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Modern Education
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Challenges and Approaches for Foreign Students in Studying a Writer's Biography / Изучение биографии писателя иностранными студентами: проблемы и решения

Козлов Алексей Евгеньевич

ORCID: 0000-0003-0016-9546

кандидат филологических наук

доцент; институт филологии и медиакоммуникаций; Новосибирский государственный педагогический университет

630126, Россия, Новосибирская область, г. Новосибирск, ул. Вилюйская, 28

Kozlov Aleksei Evgen'evich

PhD in Philology

Associate Professor; Institute of Philology and Media Communications; Novosibirsk State Pedagogical University

28 Vilyuiskaya str., Novosibirsk, 630126, Russia, Novosibirsk region

alexey-kozlof@rambler.ru
Другие публикации этого автора
 

 

DOI:

10.7256/2454-0676.2024.4.72079

EDN:

MHBSEA

Дата направления статьи в редакцию:

31-10-2024


Дата публикации:

31-12-2024


Аннотация: На материале классических и современных работ по методике обучения литературе и изучения русского языка как иностранного анализируется специфика преподавания биографии писателя в средней и высшей школе. В начале статьи описаны основные методы и подходы к определению биографического материала, определены проблемы, возникающие при его изучении. Показано ключевое отличие курсов, представляющих литературный процесс концентрически, от изучения литературы, рассчитанного на семестровое (или двухсеместровое) изучение. В последнем случае каждая тема осваивается однократно, что лишает возможности проводить параллели и актуализировать ранее изученные контексты. Многие студенты, приезжающие в Россию на стажировку, находятся во власти устойчивых стереотипов, связанных как с эпохой Нового, так и Новейшего времени. Цель преподавателя – в течение одного семестра или учебного года развить навыки критического мышления. В практической части исследования описан опыт изучения биографии писателя иностранными студентами из европейских и китайских университетов, особый акцент сделан на изучении литературного наследия XX века. Представлены варианты применения цифровых методов на занятиях по биографии писателя, описаны формы работы: литературные портреты, сравнительные описания, источниковедческий анализ, дискурс- и контент-анализ. Новизна работы заключается в анализе методических проблем и подходов к их решению, а также отборе способов актуализации биографического материала. Опираясь на методический опыт и данные анкетирования, автор статьи исходит из возможности изучения русской культуры и литературы сквозь призму биографий. Изучение биографии писателя предполагает постоянное расширение контекста, необходимо говорить о современниках писателей и поэтов, описывать литературную среду и литературный быт, чтобы создать впечатление континуального процесса. Задача методиста – показать многообразие оценок и специфику прижизненных и посмертных оценок, влияющих на оформление биографического мифа. В результате освоения тем, связанных с биографией писателя, иностранные читатели становятся сопричастны жизни выдающихся личностей, которых объединяет не география и не политические взгляды, а язык как основной инструмент культуры.


Ключевые слова:

биография писателя, межкультурный диалог, межкультурная коммуникация, кульутрология, культурологические компетенции, контент-анализ, биографический миф, литературный портрет, сравнительное описание, стереотип

Исследование выполнено в рамках реализации ГЗ № 073-03-2024-052 от 18.01.2024 «Совершенствование модели организационно-методического и кадрового обеспечения образовательной деятельности на русском языке в системе образования Китайской Народной Республики: прикладное исследование» (дополнительное соглашение 073-03-2024-052/3 от 22.03.2024)

