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2017/5, стр. 524 - 536

MAKING MUSEUMS OUR EDUCATIONAL PARTNERS

Elena Sayanova
E-mail: esayanova@yahoo.com
Vocational High School of Tourism and Catering
1 Kalinovo St.
2760 Razlog Bulgaria

Резюме: The article is devoted to the idea of taking action to put learning at the heart of museums and museums at the heart of learning as it is a space where youngsters can learn and gain different experience with input from experts, using visual and object-based approaches, and where they can find new forms of creativity, self-expression and confidence. This means giving space for young people to be producers of knowledge as well as consumers and to learn about the connections and interactions between different knowledge systems. Both cognitive and affective learning can occur as a result of student visits to out-of-school settings, and is influenced by numerous factors, such as the structure of the trip, setting novelty, social context of the visit as well as teacher actions on trip and quality of preparation and follow-up experiences. The article also offers some teaching approaches to involving museums into the educational process.

Ключови думи: learning; museums; youngsters; visual and object-based approach; knowledge systems

Our point of view is that museums offer an enormous educational resource which can support inspiration and provide a learning space for everyone. To implement this, there must be concerted action to put learning at the heart of museums and museums at the heart of learning. It is a space where youngsters can learn and gain different experience with input from experts, using visual and object-based approaches, and where they can find new forms of creativity, self-expression and confidence. This means giving space for young people to be producers of knowledge as well as consumers and to learn about the connections and interactions between different knowledge systems.

First-hand studying of various artifacts, works of arts and documents is in compliance with modern task-based and problem-solving approaches: teaching that actively engages our students’ minds. A museum is an important resource for teachers to draw upon as it ‘keeps’ collective memory and cultural identity of a society through its association with objects from the past and present. Teaching methods traditionally concentrate on book and word-based exercises; they do not often involve students into active learning from things, which can motivate children to develop the need to know, generate students’ interest, curiosity and thus stimulate their resourcefulness and creativity.

Museums are fascinating places for visitors as they tell stories about the objects they hold and the research they undertake in a variety of ways.

Dr Lynda Kelly in her report ‘Student Learning in Museums: what do we know ?’, made for The Sovereign Hill Museums Association, emphasizes that learning, as the process of applying prior knowledge and experience to new experiences, always involves some element of emotion and feeling. She concludes that designing engaging physical, online and mobile museum experiences for young people need to include the following elements:

– experiences that encourage discovery, interaction, cater for the unexpected, provide many pathways to explore, give a taste for what happens behind the scenes and are fun;

– content that is challenging, real, authoritative, meaningful; it encourages questions and is well-organised and easy to navigate;

– staff that can relate to young people, are respectful of their ideas and views, are knowledgeable in their field and are easy to talk to;

– opportunities to socialise, be with their friends and learn together.

According to DeWitt and Storksdieck, learning on a field trip is a valuable addition to classroom instruction and a way to prepare students for future learning. Students are more likely to remember social and personally relevant aspects of field trips, yet also dislike and keep less favorable memories of these trips that seem overly structured and leave little room for their personal visit agenda (DeWitt and Storksdieck, 2008).

Students felt that in order to be substantively engaged in cognitive learning they needed to know how things worked; be able to think through ideas; have opportunities to ask questions; be able to handle, manipulate and closely examine artefacts and exhibits; be able to seek out information from several sources in language that is appropriate to their age and stage of development; and be stimulated through all their senses (Kelly & Groundwater-Smith, 2009).

What is more, students are more likely to remember social aspects of their visit. The social interaction occurring on a field trip is an important part of the experience and supporting students’ in sharing their experiences enhances learning (DeWitt & Storksdieck, 2008; Kelly & Groundwater-Smith, 2009).

Students like learning with their friends. While they recognised that a visit to the Museum was primarily designed by their teachers to assist in their learning, they also wanted it to be a satisfying social occasion when they could learn with and from their peers (Kelly & Groundwater-Smith, 2009). Visits are highly social experiences for students. A study of sixth graders stated that they had more control over their own learning when interacting with their peers rather than adults who tended towards control (Birney, 1988).

