovalnim delom – reševanjem književnih problemov in poustvarjalnimi dejavnostmi. Svoje, do sedaj teoretično znanje povežejo s problemskimi situacijami in ga s pomočjo problemskih vprašanj uporabijo na drugačen način s primerjanjem, razlikovanjem, povezovanjem, razlaganjem in poustvarjanjem. Pri raziskovanju uporabljajo različne metode. Pomembno je tudi sodelovalno delo med učenci, saj si na ta način izmenjujejo mnenja in (nove) informacije, s čimer lahko pri reševanju književnih problemov odkrijejo več možnih rešitev. Pri poučevanju slovenščine v osnovni šoli sem ugotovila, da je problemski pouk izvedljiv le v modificirani obliki, zato sem v praktičnem delu metodo problemsko-ustvarjalnega pouka in metodo šolske interpretacije priredila oz. združila tako, da je nastala kombinirana metoda, uporabna za pouk slovenščine v zadnjem triletju osnovne šole. Kombinirano metodo sestavljajo motiviranje, najava besedila in njegova umestitev, interpretativno branje, premor, izražanje doživetij, razčlemba besedila in spoznavanje književnega problema, oblikovanje književnega problema, definiranje raziskovalnih metod, samostojno raziskovalno delo, analiza in korekcija rezultatov raziskovanja ter nove naloge. Nato sem podala še konkretne praktične predloge za izvedbo literarnih del v zadnjem triletju. Pri nekaterih praktičnih predlogih sem uporabila še metodo obrnjenega učenja. In my master's thesis, I have dealt with the didactics of literature, more precisely with modern methods of teaching literature. First, I have presented the general didactics of literature, literature lessons as well as the methods that are used in literature lessons, presenting the three main ones - partial and holistic school interpretation, communication lessons and problem-based lessons. In the following part, I have focused mainly on the latter by defining it in more detail and by presenting the derived method of problem-creative teaching of literature, in which students gain knowledge through research work, namely by solving literary problems and doing reproduction activities. Thus, they connect their merely theoretical knowledge to problem situations and with the help of problem questions use it in a different way by comparing, distinguishing, connecting, interpreting and reproducing it. They use different methods in their research. Collaborative work between students also plays an important role, with the help of which students exchange opinions and (new) information with each other, so that they can discover several possible solutions in solving literary problems. During my teaching of Slovenian in primary school, I found out that problem-based teaching is only feasible in a modified form. Therefore, I have adapted it by merging the method of problem-creative teaching and the method of school interpretation and thus a new, combined method was created, which can also be used for teaching Slovenian in the last three years of primary school. The combined method consists of motivation, announcement of the text and its placement, interpretative reading, pause, expression of experiences, text analysis and understanding of the literary problem and its design, definition of research methods, independent research work, analysis and correction of research results and new tasks. With the help of these phases, I have provided concrete practical suggestions for the implementation of some literary works in the last three years of primary school. The advantages and disadvantages of implementing the proposed teaching method according to my model have also been given. I have also used the flipped learning method for some practical suggestions.

The article describes a lesson-portrait model which deals with works of modern poetess Marina Boroditskaya and considers an approach to studying the poems of the poetess in the basic course of literature (after learning mythology in grades 6-7). The lesson focuses on the ability of the children’s poet to transform reality and to create magic. In the course of discussion of the poems it turns out that Marina Boroditskaya creates metaphors in which objects and phenomena turn into their opposites: a little boy becomes the Creator (From Hooligan Motives…) and the war turns into a wedding feast and embrace (Plasticine Army).The lesson is organized in the form of heuristic talk employing such techniques as comparison between the poem and the biblical creation myth (in terms of vocabulary, intonation and plot coincidences), transformation of the poem into a comic, correlation of the images in the poem and certain fragments from the series “Creation of the world. Heaven and Earth” drawn by the French cartoonist Jean Effelas, and predicting of the poem finale. For her variant of studying the works of Marina Boroditskaya with senior pupils, the author chooses two poems. The first poem (From Hooligan Motives...) interprets the cosmogonic myth, and the second one (After the Artist Has Left...) deals with the eschatological myth. Thus, the lesson provides the insight into the personality of the poetess who features a humorous view of life and plays freely with the text of culture.