Abstract: Based on the material of classical and modern works on the methodology of teaching literature and learning Russian as a foreign language, the specifics of teaching the biography of a writer in secondary and high schools are analyzed. At the beginning of the article, the primary methods and approaches to defining biographical material are described, and the problems arising during its study are identified. The key difference between courses representing the literary process concentrically and the study of literature designed for a semester (or two-semester) study is shown. In the latter case, each topic is mastered once, which makes it impossible to draw parallels and update previously studied contexts. Many students coming to Russia for internships are at the mercy of persistent stereotypes associated with the Modern and Post-Modern eras. The teacher's goal is to develop critical thinking skills during one semester or academic year. The practical part of the study describes the experience of studying the biography of a writer by international students from European and Chinese universities, with special emphasis on studying the literary heritage of the twentieth century. The options for using digital methods in classes on writer's biographies are presented, and the forms of work are described: literary portraits, comparative descriptions, source analysis, discourse, and content analysis. The novelty of the work lies in the study of methodological problems and approaches to their solution, as well as the selection of ways to update biographical material. Based on methodological experience and survey data, the author proceeds from the possibility of studying Russian culture and literature through the prism of biographies. Studying the biography of a writer involves a constant expansion of the context; it is necessary to talk about the writer or poet's contemporaries and describe the literary environment and life to create the impression of a continuous process. The task of the methodologist is to show the variety of assessments and the specifics of lifetime and posthumous assessments that affect the design of a biographical myth. As a result of mastering topics related to a writer's biography, foreign readers can become involved in the lives of outstanding personalities who are united not by geography or political views but by language as the primary tool of culture.


Keywords:

stereotype, comparative description, portraite, biographical myth, content-analysis, cultural competences, cultural studies, intercultural dialogue, intercultural communication, biography of a writer

This article was previously published in Russian in the journal Pedagogy and Education, available at this link: https://nbpublish.com/ppmag/contents_2024.html.

Introduction

Studying a writer's biography plays a key role in humanities education, reminding us of universal meanings and allowing us to overcome the dichotomy of "writer" and "text." Despite the strict demarcation between the author and the hero, which has become a foundational concept in philological science, one can assert not only the implicit but often also the explicit presence of personality in the studies of formalists and structuralists. The institutional turn toward biography seems symptomatic, indicating a gradual movement from abstract structures to anthropologically significant meanings. In other words, literary theory constantly balances between two poles: the concept of language or discourse as an autonomous system of signs and meanings and speech associated with anthropological and, ultimately, aesthetic activities.

As Yang Rui notes in his research, a unified approach to understanding the phenomenon of biography has not yet been developed, and the methodology of teaching literature still lacks a variety of methods and techniques for studying this material [5].

According to A. L. Valevsky, "Biography as a genre of literature is a 'textual representation' in the language of this culture of the phenomenon of personal individuality" [6]. A similar approach is proposed by A. I. Reitblat, pointing out a common scientific error: "Often, not only in everyday life, but also in scientific literature, a biography refers to a person's life (at least a number of key events of this life), but the dictionary meaning of this word is 'biography'" [7, p. 178]. This approach shifts the focus of view from factography to different types of narrative. At the same time, when talking about "textual representation," it is necessary to define the pragmatics and functional significance of a biography. According to Reitblat, biography involves the socialization of a person through their acquaintance with the narrative of the life of a real (existing) person. [...] The biography allows the reader to feel that individual life (and theirs) has a meaning. This meaning is social, in the connection of the individual with society" [7, p. 178]. In other words, paraphrasing B.V. Dubin's theses, we can assert that biography, along with the standards of interpretation of classical texts of world literature, allows "overcoming the erosion of the normative order" [8, p. 18].

The main part

In methodological practice, the study of biography determines the presupposition of reading, influencing the perception of the actual work of art [9]. The "canonical" image, which is often fixed at the primary level of studying personality, helps to "standardize" the perception of personality and supports the existence of the so-called "myth of literature" (stable conventional ideas about the activities of writers). However, in the future, this image will interfere with the reader's individual dialogue with the book and must be replaced by an exceptional but not ideal personality image. Here, we see a key discrepancy between the methodology of school education and the study of the writer's biography in the course "Russian literature" for foreign students [10, 11]. If school students master biographical material concentrically, moving from an extremely accurate factual image to a "sfumato portrait" [12], then international students are deprived of this opportunity. Thus, this article aims to describe methods and approaches to study the writer's biography in an audience of foreign readers. However, to achieve this goal, it is necessary to determine the specifics of working with biography in the general methodology of studying literature.