The degree of structure of a field trip is the subject of discussion. DeWitt and Storksdieck (2008) identified several issues around structured visits:

– field trips need to provide moderate amount of structure while still allowing for free exploration in order to maximise cognitive and affective outcomes;

– well-designed worksheets can be effective in promoting discovery-based enquiry if exposing students to a wide range of relevant information;

– well-designed worksheets may tap into already available interpretive material thus extending the richness of information;

– the use of pre and post visit activities can enhance the cognitive and affective learning outcomes;

– in a museum setting structure experiences, such as guided tours, specificdetailed tasks can increase cognitive learning but may dampen enthusiasm;

– structure, including worksheets, may limit the ability for students to explore and engage with the unique aspects of the museum setting.

Teacher motivations for school trips include connecting with classroom curricular, providing a general learning experience, enhancing student motivation, exposure to new experiences, change in setting or routine and student enjoyment (Kisiel, 2005).

DeWitt and Storksdieck (2008) also report that field trips are enhanced when the teacher becomes familiar with the setting before the trip; orients students to the setting and agenda and clarify learning goals; plans pre-visit activities aligned with curriculum goals; allows students time to discover and explore during visit; plans activities that support both the curriculum and account for the uniqueness of the setting.

In addition, learning in the digital age is based on sharing of knowledge and information. Anne Balsamo (2011) describes this emergent cultural formation as a ‘distributed learning network’ that includes various types of institutions such as formal educational efforts of universities, schools, after-school programmes, as well as ‘mixed reality sites’ such as museums, libraries and community organizations. These new spaces of learning have been described as interest-driven (Ito et al., 2008), affinity spaces (Gee, 2004), and voluntary associations (Jenkins et al., 2007).

The infrastructure of education is no longer the single school system, but rather a distributed, mixed-node, learning environment. While museums have long served as informal spaces for learning (from social norms to national history), the modern museum has explicitly embraced its pedagogical intentions by establishing educational programmes with clear connections to formal school systems. These programmes not only bring students to visit the museum during the day with their teachers, but also provide for teacher training at the museum and through their websites with lesson plans that explicitly reference formal curricular topics and learning objectives. The aim for these museum programmes is to support schoolbased educational efforts by providing an alternative space for learning that is less structured and hierarchical than formal school-based programmes. (Boddington, Boys & Speight, 2013).

No doubt, there are numerous approaches to involving museums as educational partners. One of them is an integrated program consisting of the activities based on three assumptions: Contemplating (enjoy), Interpreting (reflect) and Trying (create). It can be applied to any cultural space with different expressive modalities –within the architectural or historic heritage, in nature, urban art, etc. Students can analyze the works of art through the comparative method, identifying similarities and differences in a thematic field, doing some relevant experiments, and so forth.

Educators from the University of Arkansas at Little Rock recommend to consider some important things when analyzing a work of art and focus on Art Elements, such as Line (straight, curved, angular, flowing, horizontal, vertical, diagonal, contour, thick, thin, etc.); Shape (what shapes are created and how); Light and Value (source, flat, strong, contrasting, even, emphasis, shadows); Color (primary, secondary, mixed, complimentary, warm, cool, decorative, values); Space (depth, overlapping, kinds of perspective); Time and Motion. They also recommend that students take into consideration so-called Principles of Design – Unity and Variety; Balance (symmetry, asymmetry); Scale and Proportion (weight, how objects or figures relate to each other and the setting); Mass/Volume (three-dimensional art); Function/Setting/ Interior/Exterior Relationship (architecture). Students also have to go beyond description and offer a conclusion and their own informed opinion about the work of art. 1)

We developed two detailed schemes for students so as to facilitate completing such tasks.

MODEL1 (for less advanced students) 1. Now I’d like to attract your attention to thislandscapecanvaspaintingwater colourportraitdrawing2. It was painted (drawn) byfamouswell-knownpainter/ artist/…world-known3. He belongs to therealisticschool ofpaintingclassictrend inartmodern
4. As you can see it’san oil painting/a pen-drawing/an engrave/…5. We can seea woman/a groupin the foregrounda group of peoplein the middle grounda horsemanin the backgroundgreen hillsin the distanceto the right of the picture6. The picture is executed mostly inbrightcolourslighttonesdarkwarmcold7. Numerous shades ofblueprevail in itbrownred8. The artist depictsa busy streeta girl milking a cowa forest in autumnthe rough sea9. The artist employs theusualcompositionstrangetrivial10. This is one of theearlyworks of this painterbestlatest

MODEL 2 (for more advanced students)

Critical Response

Paragraph One

Description: Write a description of the painting. Write it as if you are writing to a friend or you are describing it over the phone.