The article offers a possible lesson for the study of creativity of Gavriil Romanovich Derzhavin in school. We offer material, which can be used by teacher to prepare their own lessons or used in optional lessons of literature of XVIII century in the humanitarian classes. The place of a presumed lessen on the poet`s works is noted; from already studied ‘governmental’ odes the students switch to his spiritual odes, deep reading of which broaden the 9 grade students idea of the genre. Justified collection of works by the artist: (“Swallow”, “On death of prince Meschersky”, “The River of Time in its Course...”). Consideration of Derzhavin’s spiritual odes is tailored to their subject matter, ideas: the works are United by the torment of contemplation of the poet on the phenomenon of human death, which lead him to understand the meaning and purpose of life on Earth. The ode “The River of Time in its Course...” is considered as the preparatory stage of “Monument”. The meditations of poet relative to the sense of creation in this ode manifest courage of his resistance to the immutable law of human existence. They derive conversation about the creation of Derzhavin to the symbolic level. Questions and tasks for the lesson and the independent work of schoolboys are proposed.

As slow reading is not a typical good time nowadays, one of the tasks of contemporary school literature course is to attract students to reading books. The authors of the article, a schoolteacher and a University associate professor, solve the problem by improving teaching technologies. The aim of the authors’ investigation is to find ways of such integration of the classical texts with the forms of youth culture, which would be not in contradiction between the bright form of the event and the very content of the book. Existential-communicative technologies, presented in the article, should, first of all, help schoolchildren to feel personal involvement in the text, and secondly, they create a discussion space for understanding the book. The elaboration of teacher and students literature class interaction is based on the program literature material of 8th grade (Walter Scott, William Golding, Leonid Panteleev, Grigorii Belyh) and of 10th grade (Ivan Turgenev). By activating the role of organizational form in the pedagogical process, the authors of the article advocate greater independence of schoolchildren in the preparation and organization of the lesson. That is why there are examples of the algorithm of training session and the algorithm of preparation for a lesson presented in the article. The forms that bring children closer to the book are adapted from the exterior environment. Nowadays lifelong learning as a popular slogan has stimulated to think up many versions of educational situations which can become the property of teaching methods. The methodologies of the investigation in the article are the theory of educational activity by D. B. Elkonin and V. V. Davydov, and existentional analysis by Alfried Längle. The main method of research is included observation.

The article presents a plan of a lesson on the epistolary novel by the contemporary writer I. Kraeva “Baba Yaga Writes”. The work is based on the technique of “reading aloud”, which allows the teacher to elicit the children’s lively response and to organize a talk. The system of questions is designed to lead the pupils to the understanding of the figurative pattern of the story. The image of the grandmother is interpreted in the novel as an adult key person for the child who teaches them empathy and fantasy, gives them new games, and guides the transformation of the inner world of not only the main character of the novel but also of the environment. The novel is interesting not only in the problem-thematic terms, but also as a work of the epistolary genre. The lesson contains a discussion of the significance of letter writing in the person’s life and the role of letters in general. The main aim of the lesson is to encourage students to read the novel on their own. The article suggests possible variants of creative tasks to establish feedback after reading the book.

Dans cet article nous nous intéressons aux pratiques effectives d’étude des textes observées, en cycle 3, dans les classes des professeurs des écoles stagiaires. Sachant que les programmes en cours demandent explicitement de prendre en compte la subjectivité des élèves dans la réception des textes littéraires, l’objectif est de voir comment cette injonction se traduit en termes d’activités proposées et d’outils utilisés dans les séances de littérature. L’expression et le partage des impressions personnelles, liées aux émotions, aux goûts, aux conceptions, à l’expérience et aux souvenirs de chacun, sont-ils effectivement sollicités dans les activités écrites ou orales mises en place ?Cette analyse s’appuie sur l’observation des comptes rendus de visites élaborés pendant deux ans par les formateurs qui assurent la fonction de tuteurs. Un sondage effectué auprès des stagiaires permet également de confronter les résultats de ces observations aux représentations que les stagiaires se font de la lecture littéraire et du plaisir de lire, pour tenter d’identifier les forces de résistance en jeu dans les conceptions de la didactique de la littérature. This article is about current habits for study of literary texts in elementary school, observed in the classes of trainee teachers practicing in 4th-5th grades/Years 6-7. Knowing that school curricula explicitly request to take into account the subjectivity of students in the reception of literary texts, the objective is to see how this order is followed in terms of activities and tools during literature lessons. Does the expression and the sharing of personal impressions, linked to the emotions, tastes, conceptions, experience and memories of each one, take place within the written or oral activities implemented?This analysis is based on the observation of visit reports drawn up over two years by trainers acting as tutors. A survey has also been carried out, what makes possible to compare the results of these observations with the trainee teachers conceptions of literary reading and reading pleasure and, thereby, allows to identify some resistances at play in understanding didactics of literature.