Despite the many successful examples where a conversation about the life of a writer, presented monographically or in the form of a talk-lecture, fascinated students and opened up new facets of interpretation, in some cases, biography classes follow a reasonably stable pattern: students write down the years of life and key dates associated with the creation of works. Thus, with varying degrees of reflection, students and teachers follow a centuries-old tradition, filling out the Curriculum Vitae with wonderful people in their own way [12]. "How often is the biography of a writer in school studies likened to a thoroughly filled out questionnaire in which the artist's life is traced from birth to death, and the attention of schoolchildren is equally fixed on the main and secondary? But you can't see the forest behind the trees.… In a multitude of superficially illuminated facts, the artist's unique and multifaceted personality disappears" [13: 5]. These words, which I. E. Kaplan uses to open his book, have, in many way,s not lost their relevance even today.

Based on a modern empirical base: data from school leavers' surveys, undergraduate interns' questionnaires, and the results of "entrance testing" [14], several problems can be identified when studying a writer's biography:

  • The study of a writer's biography follows a monotonous pattern. The variety of life paths is reduced to a standardized list of dates and events.;
  • There are no systemic connections in the study of literary figures (knowledge of literary history is limited by the nominal ability to identify a writer in accordance with a literary trend);
  • There is no knowledge of the specifics of literary life; literary life is not consideres a generative environment.;
  • The figures of writers exist as if in an airless space. The study of figures lacks consistency, and students do not correlate the texts under consideration with social, historical, and ideological contexts. They do not perceive writers as a social environment.

Without reflection and the participation of analytics in the study of biography, one of the ineffective, although well-established methods of teaching literature iarebeing implemented. In particular, T. Kurdyumova writes: "A dry and concise presentation of the facts is, of course, undesirable: after all, it is this meeting with the writer that should prepare the emotional perception of the literary text" [15, p. 13]. The researcher identifies peculiar phases of students' mastering of biographical material, showing that each involves the use of methodological techniques, without which the writer's personality loses its individual features, dissolving into a number of other equally schematic or dotted silhouettes. The standard of studying a writer's biography is the formation of such ideas about the personality of a writer, which are based on unique characterological patterns. At the same time, it remains important to present the writer as a witness of a particular historical and cultural epoch, a member of a salon, circle, or other literary or institutional association (often associated with a particular publication or publishing house).

Following V. G. Marantsman, we believe that the study of "the biography of a writer becomes a necessary element of the correct comprehension of a literary text" [16, p. 5]. A teacher or professor is often likened to a biographer: By combining numerous complementary sources, they introduce students to the sum of other people's experiences. V. N. Drobot wrote about this, in particular: "A literature teacher should be concerned not only with the detailed specification of schoolchildren's ideas about the personality of a writer but also with reflections on a person's life, identifying ideological, moral and aesthetic overtones in the facts of biography, so studying it cannot be reduced to a chronologically ordered illustration" [17, p. 15]. The task of the addressees in this regard is to carefully "read" their proposed biography. Marantzman expresses a similar idea, pointing out that the story of life and work each time involves 1) searching for a particular narrative prism (or point of view); 2) choosing the material; 3) creating a "biographical key" [16, p. 110]. Since the "biographical key" concept is not specified in the methodological literature, we will focus on this in more detail.

By the biographical key, we mean such a matrix of ideas about a writer, including typological personality traits (their behavior in a certain literary environment) and individual traits (gestures and actions that distinguish a particular writer from others). The primary function of the biographical key is to help in reading and interpreting a work (not only by attracting biographical circumstances to the text but also vice versa by rejecting, changing, and recombining them). From the point of view of the methodology of teaching literature, the "form" and "material" of this key can vary: "understanding the writer's attitude to the events of the time, to the people, to history, to the true value of the human personality..." [16, p. 112].

The book Theory and Methods of Teaching Literature describes the main types of classes for studying the biography of a writer: lesson/lecture, independent reports by schoolchildren, textbook work, correspondence excursions, concert lessons, and panorama lessons. As the authors of the manual note, in the study of biography, "... it is important to raise problematic issues, work on a plan, and use texts. To remove the textbook gloss, the idea of the infallibility of the writer's personality is no less important than finding an interesting aspect for students to understand not only the writer's greatness but also the complexity of the formation of personality and talent" [5].

