Psychodidactic foundations of the formation of adolescents' ability to understand lyric poetry

Problem and purpose. In the study of lyric works, there are tremendous opportunities to influence adolescents' personal formation, the development of their cognitive abilities, the enrichment of the value-semantic sphere. However, the insignificant progress of schoolchildren in understanding the lyrics during adolescence is noted, which is often a consequence of the dominance of didacticism in literature lessons. The research purpose is to determine the psychodidactic conditions for the development of adolescents' ability to understand lyric poetry. Methods. Theoretical and empirical methods were used in the study: operationalization of a theoretical construct, expert evaluation method, experimental research, qualitative analysis of written responses, statistical data processing (descriptive statistics, Kruskal-Wallis H test, Wilcoxon signed-rank test, Mann-Whitney U test). The total sample consisted of 311 students in grades 6-8 from four state general education schools in Moscow. Results. A system of psychodidactic principles and methods of developing adolescents' ability to understand lyric works has been created. The system is formed by the principles of open individuality, integrity, polylogueness, multidimensionality, value hierarchy. These principles are operationalized by highlighting the techniques for their practical implementation and are used as the basis for organizing the process of studying lyrics, as well as creating a psychodidactic textbook. The effectiveness of using the developed system for solving the problem was revealed: after training, the experimental group showed a statistically significantly higher level of understanding of poems, both in comparison with the results of the control group (p <0.01) and in comparison with their own results of initial diagnostics (p <0.001). Discussion and conclusion. In the course of the study, it was determined that psychodidactic conditions necessary for the formation of adolescents' ability to understand lyric poetry are, firstly, the organization of the process of studying lyrics based on the principles of open individuality, integrity, polylogueness, multidimensionality, value hierarchy; secondly, the inclusion of a psychodidactic textbook in the subject-subject interaction of the teacher and students, which determines the strategy and tactics of the activities modeled in it in the lessons of studying lyrics. The implementation of the specified conditions allows building the educational process taking into account the principles of adolescents' mental development, contributes to a significant interaction of a student with himself, the teacher, other students, the studied works.

LYUDMYLA OVDIENKO: BIOGRAPHY, AUTOBIOGRAPHY

The publication presents the biography and autobiographical motives of the lyrics of the Ukrainian writer Lyudmyla Ovdienko. The purpose of the article is to present a biography and analysis of the poetic heritage of a fellow artist in the autobiographical aspect. We came to the conclusion that Lyudmila Ovdienko’s lyrical cycle is not only a specific type of context, but also a special form of creativity, a type of integrity that differs from the usual collection of poems and is a sequence of texts formed by the author. We are convinced that motives-images are significant for the poet’s autobiographical lyrics. Of the many motifs that sound in the poems, the most prominent is the autobiographical. The emergence of the genre of autobiographical motives in the creative work of L. Ovdienko is determined by a special type of thinking of the author, the national tradition. The leading place in the consideration of lyric poetry is given to the study of motives-images (motive-family, motive-village). These motives the most significant for the autobiographical lyrics of our compatriot.

Una storia della musica e della lirica greca dalle origini al IV secolo a.C. nel De musica attribuito a Plutarco

Ps. Plutarch’s De musica is an important source for reconstructing the history of ancient Greek music and lyric poetry. It is sharply divided in two parts: the first one is the history of music and lyric poetry, from their mythical origins to the IV century BC; the second one is about the ethical and social function of musical education. The discussion of the first part is about the metrical and rhythmical structure of the pre-Homeric citharodic epic compared to verses of Stesichorus and Terpander; kitharōidikoi and aulōidikoi nomoi, Phrygian origin of aulōidia, musical schools in Sparta in relation to the poetic genres definition. Heraclides of Pontus provides the material for Chapters 3-12 (the main exception being Chapter 11, which is explicity credited to Aristoxenus). He indicates the Anagraphe en Sikyoni as his source about Amphion and the origin of kitharōidia. But the history of aulōidia is attributed to a different writer, Glaucus of Rhegium, who lived in the fifth century and is the earliest musical historian.

Das Zeitkriterium in der Gattungstheorie und die frühmoderne Lyrikdiskussion

In genre theory, epic, dramatic and lyric poetry are often defined in terms of the past, present or future. This association of genres and time tenses is, howewer, far from being self-evident: The idea is widely unknown before 1800. Following recent studies on time and genre, my article traces this ›time criterion‹ back from Emil Staiger to its origins in the mid-18th century and into the German and French Enlightenment’s discourses on poetry.

The lyric oeuvre of Afanasy Fet and Chinese idyllic poems

There are compelling similarities between Afanasy Fet’s lyric poetry and classical Chinese lyric poetry. This connection is traced in the article with specific examples. Fet, carried away by the ideas of Schopenhauer, argued that thepoetic feeling lives in every person and can be called the sixth and highest feeling. In classical Chinese poetry, the Confucian concept of ‘the sense of things,’ the Taoist formula ‘words and forms’ and the idea of the unity of man and nature played an important role. With characteristic fixation of subtle changes of light and shadow, with the transmission of flushed feelings, Fet’s oeuvre reminds the readers of the ancient Chinese lyric poetry. Like classic Chinese texts, Fet’s poems are textbooks where the idea of the unity of man and nature is developed. In both Chinese poetry and Fet’s works, human life goes into natural life, gaining eternity in the nature. As a result, although Fet was not familiar with Chinese culture, the intuitions that fed his work surprisingly coincided with pictorial techniques as a way of conveying emotion in classical Chinese poetry, separated from him by many centuries.

LIRSKA PARADIGMA NJEGOŠEVOG DJELA GORSKI VIJENAC THE LYRICAL PARADIGM OF NJEGOŠ'S LITERARY WORK THE MOUNTAIN WREATH

For many researchers who deal with the domain of literary and theoretical thought the lyrical component of Njegoš's literary work The Mountain Wreath is interesting for a number of reasons. Naimely, the epoch of Romanticism created the predomination of lyric poetry as a type of poetry which became a concept and a criterion of one's creative endeavor. However, it was in the period of Romanticism that Njegoš decided to create a dramatic epic, but with recognisable lyrical qualities. The elements of lyrisation are highly pointed out in the literary work and have the purposeful function – to highlight the emotionality of certain individuals, the members of heroic community, to represent the relation toward a woman and her presentation as well as her beauty as a specific cultural layer but also to contribute to the comprehension of folkloristic features through the prism which is more subtle than epic and more poetically concrete than dramatic. Therefore, the lyrical places in The Mountain Wreath present broader, typological and cultural spread given throughout the scenes of the ''kolo'', descriptions of the beauty of woman, the dream of Vuk Mandušić but also through the lyrical and sacral, sometimes even humoristic (depending on the purpose and aim) relation towards weapons, beliefs, poems, ''gusle'', other cultures, jokes, dreams and future.

“The Star of Venusˮ in Russian poetry of the 20th century: mythopoetic symbolism

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets’ works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok’s poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.