V svojem magistrskem delu z naslovom Pouk slovenščine na waldorfski gimnaziji v Ljubljani s posebnim ozirom na književni pouk bom predstavila pristope in metode dela na waldorfski gimnaziji v Ljubljani, ki sodi med zasebne šole. Po veljavni slovenski zakonodaji dobijo zasebne šole 85 % sredstev, ki jih prejmejo javne šole, vendar gre zgolj za sredstva, namenjena izvajanju javno veljavnega programa. Položaj zasebnega šolstva v Sloveniji je zasnovan tako, da bogati javni šolski sistem in ne vnaša elementov, ki bi vplivali na zmanjšanje pravičnosti v celotnem šolstvu. Poudariti je potrebno, da zasebne šole v šolski sistem vnašajo možnost izbire, starši pa so tisti, ki imajo pravico izbrati vrsto izobraževanja za svoje otroke. Waldorfska gimnazija dosledno upošteva načela/principe waldorfske pedagogike, ki izhajajo iz poznavanja in upoštevanja dijakovega duhovno-duševnega in fizičnega razvoja. Glavni cilj waldorfske pedagogike je vzpodbujanje zdravega in skladnega razvoja posameznika na telesni, duševni, duhovni in razumski ravni. Osnovni poudarek je na umetniškem načinu poučevanja vseh predmetov in holističnem pedagoškem pristopu. Osredotočila se bom na specifike dela in poučevanja na waldorfski gimnaziji. Opisala bom tudi predmetnik, učni načrt za slovenščino ter organizacijo pouka in vse našteto primerjala z javno gimnazijo. Pri pouku slovenščine bom hospitirala in opažanja reflektirala ter evalvirala. Njihov pristop k delu v razredu dolgoročno bolj pozitivno vpliva na odnos do literature in notranjo motiviranost za branje, ker pri pouku spodbujajo ustvarjalnost ter problemskost. Slednje jim omogoča večja avtonomija, prav tako niso pod takšnim časovnim pritiskom kot v javnih šolah – večinoma se pripravi na maturo posvečajo v 5. letniku. In the bachelor thesis with the title Literature lessons in Ljubljana's Waldorf High School I will be presenting the approaches and methods of work in Ljubljana's private Waldorf High School. According to the current Slovenian laws, private schools get only 85% of the funding compared to public schools however, the funds are meant for carrying out publicly valid programmes. The private educational system in Slovenia is designed in a way that it enriches the public educational system and does not bring elements that would lessen the fairness in the educational system as a whole. It should be emphasized that private schools present an option of choice in the educational system and that the parents are the ones that have the right to choose for their children between the two. Waldorf High School consistently abides with principles of Waldorf education that arise from understanding and taking consideration of the student's spiritual, mental and physical development. The Waldorf pedagogic's main goal is to encourage an individual's healthy and harmonious development on a physical, spiritual, mental nad intellectual level. The main emphasis is on artistic learning and a holistic pedagogic approach. I will be focusing on the specifics of work and teaching in the Waldorf High School. I will also be describing the school's curriculum, syllabus for Slovenian language and lesson organisation and comparing it all with a public high school. In Slovene language classes I will be attending lessons and evaluating my observations. Because the Waldorf High School encourages creativity, their approach in class has a long-term and very positive impact on the pupils' attitude towards literature and their inner motivation to read. The latter is possible because of greater autonomy and not being under such time pressure compared to public high schools – they prepare for the final Matura exam in the 5th year.