In our practice, we have come across the fact that mastering major monographic topics often achieves the greatest effect when certain facts from the writer's life begin to act as a trigger. The fire at sea experienced by Turgenev, the Omsk prison, and Dostoevsky's years of hard labor, the Caucasian and Sevastopol impressions of Tolstoy significantly bring the student reader closer to the studied figure: a unique, often traumatic experience is perceived as a constituent property of interpretation. "A conversation with a writer will be immeasurably deeper, more exciting and direct," writes V.G. Marantsman, "if the student gets acquainted with the artist's inner world in the lessons, understands the uniqueness of their voice. It is difficult to talk to a complete stranger, so studying the biography and creative path of a writer turns out to be a natural and necessary support when analyzing a work of art" [16, p. 55]. V.N. Drobot expresses a similar thought: "students' understanding of the connection of the writer's personality with the work under study, its artistic concept, which is inevitably reflected in the choice of theme, ideological content, problematics, a system of images, composition, style, visual and expressive means, helps them to see the author's attitude to the reality depicted by him in a system of large and to make small generalizations, to understand his value position, to consider the work in the context of the social, political, and aesthetic life of the epoch" [17, p. 101].

Thus, despite its thoroughness, the chronicle-oriented presentation of a writer's biography cannot be called an alternative method.

In our opinion, the somewhat outdated repetition of the basics of the biography of prominent people should be replaced by the technique of literary portrait, which requires creative activity from the teacher. Philologists, referring to epistolary and memoir texts (it is best to use the books of the series The Writer in the Memoirs of Contemporaries and The Life of Wonderful People), can create original lectures and conversations about years or decades, episodes, and vivid events in the lives of the writers being studied, corresponding to the characteristics of the audience. Let us refer to the methodological experience of T. Kurdyumova: "Many genres of biographical narrative are familiar to us and are fixed by practice. A host of circumstances determines the choice of each of them: the possibilities of age, the level of preparation of students, and the time that can be devoted to the story of life and creativity" [16, p. 7]. In an audience of international students, an essay, a novel, or a novella, all these artistic genres can be used to tell about a writer's personality. Special attention should be paid to the lexical organization of the fragments studied.

The technique of comparative descriptions or comparative literary portraits is no less productive. In generalizing, in our opinion, it would make sense to talk not only about some typological properties of the created works but also about the typology in the behavior of the studied figures of the literary process. In some cases, analogies can be productive: Pushkin and Stendhal (models of role behavior); Gogol and Balzac (author's reflection, attitude to literary work, writer as Prometheus and as Sisyphus), Tolstoy and Flaubert (two antagonists of world literature), Whitman and Mayakovsky (poet-tribune, glorifying en masse). These parallels are especially productive when studying Russian literature in an audience of trainee students from European universities. Still, Chinese students often show interest in comparative studies of writers from different literature. Of course, most of the analogies between Russian writers and authors of Chinese literature look far-fetched: Chinese culture has taken on too autonomous and peculiar a path of development compared to European culture. The most successful example is the comparison of Confucius and Tolstoy as the authors of books for reading, with the errors that inevitably arise here [17].

Thus, the observations made on the material of school lessons can be extended to classes in Russian literature among foreign readers, especially since modern methods and approaches make it possible to diversify this process significantly.

We base our experience of teaching the biography of a writer on the author's methodology, which has been tested at various times in the classrooms of philology students. Initially, the methodology was designed for future Russian language and literature teachers, and later, it was modified for students and masters of the Philological department (2019–2023) to master. The implementation of the project's final phase was related to testing the developed methods and approaches in the audience of international students at Xinjiang University (2023–2024). Let's present one of the possible trajectories of studying the biography of a writer in the aspect we are interested in, based on the movement from the general, represented by the global literary process, to the particular.

When studying the literature, we turn to big data and visualization tools—such capabilities are embedded in Google Ngram Viewer and Ruscorpora [18]. Ngram Viewer is a Google Books machine analysis system that allows you to build graphs based on the quantitative calculation of mentions of certain proper names. This makes it possible to tell about the writer in terms of reader demand [18]. For example, the query "Pushkin, Gogol, Dostoevsky, Chekhov" in the Russian-language corpus (from 1890 to 1990) indicates that Pushkin enjoys the greatest citation in the Russian language environment, while the names of Dostoevsky and Chekhov are approximately at the same citation level. Repeated in the English literature corpus, the same query will convincingly show that Chekhov and Dostoevsky occupy the leading positions. The introduction of such an illustration will not take much time. Still, it will allow us to visually (quantitatively) show the interest of modern and historical readers in the writers of their time.