Paragraph Two

Analysis: Look at the composition of the painting and explain how the elements of art and the principals of design are organized. Found on a separate sheet of paper are a word list with brief definitions to be used for this paragraph. You are expected to use at least two elements art and two principles of design.

Paragraph Three

Interpretation: How does this painting make you feel? What is your initial reaction when you looked at this painting? Are you impressed with the skill of the artist or the idea. How much are you inspired?

Paragraph Four

Evaluation: Is this a good painting? What are its strengths or weaknesses? What would you do to make it better?

Teachers are recommended to create a museum session plan, depending on the time available.

The plan should include the theme, the objectives, some materials needed as well as the activities to carry out with educators playing a role of mediators and facilitators.

The session (either in a museum or in the classroom) can begin with students observing the works of arts, after which we can start a dialogue in various ways with the activities that facilitate the verbalization of ideas and opinions. It also might include different games:

– Bag Game – every student can be given such a bag. Let them feel the object with the bag closed and try to guess what’s inside The object can only be felt by hand, it cannot be seen. Or there can be one bag so that students will explore the invisible object and then voice their opinion, which can be compared and discussed.

– Pieces of a Puzzle (each student provides a piece and says something about the work).

– Words Game – each student can write three words related to the work of art. Then they have to comment on their associations- There may be a card with a question and have to find the answer in one, or more, of the works.

– Analogies Game – finding common elements between different works of art. diagram (on paper, with arches or spherical shapes, or colored ropes)

– Secret Painting Game - one of the students chooses a painting or exhibit in the museum but does not tell the others which it is. The other students take turns asking Yes or No questions to get clues about what it is.

– Feeling Game – ask each student to pick one work of arts that makes them feel a certain way: happy, sad, etc. Discuss why. Later, ask them to create their own abstract art.

– Story Time Game – ask each student to invent a story to go with a painting they choose.

– Memory Game – have students take turns looking at a painting and trying to memorize as much as possible about it. Then have them turn their backs to it and see how many questions about it they can answer.

Selecting a theme is of great importance due to some reasons:

– It focuses your preparation by helping you make choices about content and structure.

– It helps students consider how works of art are related.

– It helps students connect new experiences to their own lives.

– It focuses the tour experience and keeps you and your students on task.

Examples of themes

StoriesinArt–AncientStories(TrojanWar, TheOdyssey, Ovid’sMetamorphoses), Love Stories (Venus and Adonis, Telemachus and Eucharis), Stories from Mythology (Leda and the Swan, Medusa), Stories from the Bible (Noah’s Ark, Joseph and Potiphar’s Wife);

People - Portraits, daily life, children, families, mythological gods and heroes (Hercules, Achilles), people from history (Mary Seacole, Louis XIV);

Creatures – Insects, pets, dragons, griffins, sirens;

Nature – Landscape, weather, plants, habitats;

History & Culture – The Italian Renaissance, 17th-century Holland, the French Revolution;

Art Making – Sculpture, vase painting, drawing, mosaics, photography, manuscripts, glass.