Современное развитие литературного образования предполагает поиск инновационных методов работы с текстами художественных произведений – этим в свою очередь определена актуальность научного исследования, а также потребностью в гуманизации образования, духовно-нравственном совершенствовании старшего школьника с целью воспитания социально-ответственной и практически-ориентированной личности. Особо остро ставится проблема использования интерпретационного инструментария при анализе литературного произведения, в том числе соотносятся различные способы введения музыкальных интерпретаций в структуру занятий по литературе, поэтому необходимо детальное рассмотрение музыкальной интерпретации как средства анализа лирического текста. В частности, это связано с представлением поэзии русского символизма в качестве самостоятельной категории, использующей в основе принцип «музыкальности» и требующей уточнения в рамках школьной программы. Экспериментально полученные данные подтвердили актуальность избранной темы и позволили наметить дальнейшие пути решения поставленных задач. В данной статье описывается применение музыкальной интерпретации, интегрированной в комплексную систему сопоставительного и интертекстуального анализа, при точечном обращении к произведениям русского символизма и его философской концепции, эксплицированной средствами-активизаторами (символами), призванными осуществить планомерность включения «концепт-содержания». В 11 классе у конкретного школьника или коллектива обучающихся развито индивидуальное понимание текста посредством музыкальных интерпретаций. Это сочетается с возрастными и психологическими особенностями старшеклассников. Учащиеся склонны к импровизации в выборе тех или иных музыкальных интерпретаций к стихотворению. Учитывая личностные характеристики старших школьников, необходимо уделять особое внимание тому, какие собственные музыкальные интерпретации может предложить или создать ученик в процессе обучения. На теоретическом уровне приводится вариант реализации музыкальной интерпретации при работе со стихотворением К. Д. Бальмонта «Я вольный ветер, я вечно вею…» (1897) внутри факультативного курса, разработанного для учащихся старших классов с гуманитарным уклоном. Практическая часть представлена апробацией имеющихся материалов и оценкой эмпирических данных., The modern development of literary education involves the search for innovative methods of work with texts of fiction – this, in turn, determines the urgency of this study, as well as the need for humanization of education, spiritual and moral improvement of the senior secondary school student with the aim of upbringing a socially responsible and practically oriented person. The problem of using interpretation tools in analyzing a literary work is especially urgent, and this includes various ways of introducing musical interpretations into the structure of literature lessons, so a detailed consideration of musical interpretation as a means of lyric text analysis is necessary. In particular, this is due to the vision of the poetry of Russian symbolism as a separate category that uses the principle of “musicality” as a basis and requires clarification in the framework of school curriculum. The experimentally obtained data have confirmed the relevance of the topic chosen and have allowed outlining prospects for further research in this area. This article describes the use of musical interpretation, integrated into a comprehensive system of comparative and intertextual analysis, with reference to certain works of Russian symbolism and its philosophical concept, explicated by the activating means (symbols) designed to carry out the systematic inclusion of “conceptual content”. In the 11th grade, each particular student or the whole group of students have an individual understanding of the text through musical interpretations. This is combined with the developmental and psychological characteristics of secondary school students, who tend to improvise in the choice of various musical interpretations of the poem. Taking personal characteristics of senior secondary school students into consideration, it is necessary to pay special attention to what own musical interpretations a student can offer or create in the learning process. On a theoretical level, the article presents a variant of realization of a musical interpretation while working with K. D. Balmont’s poem “I am a wild wind, I blow eternally...” (1897) within an optional course designed for secondary school students with a humanitarian bias. The practical part presupposes testing the materials available and evaluating the empirical data., Филологический класс, Vol. 25, № 1, Pages 184-194

Данная статья посвящена рассмотрению использования квест-технологий на уроках литературы и предлагает собственный вариант "живого" квеста по поэме Гоголя "Мертвые души" в 9 классе. В статье приводится краткая история становления и развития квеста как части индустрии компьютерных, настольных и социальных игр, определение и классификация образовательных квестов по сюжету. Особое внимание в статье уделено разъяснению понятия "живого" квеста как самого непопулярного, но наиболее интересного для ученика вида квеста. В статье присутствует описание механики квеста, правил использования реквизита и хода урока. Применение подобных квест-технологий направлено на улучшение навыков интерпретации художественного литературного произведения, коммуникационных и аналитических навыков учащегося. Квест предполагает серьезную подготовку, как со стороны ученика, так и со стороны учителя: изучение правил квеста, печать и ламинирование игровых карточек, проведение игры., This article examines the use of quest technologies on literature lessons and offers its own version of a "live" quest based on the poem by Gogol "Dead Souls" in the grade 9th. The article provides a brief history of the formation and development of the quest as part of the industry of computer, board and social games, the definition and classification of educational quests based on the plot. Particular attention in the article is paid to clarifying the concept of a "live" quest as the most unpopular, but the most interesting type of quest for a student. The article contains a description of the quest mechanics, rules for using props and the progress of the lesson. The use of such quest technologies is aimed at improving the skills of interpretation of a literary work, communication and analytical skills of the student. The quest involves serious preparation, both by the student and by the teacher (studying the rules of the quest, printing and laminating game cards, and playing the game)., Уральский филологический вестник, Issue № 3, Pages 158-167