The timeline service (timetoast) is similarly representative. Its intuitive interface allows you to place historical, cultural, and literary events on a common time axis, demonstrating both the synchronicity and independence of certain processes.

Another Google Maps Engine service allows you to create routes using the geometrics system, which is necessary when talking about the travels of Russian writers [19]. It is enough to recreate the route of I. A. Goncharov to show how difficult and adventurous the journey that the author of the Pallas Frigate undertook was (emphasizing the writer's dissimilarity with his hero Oblomov) or to restore the toposes mentioned in M. Gorky's chronicle to see the "eternal passion" for travel.

In the first stage, the work should be completed by accessing a bio-bibliographic dictionary organized according to the principle of identifying keywords in a large array of information texts. Students should compare bio bibliography with a kind of census, where the key issue is the selection of figures from the literary and cultural memory resource by an abstract canon of values, a collection of names and texts associated with these names. Familiarization with this source allows foreign students to see how peculiar the "reading map" is. For example, tasks related to the search for women writers of the nineteenth century aroused a great response from the audience since this material is not traditionally updated. Acquaintance with A. P. Bunina, N. D. Khvoshchinskaya, A. Ya. Panaeva, L. Ya. Charskaya fills this gap, allowing us to talk about female silhouettes in the history of literature and culture. At the next stage of the work, we suggest reading the diary and autobiographical prose of A. Ya. Panaeva, S. V. Kovalevskaya, and A. G. Dostoevskaya demonstrate the diversity of literary and universal strategies.

So, we are moving from big data corpora to texts and contexts. For example, as part of the development of a monographic topic on the biography of a writer, students can be invited to use a simple contextual search on websites. lit-info.ru or Google Books. A search by the writer's last name allows you to collect a corpus of contemporaries' statements about them quickly. Next, you can give it the task to systematize this information by periods, topics, and finally, intonation and grades—students can do this work remotely, and the result will be a reconstruction of the writer's perception in the memoirs of critics and contemporaries. For example, when studying the works of N.V. Gogol, we offer students to work with fragments of the "Literary Memoirs" of I.I. Panaev and I.S. Turgenev, and when referring to the biography of F.M. Dostoevsky– the memoirs of his wife A.G. Dostoevskaya. In each specific case, we are not interested in factography or positivist reconstruction but in forming a myth surrounding a particular personality.

Of course, working with students from China has its own specifics. This concerns the general horizon of knowledge about Russia and the USSR, formed by textbooks in the Vostok series, among other things. It is no coincidence, therefore, that V. V. Mayakovsky, N. A. Ostrovsky, and M. A. Sholokhov become cult figures for the Chinese reader. The teacher's task is to show the diversity of assessments and the specifics of these people's lifetime and posthumous perceptions. Thus, when talking about the work of V. V. Mayakovsky, students learn to perceive his personality through the prism of the rhetorical tropes "hyperbole," "oxymoron," and "occasionalism," which brings the personality and the text closer. Special attention is paid to Mayakovsky's essay How to Write Poetry? which combines an avant-garde attempt to create a new production discourse and the archaic need to "make a deal with death"—in the center of the essay is a poem on Yesenin's death, allegedly written as an antidote to his posthumous poems. In light of Mayakovsky's own death, this essay takes on the opposite meaning.

Even more diverse may be the work with the biography of N.A. Ostrovsky, which, according to students, surpasses the content of his work. Turning to the personality of the author of the novel How Steel Was Tempered, we emphasize that he, like Sholokhov, is an autodidact, self–taught, created by the modern era. At the same time, the genre of guided tours gives unusual results: when students see what is on Ostrovsky's bookshelves next to the novels of Jules Verne and Mark Twain, they are worth books by Gustave Flaubert, Guy de Maupassant, and Marcel Proust. It is no coincidence that, describing his visit to the USSR, A. Zhid implicitly compares Ostrovsky with the author of the intellectual novel In Search of Lost Time:

"I can't talk about Ostrovsky without feeling the deepest respect. If we hadn't been in the USSR, I would have said, 'This is a saint.' Religion has not created a more beautiful face. Here is clear proof that it is not only religion that gives birth to saints. A fervent conviction is enough without any hope of future reward—nothing but the satisfaction of having fulfilled a harsh duty."

