Most program documents emphasize that the goal of teaching all philological subjects at school involves not only practical knowledge of the subjects studied, but also the development of the student’s personality, capable and willing to participate in communication at the intercultural level and independently improve in their upcoming professional activities. Therefore, the inclusion in the educational process of information about the material and spiritual culture of peoples contributes to the humanization of education and the development of the student’s personality. Solving the key task of school literary education ¬¬¬– the formation of reading literacy - is inextricably linked with the comprehension of the works of literature studied in the school curriculum in the context of history, philosophy, and culture. This article proposes and discusses, using specific examples, methodological possibilities for studying the works of N.V. Gogol, where there are intermedial elements (inclusions) associated with choreography (dance, dancing). In the artistic picture of the world presented in the stories “The Enchanted Place” (grade 5) and “Taras Bulba” (grade 7), these choreographic intermedial inclusions have important meaning-forming significance. Their comprehension during literature lessons has great didactic and axiological potential for the versatile formation of the personality of schoolchildren, their spiritual, moral and aesthetic education. During the analysis of choreographic intermedial inclusions in a literature lesson, students have the opportunity to expand their understanding of a dance as a special type of human active life activity. The analysis of such inclusions helps to ensure effective solutions of educational, developmental, educational tasks, expansion and deepening of the cultural aspect in achieving personal, meta-subject goals.
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