The article reflects on two aspects of the literature lessons, bringing back the dimension of the significance of functioning in the contemporary culture. The first aspect is the mindfulness interpreted as Derrida’s responsibility in reading and the secondo one is the fervency described by Sandor Marai as reading “with intensity bigger than that used to write the text”. The essential conditions of developing such way of reading, are the choice of literary works that speak of the important things for youths and the respect of the rules of the creative reading that allows young readers go out beyond the philological obligations.

The article discloses a methodological problem of planning the course of modern literature at school. The author agrees with the researchers who believe that the most productive way to structure the course is to correlate contemporary poems with classical works studied at school. From the point of view of this paper, Anna Russ’s poetry may be included in the course of modern poetry for high school, as, on the one hand, it has something in common with the poems of V. Mayakovsky, M. Tsvetayeva, and A. Blok to some extent, on the other hand, it will be of interest to teenagers with its up-to-date problems and vivid images. Anna Russ has managed to reproduce the voice of the others, the mind on the others and thus she portrays a role model. The lyrical heroine of A. Russ is eccentric, passionate and vulnerable, as well the poetess herself, which creates a peculiar emotional pattern of the poems full of transitions from serious to funny, form loud to quiet and touching. Anna Russ experiments with word segmentation, she gets the best of the way it sounds. The plan of a lesson described in this article emphasizes the specific features of the style of Anna Russ, whose works resonate with the classical Russian poetry.

The problem of attracting teenagers to reading fiction of different genres remains one of the most urgent issues today. It can be solved in the most productive way on the basis of short story genre. The task of literary education today is the development of children's abilities to choose books, read them attentively and evaluate them. The formation of a qualified reader is possible with the help of the lessons in which the literary text is comprehended holistically and systematically, when connections between different elements of the artistic whole are found: the name, the elements of the chronotope, subject organization, the specifics of the genre and style. The article offers the experience of the analysis of the story “Krendelkov” by modern children's writer N. Dashevskaya from the book “Around music” at the lessons of home reading at secondary school. The work is based on the strategies of semantic reading: thinking over the title and reading to yourself. A face-to-face conversation with class is combined with individual tasks and work in pairs. This organization of work gives the opportunity to introduce the work of N. Dashevskaya to the students, to master the content of the story: to follow the change in the attitude of the protagonist to the teacher, to reveal the internal conflict in his soul, to analyse the character of Anton Krendelkov and to determine the methods of the story creation. The analysis also allows to find some genre features of a Christmas story in N. Dashevskaya’s work: the presence of wonder, a child as one of the main characters, and a moral lesson. It is interesting to discuss the similarities and differences between the story “Krendelkov” and the classic Christmas story, thus opening up the new prospects for the perception of its artistic ideas. The story of the modern writer carries the idea of humanity, love and goodness through human transformation: the main character, a teenager, having experienced the grief of loss and having recovered from wounds, brings with his music beauty and harmony to the world.

The lesson is devoted to understanding the problems of modern fantasy — the novel by N. Gaimann «The Ocean at the End of the Lane». The lesson focuses on the study of the foundations of myth creation by N. Gaimann and his moral philosophy, which pivots around the memory as a sine qua non of existence of mankind. The understanding of the whole specter of the problems in the novel (multidimensionality of the world, personal responsibility for all that happens, memory and its absence) is effected via the analysis of the spatial structure of the novel (the images of the Home, Farm, Strange Place, Ocean). The triad Memory — Heart — Name functions as a concept significant for the artistic literary philosophy of N. Gaimann, interpreted by him as a complex relationship between the person’s individuality, the realm of their spiritual self, and their memory. The creation of the graphical chart of the novel by the children becomes an additional structural element of the lesson, which is motivated by the specificity of perception of literary texts by contemporary teenagers. The organization of the lesson combines frontal work on the key episodes of the novel with the activity of the focus group — the pupils who have previously read the novel.