As a result of the accident, Ostrovsky became blind and completely paralyzed. Deprived of contact with the outside world and mundanity, Ostrovsky's soul seemed to have developed upward.

<…>

"But he asks me to stay. I feel like he wants to talk more. He will continue to speak after we leave; for him, talking means dictating. This was the way he could write a book about his life. He's dictating another one now. He works from morning to evening, long after midnight, dictating endlessly" [20, p. 103].

The fragment we offer students can significantly correct the initial idea of the relationship between the author and the hero, contrasting the brutal fanatic of the revolutionary notion of Pavel Korchagin with his terminally ill creator. All this should change the concept of Ostrovsky and the meaning of his words: "Life must be lived in such a way that it does not hurt excruciatingly for years spent aimlessly" [21, p. 202], to see the tragedy of a single human existence behind the slogan.

Finally, we include the study of the Sholokhov phenomenon in the broader context of the struggle for genuine and symbolic capital. As part of the lesson on the writer's biography, we turn to the discussion about the authorship of The Quiet Don, consider existing arguments from biographical contradictions to fractography (the acquisition of the writer's manuscripts), and stylistic analysis to stylometry (a visual demonstration of stylistic correlations [22]). Next, we study Sholokhov's Nobel Speech with its specific metaphor and discuss the reasons for the writer's "lull."

The conversation about Sholokhov becomes a bridge to the history of other Nobel laureates. Speaking about the tragedy of Boris Pasternak, we focus on the events of the persecution of the 1950s and the poem of the same name, showing the proximity of the lyrical hero to the author. The next step is to consider the novel Doctor Zhivago, which exists in the range from The Student Years of Wilhelm Meister to the writings of L.Ya. Charskaya—students conclude how the biography of an "ordinary man" becomes a hagiography in which the key role is played not by his fate but by the Notebook of St. George's Writings [23].

The end of the conversation about the biographies of twentieth-century writers is an appeal to the Nobel Lecture by I. Brodsky. Students become acquainted with fragments of this vivid rhetorical statement and its paradoxes. On the one hand, Brodsky's lecture on politics is about the tragedy in which "the choir is dying" [24, p. 201]. The poet himself speaks on behalf of his deceased contemporaries. On the other hand, the lecture is devoted to discourse, the matter of language, "a thing more ancient, inevitable, and durable than any form of social organization" [24, p. 209]. Thus, the Nobel Lecture touches on both sides of interpreting and studying the writer's biography, simultaneously becoming a manifesto of "speech disappearance" and a work of fiction existing between Auden's verlibre and Brodsky himself and a philosophical essay.

Conclusions

So, studying a writer's biography forms the presupposition of the reader's perception. The primary sources used by the teacher in preparation for the lesson on the biography of a writer are close to the sources of a professional biographer: letters, memoirs, diaries, etc. Combining traditional text analysis with digital methods of analyzing the era's literary process and cultural life is productive in modern methodology. Along with the monographic study of the writer's personality, it is methodologically justified to study individual stages or episodes, the story of which can be presented in a lively and direct form of a literary portrait. Studying the biography of a writer presupposes a constant expansion of the context; it is necessary to talk about the writer or poet's contemporaries to describe the literary environment and literary life to create the impression of a continuous process rather than an airless environment. In addition, it must be remembered that any writer's biography is the biography of all their readers. Thus, when talking about Mayakovsky, Kharms, Chukovsky, Zamyatin, Platonov, Sholokhov, Pasternak, Solzhenitsyn, Nabokov, and Brodsky, readers become involved in the lives of these people, who are united not by geography or political views but by language as the main instrument of culture.

Many students coming to Russia for internships are dominated by persistent stereotypes associated with modern times. The teacher's goal is to develop critical thinking skills during one semester or academic year. At the final stage of mastering the biography within the framework of the literature course, we invite students to write an essay. The leitmotif of these final works is a statement about the diversity, greatness, and tragedy of the fate of an artist who, even against their will, cannot sing in unison and walk in a common formation.