Museum Lesson Plan

Photos/ReproductionsArt work identicationTitle and dateStill-life, 1943The Bread, 1951ArtistGiorgio Morandi (1890 – 1964) Jean Hélion (1904 – 1987) TechniqueOil on canvas (30 x 45 cm) Oil on canvas (72 x 91 cm) Subject/ThemeObjects/Still-lifeDescription/Reproducing theatmosphereArt work descriptionUndened spaceInterior spaceObjects resembling various geometricshapes, with predominantly straightlines. Akitchen…Light comes from the left. There is alsohighlighted spot in the backgroundThe light comes from above
Still lifeObjects and elements of everyday life (gurative objects) Reduced color palette; dominated shades of brown , gray, whiteTextureLigth and shadowPerspectiveDepth – Three-dimensionalityContours marked from the very object colorBackground and gureShape (geometric shapes) Technique – oil on canvasPaintingContextItalyFranceBiographyGiorgio Morandi is an Italian painter, born in Bologna. During 1930-56 hetaught printmaking and drawing at theAcademy ofArts. His rst still-life andlandscapes were inspired by the worksof Renoir, Monet et Cézanne. He focused increasingly on subtlegradations of hue, tone, and objectsarranged in a unifying atmospherichaze, establishing the direction hisart was to take for the rest of his life. Morandi showed in the NovecentoItaliano exhibitions of 1926 and1929. From 1928 Morandi participatedin some of the Venice Biennaleexhibitions, in the Quadriennale inRome and also exhibited in di󰀨erentItalian and foreign cities. 2) JeanHélion Frenchpainterandwriter, bornin Couterne. Hélionmoved totheUnitedStatesin July1936, stayinginNew Yorkandlater Virginia. Whilehe continuedpaintingabstractly, he increasinglyfeltthathis workwastendingtowardrepresentation, and hebegandrawingfrom life. HisreadingofBaudelaire directedhimtowarda conceptofmodernityinwhich themostephemeralaspectsof contemporarylifearereconciled withthetimelessandthe geometric. HebelievedthatSeurat , whohecalled “thelastgreat master, andLeger, thegreatestafter him. Hélion’s workunderwenta radicalchange—onethat wouldconfoundhisadmirers—whenhe abandonedabstractiondecisively in1939. Hisrst large-scalegurativecanvas, With Cyclist(Aucycliste), revealeda simpliedandstreamlinedtreatment offormthatis relatedtoLéger’s styleofthe1930s. JeanHéliondiedinParison October27, 1987.3)

Museum Educational Game ‘Treasure Hunt for Food on Canvas’.

This activity was implemented in the Museum “Square 500”, Bulgaria’s new national gallery, located near “St. Alexander Nevsky” Cathedral. It has a collection of over 42,000 art works from the National Art Gallery and the National Gallery for Foreign Art. The exhibition presents about 2,000 art works, half of which are by Bulgarian artists and the other come from Europe, Asia, Africa, and America.

Task 1:

Make pictures of three paintings of food. (In case it is allowed) – Hall 1

Task 2:

Find the painting “All Souls’Day”. Who is its author and what is his nationality? – Hall 4

Task 3:

On the painting “Still-life with Fish” by Abraham van Beyern, apart from fish, there is some other food painted. What is it? – Hall 6

Task 4:

Which painting by Palma Vecchio have you found in the hall? – Hall 7

Task 5:

Who is the artist created the paintings “Grape Picker” and “Bacchanalia Woman”? – Hall 15

Task 6:

What kind of food did Bernard Buffet depict in his “Still-life”? – Hall 18

Task 7:

What kind of food can be seen in the painting by Tzenko Boyadzhiev “Relaxation Time”? - Hall 21

Task 8:

During which centuries did the Pahari painting school develop, which representative of which is the Kashmir style? – Hall 23

Task 9:

Finish the title of the painting by Andre Lanskoy “Still-life with …”? – Hall 8

Task 10:

In which painting by Vera Nedkova there is some fruit? – Hall 12

Task 11:

What kind of food did Zlatiu Boyadzhiev paint in his work of art “Dinner Time”? – Hall 7

Task 12:

Which paintings depicting food by Bencho Obreshkov have you found in the gallery?

Task 13:

Who is the artist and what is the title of the painting?

Task 14:

In Hall 26 there are paintings of food, created by two Bulgarian painters? Who are they?

Task 15:

Apart from being daily basic food, bread in the Bulgarian customs plays a significant role in numerous rituals, both pagan and Christian. In which painting by Aneta Dragushanu can we see bread? – Hall 15

Task 16:

The famous Bulgarian painter Nenko Dimitrov-Balkanski was born in the town of Kazanluk on 20th of September 1907. He graduated from the National Academy of Art in Sofia in 1930, studied in Paris and Munich and specialized in Italy from 1939 to1941. Some of his paintings are exhibited in the National Art Gallery and in the Art Gallery of Kazanluk. Which of his paintings, related to the family have you found here? – Hall 10

Task 17:

Which paintings of food, painted by Vasil Barakov have you found in the gallery?

Task 18:

What is the name of the Japanese artist (1823–1880), whose paintings of food can be found in the gallery? – Hall 23

Task 19:

For nearly 27 years Vladimir Dimitrov-Maystora (the Master) worked in the village of Shishkovtzi, the region of Kustendil. He portrayed the local people, the rural life, the customs and traditions, focusing on the typical characteristics of the Bulgarian national type and the relations between the people and the nature. What are those typical features? – Hall 25

Task 20:

How many halls does the National Gallery “Square 500” have?