The article deals with the principles and techniques of theater pedagogy which can be used at literature lessons. The author proceeds from the basic notion of aesthetic game uniting the child’s artistic and playing activity, as a result of which new reality (images) are modeled. The author characterizes the following components of the lesson as an aesthetic game: creation of an imaginary situation, assuming the role of another person, correlation of one’s own impression of an object with that of other persons, and creation of visual interpretation of the text (its tempo, rhythm, and spatial model). The article contains conclusions about the heuristic potential of theater pedagogy techniques for achieving both disciplinary and personal, and super-disciplinary outcomes of learning.

The article presents a brief abstract of the lesson on V. Astafyev's story «The Horse with the Pink Mane» in the 6th form. The aims, content and forms of teaching depend on the educational program and the age characteristics of the children. The analysis of the text at the lesson is based on the consideration of a system of characters built on the principle of contrast and the image of the main character. The lesson stimulates actualization of moral issues in the process of talking with students (the truth and lies, misdemeanor and punishment, the law of love and the law of justice, the value of the family in a person's life, etc.). The lesson employs a variety of forms and methods of work: working with associations, teacher's story, conversation, analysis of illustrations, work with a mental map, creating a visual presentation of the characters via the coats of arms of two families. The lesson's tasks are creative.

V okviru magistrskega dela so bila zbrana teoretična spoznanja o medpredmetnem oz. medpodročnem povezovanju s poudarkom na povezovanju pouka jezika in književnosti pri predmetu Slovenščina v gimnazijah. Z vidika medpodročnih povezav so bili analizirani učni načrt za predmet Slovenščina v gimnazijah iz leta 2008 ter novejši učbeniki za jezik in književnost v prvem letniku gimnazij. Oblikovana je bila tudi učna priprava za učno enoto z medpodročnim povezovanjem pouka jezika in književnosti za 1. letnik gimnazij, ki je bila eksperimentalno izvedena v razredu. Ob koncu je bil izveden še kratek pisni preizkus znanja, s katerim se je preverjalo, v kolikšni meri so dijaki dosegli cilje medpodročne povezave. This thesis presents theoretical knowledge of interdisciplinary learning, with the emphasis on interconnecting language and literature lessons in Slovene courses in secondary schools. The current syllabus of Slovene courses in secondary schools, released in 2008, and the most recently published Slovene language and literature textbooks have been analysed in terms of interdisciplinary learning content. A lesson plan for an interdisciplinary approach to teach language and literature in the first grade of secondary school has been prepared, and carried out in a classroom. At the end of the lesson, students took a short written test of the knowledge, which aimed to evaluate the extent to which the student achieved the objectives of the interdisciplinary lesson.

В статье рассматриваются педагогические технологии, которые доступны учителю литературы для привлечения детей к чтению., As slow reading is not a typical good time nowadays, one of the tasks of contemporary schoolliterature course is to attract students to reading books. The authors of the article, a schoolteacher and aUniversity associate professor, solve the problem by improving teaching technologies. The aim of the authors’investigation is to find ways of such integration of the classical texts with the forms of youth culture,which would be not in contradiction between the bright form of the event and the very content of the book.Existential-communicative technologies, presented in the article, should, first of all, help schoolchildrento feel personal involvement in the text, and secondly, they create a discussion space for understanding thebook., Филологический класс, Issue № 4 (58), Pages 127-132

The article describes a lesson-portrait model which deals with works of modern poetess MarinaBoroditskaya and considers an approach to studying the poems of the poetess in the basic course ofliterature (after learning mythology in grades 6-7). The lesson focuses on the ability of the children’s poetto transform reality and to create magic. В статье рассматривается модель урока, посвященного творчеству поэтессы Марины Бородицкой.