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Результаты процедуры рецензирования статьи

В связи с политикой двойного слепого рецензирования личность рецензента не раскрывается.
Со списком рецензентов издательства можно ознакомиться здесь.

Предмет исследования – особенности изучения биографии писателя иностранными студентами.
Методология исследования основана на сочетании теоретического и эмпирического подходов с применением методов анализа, опроса, наблюдения, обобщения, синтеза.
Актуальность исследования обусловлена важностью для современного общества выявления разнообразных феноменов культуры: художественная литература является одним из путей познания культуры, однако методика работы с художественным текстом и биографией писателя для носителей языка и иноязычных обучающихся отличается.
Научная новизна обусловлена тем, что в методике преподавания литературы отсутствует разнообразие методов и подходов при изучении биографии писателя, опираясь на эмпирический материал автор констатирует существующие проблем в организации этой работы и предлагает пути их решения. В статье представлена авторская методика изучения биографии писателя, апробированная как на русскоязычной (на будущих учителях русского языка и литературы, а также на студентах и магистрах филологического отделения), так и на иноязычной аудитории (на студентах-иностранцах Синцзянского университета).
Стиль изложения научный, структура, содержание. Статья написана русским литературным языком. Структура рукописи включает следующие разделы: введение (содержит постановку проблемы, автор аргументирует актуальность выбранной темы и приводит теоретическую базу исследования); основная часть (на основе результатов анализа данных опросов выпускников школ, анкетирования стажеров-бакалавров и результатов «входного тестирования» обозначены существующие в современной методике проблемы работы по изучению биографии писателя; автор демонстрирует конкретные методические решения, особое внимание уделено технике сравнительных описаний или сравнительных литературных портретов, продуктивной в работе с иноязычной аудиторией, автор представляет конкретные иллюстративные примеры применения обозначенного подхода на практических занятиях; в статье демонстрируется авторская методика, апробированная в различных аудиториях); выводы (автор отмечает, что на современном этапе основные источники, которыми пользуется преподаватель при подготовке к занятию по биографии писателя, близки к источникам профессионального биографа; для продуктивного и эффективного изучения биографии писателя необходим комплексный подход, предполагающий совмещение традиционного анализа текста с цифровыми методами анализа литературного процесса и культурного быта эпохи; комплексная работа с художественным текстом и биографией писателя позволяет развить навыки критического мышления, а для обучающихся из других стран поможет избавиться от укоренившихся стереотипов о русской культуре); библиография (включает 26 источников отечественных и зарубежных авторов). Содержание в целом соответствует названию.
Выводы, интерес читательской аудитории.
Исследование представляет собой комплексную работу по изучению и систематизации имеющегося методического опыта изучения биографии писателя. Автор провел работу по разработке методических решений и демонстрирует апробированную авторскую методику, которая может быть использована в практике преподавания литературы как носителям языка, так и иностранным обучающимся. Предложенные методологические решения могут стать основой для различного вида учебных пособий.
Рекомендации автору:
1. Возможно, при загрузке статьи возник некоторый технический сбой, нужно откорректировать часть, следующую за «констатировать ряд проблем при изучении биографии писателя:».
2. В теле статьи необходимо скорректировать ссылки на источники из списка литературы в соответствии с требованиями редакции.
3. Необходимо проверить по тексту рукописи наличие ссылок на первоисточники приведенных цитат, а также правильность оформления цитирования.
4. Библиографические описания некоторых источников нуждаются в корректировке в соответствии с ГОСТ и требованиями редакции. В библиографии уместно увеличить долю работ за последние 3 года.
В целом рукопись соответствует основным требования, предъявляемым к научным статьям. Материал представляет интерес для читательской аудитории и после доработки может быть опубликован в журнале «Педагогика и просвещение».

Результаты процедуры повторного рецензирования статьи

В связи с политикой двойного слепого рецензирования личность рецензента не раскрывается.
Со списком рецензентов издательства можно ознакомиться здесь.