Treasure Hunt is one of the most popular educational games for young people visiting the museum, which are used to secure the children’s active interest, make learning fun, and enhance the museum experience (Avouris & Yiannoutsou, 2012). Some museums provide paper-based treasure hunt applications, as can be seen on the Van Gogh museum website 4) or on the American Museum of Natural History site5) . Some museums make these game applications available on their website, as for example The Metropolitan Museum of Art 6) . Some museums offer the game as a guided activity, such as the Melbourne Chinese museum7) , whereas other museums provide downloadable treasure hunt apps. In fact, some museum sites provide instructions to enable children to create their own treasure hunt games, as on the British Museum website, for example 8) .

Treasure hunt game creation also became a business for individuals/groups/ companies, as can be seen on Watson Adventures9) and on Huntzz10) , which enable users to play and create games using a mobile device11) .

Overall, both cognitive and affective learning can occur as a result of class visits to out-of-school settings, and is influenced by numerous factors, such as the structure of the trip, setting novelty, social context of the visit as well as teacher actions on trip and quality of preparation and follow-up experiences (DeWitt & Storksdieck, 2008). In relation to the physical site, Groundwater-Smith and Kelly emphasized that the following design principles will attract and engage young people: establishing coherent goals and aims; providing conditions that give the learner an opportunity to explain, inquire, interpret, apply and connect at a variety of levels and in enjoyable ways; looking for ways of attracting and holding interest; engaging young people in deep knowledge and understanding that requires of them higher order thinking; supporting varying levels of interaction with exhibits, including hands-on experiences; providing conditions for learner discovery; being alert to feedback and enabling young people to make an ongoing contribution.

NOTES

1. http://ualr.edu/art/art-history-resources/papers-and-projects/guidelines-for-analysisof-art/

2. https://en.wikipedia.org/wiki/Giorgio_Morandi

3. https://en.wikipedia.org/wiki/Jean_H%C3%A9lion

4. http://www.vangoghmuseum.nl/vgm/index.jsp?page=265&lang=en

5. http://www.amnh.org/explore/kids-guide-to-the-museum

6. http://www.metmuseum.org/visit/itineraries/family-greece

7. http://www.chinesemuseum.com.au/whats-on/public-programs/treasure-hunt/

8. http://www.huntzz.com/following-a-treasure-hunt.html#.Uq_dIMbxvmI

9. http://www.watsonadventures.com/

10. http://www.huntzz.com/following-a-treasure-hunt.html#.Uq_dIMbxvmI

11. http://mw2014.museumsandtheweb.com/paper/the-treasure-hunt-game-generatora-system-and-its-application-at-the-hecht-museum/

12. CLMG (The Campaign for Learning Through Museums and Galleries) (2006) Culture Shock: Tolerance, Respect, Understanding and Museums Bude

13. Ofsted (2008) Learning outside the classroom London: Ofsted Qualifications and Curriculum Authority (2008) ‘A big picture of the curriculum’, available at www.qca.org.uk/libraryAssets/media/Big_ Picture_2008.pdf

14. Pontin, K. (2001, unpublished). Represent: An Evaluation report for an inclusion project run by Birmingham Museum Service, available at www. katepontin.co.uk/REPBRUM.pdf

15. Student Learning in Museums: what do we know? Report prepared for The Sovereign Hill Museums Association by Dr Lynda Kelly, 2011.

16. Background to the work of Groundwater-Smith and Kelly (2003-2011) can be found here: http://web1.australianmuseum.net.au/blogpost/Teacher-Talk/TheCoalition-of-Knowledge-Building-Schools

REFERENCES

Bellamy, K. & Oppenheim, C. ed. (2009). Learning to Live Museums, Young People and Education. Institute for Public Policy Research and National Museum Directors’ Conference.

Woollard, V. (2006). UK Museum and Gallery Visitor Figures. In: Lang, C, Reeve, J. & Woollard, V. (eds). The Responsive Museum, Working with Audiences in the Twenty-First Century. Farnham, Surrey: Ashgate

Rogers, R. (2004). Space for Learning: A Handbook for Education Spaces in Museums, Heritage Sites and Discovery Centres. London: Space for Learning Partners.