В статье рассматривается модель урока, посвященного творчеству поэтессы Марины Бородицкой., The article describes a lesson-portrait model which deals with works of modern poetess MarinaBoroditskaya and considers an approach to studying the poems of the poetess in the basic course ofliterature (after learning mythology in grades 6-7). The lesson focuses on the ability of the children’s poetto transform reality and to create magic., Филологический класс, Issue № 4 (58), Pages 133-137

The article presents a plan of a lesson on the epistolary novel by the contemporary writer I. Kraeva "Baba Yaga Writes". The work is based on the technique of "reading aloud", which allows the teach­er to elicit the children's lively response and to organize a talk. The system of questions is designed to lead the pupils to the understanding of the figurative pattern of the story. The image of the grandmother is inter­preted in the novel as an adult key person for the child who teaches them empathy and fantasy, gives them new games, and guides the transformation of the inner world of not only the main character of the novel but also of the environment. The novel is interesting not only in the problem-thematic terms, but also as a work of the epistolary genre. В статье представлен проект урока по эпистолярной повести современной писательницы И. Краевой "Баба Яга пишет". Для освоения повести выбран методический приём "чтение вслух", что позволяет учителю вызвать живую реакцию детей и построить беседу.

Традиционным методическим приемом в 5-х 6-х классах является иллюстрирование произведений с обоснованием читательских предпочтений, играющее обычно вспомогательную роль и служащее для развития воображения школьников, соотнесения визуальных и словесных образов и картин. Важным методическим приемом является также устное словесное рисование, позволяющее перейти от иллюстрирования к анализу образа или эпизода. Однако к 7-му 8-му классу эти виды работы на уроках литературы исчерпывают себя, снижается интерес подростков к чтению, возникают определенные трудности с подготовкой к письменным работам. Именно на этом этапе реализации литературного образования в современной школе продуктивным приемом работы представляется скрайбинг. Цель статьи показать возможности скрайбинга на уроках литературы. Скрайбинг процесс создания визуального конспекта, донесение сложного смысла в виде простых образов с помощью визуальных метафор. Преимущества скрайбинга: доступность приема для всех учащихся; обязательное использование цитат, что предполагает индивидуальную и групповую работу с текстом, чтение произведения; лучшее усвоение информации (проверено в результате анкетирования). Эксперимент, проведенный в 7-м классе школы при Посольстве России в Финляндии, включал в себя ряд уроков, проведенных с использованием скрайбинга. В статье подробно рассматривается методика создания визуального конспекта на примере урока «Образ Тараса Бульбы в повести Н. В. Гоголя» (на материале первой главы). Приводятся примеры конспектов и фрагмент из ученической работы, созданной на основе скрайбинга. Анкетирование выявило повышенный интерес учащихся к данному виду работы, желание использовать скрайбинг на уроках литературы. Таким образом, скрайбинг оживляет восприятие произведения, развивает интерес к изучению литературы, воображение, ассоциативное и логическое мышление школьников. При создании визуального контекста актуализируются навыки чтения и анализа художественного произведения. На основании проведенного эксперимента можно утверждать, что скрайбинг представляется перспективной формой работы на уроках литературы в современной школе и отвечает основной цели литературного образования-развитию квалифицированного читателя.

The article substantiates the significance of lessons in contemporary literature at school. The article describes a model of a school lesson based on D. Bykov's story "Vacation" which addresses such eternal themes as love defeating death and the theme of memory. The lesson material makes it possible to make comparisons with the memoiristics of D. S. Likhachev, the prose of I. Bunin, A. Kuprin, M. Bulgakov, A. Platonov, Yu. Dombrovskiy, Ch. Aytmatov, and the poetry of M. Tsvetaeva, A. Tvardovskiy. The lesson is based on the study of the universe model which is constructed in the literary work (mortal life and life beyond natural boundaries), examination of character images (through analysis of dialogues, interior monologues and recollections of the characters). Questions and tasks focus attention on the details and search for semantically significant repetitions. The lesson presupposes whole class and team activities and outlines trajectories of individual search for the pupils.

The article presents a brief abstract of the lesson on V. Astafyev's story "The Horse with the Pink Mane" in the 6th form. The aims, content and forms of teaching depend on the educational program and the age characteristics of the children. The analysis of the text at the lesson is based on the consideration of a system of characters built on the principle of contrast and the image of the main character. The lesson stimulates actualization of moral issues in the process of talking with students (the truth and lies, misdemeanor and punishment, the law of love and the law of justice, the value of the family in a person's life, etc.). The lesson employs a variety of forms and methods of work: working with associations, teacher's story, conversation, analysis of illustrations, work with a mental map, creating a visual presentation of the characters via the coats of arms of two families. The lesson's tasks are creative.