Предметом исследования в рецензируемой работе являются методы и подходы, используемые при изучении биографии писателя иностранными студентами. С учётом специфики предмета, объекта, цели и задач работы в исследовании использованы общенаучные методы анализа и синтеза, метод опроса (опрос выпускников школ, анкетирование стажеров-бакалавров), интерпретативный анализ отобранного материала, метод системного анализа, описательный метод и др., позволившие исследователям выявить ряд проблем при изучении биографии писателя, например, «изучение биографии писателя подчиняется однообразному шаблону или схеме», «отсутствуют системные связи в изучении фигур литературного процесса», «изучение фигур писателей лишено последовательности, учащиеся не соотносят рассматриваемые тексты с социальным, историческим и идеологическим контекстами, не воспринимают писателей как социальную среду» и др.
Актуальность исследования обусловлена важностью изучения биографии писателей как средства развития интереса к чтению программных и внепрограммных произведений и заключается в необходимости анализа существующих и разработки новых методов и подходов в работе с биографическим материалом. Автор(ы) правильно отмечают, что «изучение биографии писателя играет ключевую роль в гуманитарном образовании, напоминая об общечеловеческих смыслах и позволяя преодолеть дихотомию «писатель» и «текст», и апеллируют к исследованиям Ян Жуй, согласно которым «до сих пор не выработан единый подход к пониманию феномена биографии, а в методике преподавания литературы по-прежнему отсутствует разнообразие методов и подходов при изучении этого материала». В связи с этим заявленная тема исследования весьма актуальна и важна в настоящее время.
Теоретической базой научной работы обоснованно послужили фундаментальные и актуальные работы российских и зарубежных исследователей, таких как Ю. М. Лотман, О. Ю. Богданова, С. А. Леонов, В. Ф. Чертов, В. Н. Дробот, В. Г. Маранцман, И. Е. Каплан, Е. Г. Местергази, Т. Браже, Ян Жуй, Чжоу Шуцзюань, Гао Фэнлань и др. Библиография статьи составляет 30 источников, соответствует содержательным требованиям и находит отражение на страницах статьи. Анализ теоретического материала и его практическое обоснование позволили автору(ам) прийти к выводу о том, что «продуктивным в современной методике является совмещение традиционного анализа текста с цифровыми методами анализа литературного процесса и культурного быта эпохи. Наряду с монографическим изучением личности писателя методологически оправданно изучение отдельных этапов или эпизодов, рассказ о которых может быть подан в живой и непосредственной форме литературного портрета. Изучение биографии писателя предполагает постоянное расширение контекста, необходимо говорить о современниках писателей и поэтов, описывать литературную среду и литературный быт, чтобы создать впечатление континуального процесса, а не безвоздушной среды».
Научная новизна работы заключается в разработке авторской методики изучения биографии писателя. Как поясняется в работе, «изначально методика была рассчитана на будущих учителей русского языка и литературы, в дальнейшем – модифицирована для освоения студентами и магистрами филологического отделения (2019-2023). Реализация заключительной фазы проекта была связана с апробацией выработанных методов и подходов в аудитории студентов-иностранцев Синцзянского университета (2023-2024)». Так, отмечается, что, приступая к изучению, обучаемые обращаются к большим данным и инструментам их визуализации – такие возможности заложены в Google Ngram Viewer и Ruscorpora. По завершении работы на первом этапе студенты обращаются к биобиблиографическому словарю, работа с которым организована по принципу выявления ключевых слов в большом массиве информационных текстов. От корпусов больших данных начинается движение к текстам и контекстам. Особое внимание уделяется специфике работы со студентами из КНР.
Теоретическая и практическая значимость исследования безусловна и заключается в его вкладе в решение современных проблем, связанных с методами и подходами, используемыми при изучении биографии писателя иностранными студентами. Результаты работы могут быть использованы на занятиях по дисциплинам методического цикла со студентами вузов и при прохождении ими педагогической практики, а также могут быть использованы на уроках гуманитарного и эстетического циклов для формирования и развития интереса к личности писателя.
Представленный в работе материал имеет четкую, логически выстроенную структуру. Стиль изложения материала тяготеет к научному типу. Статья имеет завершенный вид; она вполне самостоятельна, оригинальна, будет интересна и полезна широкому кругу лиц и может быть рекомендована к публикации в научном журнале «Педагогика и просвещение».