Lundgaard, I. & Jensen, J. (2013). Museums as Social Learning Spaces. Styrelsen, Danish Agency for Culture.

Burnette, A., Cherry, R., Proctor, N. & Samis, P. (2011). Getting On (not under) the Mobile 2.0 Bus: Emerging issues in the mobile business model. In J. Trant, J. & Bearman, D. (Eds). Museums and the Web 2011: Proceedings. Toronto: Archives & Museum Informatics.

Cornu, B. (2004). Networking and collective intelligence for teachers and learners. In Brown, A. & Davis, N. (Eds). Digital Technology, Communities and Education. London: Routledge.

DeWitt, J. & Storksdieck, M. (2008). A Short Review of School Field Trips: Key Findings from the Past and Implications for the Future. Visitor Studies, 11(2).

DeWitt, J. & Hohenstein, J. (2010). Supporting Student Learning: A Comparison of Student Discussion in Museums and Classrooms. Visitor Studies, 13(1) , 41 – 66.

Johnson, L., Witchey, H., Smith, R., Levine, A. & Haywood, K., (2010). The 2010 Horizon Report: Museum Edition. Austin, Texas: The New Media Consortium.

15. Falk, J. H. & Dierking, L. D. (2013). The museum experience revisited. Walnut Creek, CA: Left Coast Press.

Boddington, A., Boys, J & Speight, C. (2013). Museums and Higher Education Working Together – Challenges and Opportunities. Ashgate.

Kuflik, T., Stock, O., Zancanaro, M., Gorfinkel, A., Jbara, S., Kats, S., Sheidin, J. & Kashtan, N. (2011). A visitor’s guide in an active museum: Presentations, communications, and reflection. Journal on Computing and Cultural Heritage (JOCCH) 3, no. 3: 11.

Yiannoutsou, N. & Avouris, N. (2012). From information consuming to participating: game-design supporting learning experiences in museums. In C. Karagiannidis, P. Politis & I. Karasavvidis (eds.). (2012). Proceedings of the 8th Pan-Hellenic Conference with International Participation “ICT in Education”. University of Thessaly – Volos (Greece).

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BASIC REQUIREMENTS FOR CHARACTERISTICS OF THE KOREAN LANGUAGE E-TEXTBOOK

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SOCIOLINGUISTIC CREDO OF A FOREIGN LANGUAGE TEACHER: THE CASE OF DIGITAL CLASSROOM

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„АНДРЕ МАЛРО – ПИСАТЕЛ И БОРБЕН ИНТЕЛЕКТУАЛЕЦ“ – ПРАЗНИК НА ДУХА

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РАЗРАБОТКА ОПРОСНИКА ДЛЯ ИЗУЧЕНИИ ЯЗЫКОВЫХ БИОГРАФИЙ НОСИТЕЛЕЙ УНАСЛЕДОВАННОГО ЯЗЫКА

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АКТУАЛЬНЫЕ ТЕМЫ ИССЛЕДОВАНИЙ В СОПОСТАВИТЕЛЬНОЙ ФИЛОЛОГИИ В СОВРЕМЕННОМ КАЗАХСТАНЕ

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КЪМ НОВИ ПРЕДИЗВИКАТЕЛСТВА

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КАКВО Е КУРОРТ?

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ДЕКОНСТРУИРУЯ ФЕЙКИ

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ОВАКАНТЯВАНЕТО НА КАНОНА

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LA DIDACTIQUE DU FLE À LA CROISÉE DES SCIENCES COGNITIVES ET DISCURSIVES

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ЕЗИК, ВЛАСТ, МЕДИЯ

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ЛИНГВОДИДАКТОЛОГИЧНИ АСПЕКТИ НА ПРИСЪСТВЕНОТО ОБУЧЕНИЕ В ЕЛЕКТРОННА СРЕДА

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ЮРИЙ ЛОТМАН КАК ОБЪЕКТ И МЕТАЯЗЫК

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К ВОПРОСУ О ПРИЗНАКАХ КВАЗИСИМВОЛА

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ЦИФРОВЫЕ СРЕДСТВА В ОБУЧЕНИИ ИНОСТРАННЫМ ЯЗЫКАМ: ОТБОР И ТИПОЛОГИЗАЦИЯ