Pouk je zelo kompleksen proces, v katerem se odvijajo številne dejavnosti učiteljev in učencev z namenom doseganja vzgojno-izobraževalnih ciljev. Razumevanje pouka se je skozi zgodovino močno spreminjalo. Nova didaktično-metodična spoznanja in razvoj sodobne tehnologije so šolstvu prinesle številne možnosti za pester in raznolik pouk, ki je v današnjem času veliko bolj ustrezen za učence, saj omogoča upoštevanje njihovih individualnih zmožnosti in posebnosti in jih postavlja v enakovreden položaj z učitelji. Kako bo učitelj dane didaktično-metodične možnosti izkoristil, je odvisno od njegovih profesionalnih in osebnih kompetenc ter značilnosti. Seveda mora pri njihovi izbiri upoštevati vsebino in vzgojno-izobraževalne cilje. Učiteljevo ravnanje pa ni edino, ki je pri doseganju slednjih pomembno, učenčeva lastna aktivnost je tista, od katere je odvisen njegov uspeh. V teoretičnem delu diplomskega dela smo preučili funkcije, naloge in cilje pouka, učenje in poučevanje kot temeljni dejavnosti v tem procesu, ter predstavili dejavnike, ki ga oblikujejo. Pozornost smo namenili tudi za učence zelo zahtevnim dejavnostim preverjanja in ocenjevanja znanja. Pri tem smo se v nadaljevanju osredotočili na pouk slovenščine in v empiričnem delu predstavili rezultate raziskave o značilnostih pouka slovenščine v slovenskih osnovnih šolah z vidika učencev. Zanimalo nas je, kakšno je ravnanje učiteljev v odnosih do učencev, pri njihovi komunikaciji, upoštevanju nekaterih didaktičnih načel in pred, med ter po preverjanju in ocenjevanju znanja. Prav tako smo raziskali, kako pogosto se po mnenju učencev učitelji slovenščine poslužujejo posameznih didaktičnih metod, oblik in sredstev in kako ravni manjših učnih skupin, v katere so učenci vključeni glede na lastne učne zmožnosti, vplivajo na izbiro teh. Ugotovili smo, da je ravnanje učiteljev, ki so bili v raziskavo zajeti, več ali manj vedno ali pogosto ustrezno, da pa so odnosi med njimi in učenci, ki so učno manj uspešni in sposobni, slabši, kar vpliva tudi na njihove ocene o pogostosti ustreznih dejanj učiteljev slovenščine. V veliki meri pa je tudi od slednjih odvisno, kakšno je njihovo splošno in didaktično-metodično ravnanje. Lessons are a very complex process involving numerous activities of both teachers and students with the aim of achieving educational objectives. The understanding of the concept of lessons has changed throughout history. New didactic and methodological findings and the development of modern technologies have brought schools numerous possibilities of offering diverse lessons, which are much more appropriate for the students of today, as they offer the possibility of considering their individual abilities and special characteristics and position them alongside teachers. How teachers actually use the available didactic and methodological possibilities depends on their professional and personal competencies and characteristics. When choosing them, the content and educational objectives also have to be considered. The teacher’s actions are not the only important factor in achieving the latter. The student’s success depends on their own activity. The theoretical part of this diploma thesis studies the functions, tasks, and objectives of lessons, teaching and learning as the main activities in this process, and presents the factors affecting it. Attention has also been paid to knowledge assessment activities, which are demanding for students. The paper further focuses on lesson in Slovenian and the empirical part presents the results of a study on the characteristics of lessons in Slovenian in Slovenian primary schools as seen by students. We were interested in the teachers’ actions in their relationships with the students, their communication, consideration of individual didactic principles, and activities before, during and after knowledge assessment. We further studied how often the interviewed students see teachers of Slovenian use individual didactic methods, forms and means, and how the levels of small study groups, in which students are included on the basis of their learning abilities, affect the choice of these methods. It has been established that the teachers included in our study predominantly act more or less appropriately, however relationships between teachers and less successful or capable students are worse, which in turn affects their assessment of the frequency of appropriate actions by teachers of Slovenian. The general, didactic, and methodical actions of the latter also mostly depend on themselves.