«Колективний творчий портрет» як засіб формування літературознавчих компетентностей майбутніх учителів-філологів

Abstract

У статті виокремлено особливості «колективного творчого портрету» як жанру, який досліджується в аспекті «портрет–біографія–автопортрет–творче обличчя». Розглянуто мистецькі закони як єдність змісту твору та наратора; поєднання свободи й необхідності в контактах системи «літературний твір–читач; єдність читання, сприймання; читач –суб’єкт аналізу. З’ясовано поняття «творчий портрет», літературний портрет у літературно-художній критиці, мемуарно-біографічній літературі та мовознавстві. Доведено, що такий матеріал необхідно викладати крізь призму історичного, біографічного, естетичного, психологічного, типологічного, комплексно-системного наукових методів, що позитивно впливатиме на засвоєння особливостей, типів, структури колективного творчого портрету та сприятиме формуванню літературознавчих компетентностей філологів.

The peculiarity of the collective and creative portray is considered as a genre that investigates the, author and his creative mood. In the process of developing collective and creative portray four stages, types and the structure are represented. It is proved that teaching the material at the lectures forms the literature competence in the Masters of Arts with the help of collective and creative portray. This article takes as its point of departure the problems which face master students of philology of World literature when confronted directly with the reading of a literary text and which stem from a basic ‘literary inadequacy’. This, when combined with the difficulties posed by a very partial knowledge of the foreign language (with all its linguistic and cultural implications), can make the problem of ‘understanding’ a literary text seem an impossible task to the student. Many secondary and universitylevel teachers of Humanities feel the need to help students develop study strategies to improve literary competence. Study strategies aimed at developing the reader's awareness of how they should approach the reading of a literary text can be seen as a useful integration into the syllabus even by teachers in countries where tradition advocates a historical approach to the study of literature. Increasingly, it is the case that teachers, whether they be native or ‘imported’, would like to put more emphasis on the reading of the literary text to help students use more intelligently the historical-critical materials on which they tend to rely too heavily. The question of ‘literary competence’ is considered here in terms of intellectual performance. Having in mind the future teachers of Humanities who work with young adult students, suggestions are offered for improving literary competence through intervention at the procedural level. The suggestions are based firstly on the idea that the reading of a literary text can be seen as a form of information processing, and secondly on a consideration of the thought processes involved in the understanding of a literary text. In classes on World literature and methodological disciplines, the students learn how to compare biographical facts, historical events, and various types of world perceptions of the creators of artistic texts, their creative manners, and others. It helps philologists to perceive literature as a single text, and the creative destinies of writers as elements of a chain of a single historical and literary process. The literary and methodological training of masters of philology acquaints them with three levels of studying the writer's biography both in school and in the program of higher education. Master students study concise biographical data, essays on the literary heritage of writers, a story about their life and creative life. At the lessons of "Methodology of teaching foreign literature", along with the introduction of interactive technology, students should be introduced to non-traditional methods and techniques for presenting a writer's biography at school lessons. These are methods such as the presentation of a biographer's biography by means of a feature sketch, a presentation of the biography of the "spots" that allows the presentation of biographical episodes of various tonalities, combining the tragic episodes of a writer's life with comic, sentimental scenes with official episodes. An important element in the development of the student's creative abilities is the presentation of a writer's biography with creative tasks that helps students to understand the inner world of writers and write another book on life and work, for example, a Danish writer Karen Blixen.