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СИНТАКСИС НА МЕТАЕЗИКА

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A SEMANTIC DESCRIPTION OF THE COMBINABILITY BETWEEN VERBS AND NOUNS (ON MATERIAL FROM BULGARIAN AND ENGLISH)

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НОВИ ПРЕДИЗВИКАТЕЛСТВА ПРЕД СЪВРЕМЕННАТА ЛИНГВОДИДАКТОЛОГИЯ

Третото десетилетие на ХХІ век поставя пред лингводидактологията нови предизвикателства. Утвърденото във времето историко-теоретико- практическо разглеждане на тази наука като из- следователско направление, обединяващо всички аспекти на езиковото образование, продължава да поставя във фокус проблема с оптимизиране на акционалността в условията на глобализира- щия се свят. Интерактивността между участни- ците в образователния процес по чужд език из- исква ново преосмисляне на ролит

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Мариана Георгиева

АКАДЕМИК ЮРИЙ ДЕРЕНИКОВИЧ АПРЕСЯН НА 90 ГОДИНИ

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2019 година
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TOWARDS CONCEPTUAL FRAMES

Svetla Koeva, Tsvetana Dimitrova, Valentina Stefanova, Dimitar Hristov

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ПЕДАГОГИЧЕСКАЯ ИННОВАТИКА В ДЕЙСТВИИ

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НАУЧНОЕ НАСЛЕДИЕ ЗОЛОТОГО ВЕКА ИСЛАМА

Сулейменов И.Э., Молдажанова А.А., Копишев Э.Е., Егембердиева З.М., Ниязова Г.Б.

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КОГНИЦИЯ И ПУНКТУАЦИЯ

Мариана Георгиева

КРЪГЛА МАСА „ЕЗИК И ПРЕВОД“

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ИЗСЛЕДОВАТЕЛСКИ АСПЕКТИ НА СЪВРЕМЕННАТА ЛИНГВОДИДАКТОЛОГИЯ

Списанието „Чуждоезиково обучение“ е един епистемолого-културологичен монумент на лингводидактологията, която постоянно търси и обновява своя изследователски профил, за да го подложи на опита на времето, преди да се пре- върне в класика. Списанието е барометър на бъл- гарската методическа наука, фиксиращ нейните творчески търсения през годините, проектиращ нови визии и поставящ теоретико-практически ориентири. Текстовете на публикуваните ста- тии са елементи от историята

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PUBLIC AWARENESS OF DYSLEXIA IN BALKAN COUNTRIES

Mirela Duranović, Dobrinka Georgieva, Mirjana Lenček, Tatjana Novović, Muljaim Kačka

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СЕМАНТИЧНИ РЕЛАЦИИ В РАМКИТЕ НА МНОГОКРАТНАTA ХИПЕРОНИМИЯ В УЪРДНЕТ

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МИФЫ О РУССКОМ ЯЗЫКЕ: ON-LINE

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БЪЛГАРСКИЯТ „MAÎTRE DE LANGUES“

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ДОЦ. Д-РУ ИЛИАНЕ ВЛАДОВОЙ 80 ЛЕТ

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THE FEAR TO TALK

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ПРОБЛЕМИТЕ НА ЛИНГВОДИДАКТОЛОГИЯТА В ПРОСТРАНСТВЕНО-ВРЕМЕВАТА СИТУАЦИЯ НА ХХI ВЕК

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LES RÔLES DES MOTS-CLEFS

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И НЕКА Д УМИТЕ ГОВОРЯТ. . . (Портрет на един бележит учен)

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ЖИВОТЪТ НА КНИГАТА

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НОВИ ОБРАЗОВАТЕЛНИ ХОРИЗОНТИ

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2016 година
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ДИАЛОГ НА КУЛТУРИТЕ

Анна Ангелова

СВЕТЪТ КАТО СЛОВО

Магдалена Костова-Панайотова, Любка Ненова

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Анелия Бръмбарова

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РУССКИЙ ЯЗЫК СОВРЕМЕННОЙ РОССИИ

Вербицкая Людмила Алексеевна

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СТЕФАНА ДИМИТРОВА

Донка Мангачева

ТАТЯНА МИХАЙЛОВНА НИКОЛАЕВА

Стефана Димитрова

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УВАЖАЕМИ КОЛЕГИ

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ЗАБАВЛЕНИЯ ПО ФРЕНСКИ

Цвета Тодорова

DE VITA BEATA НА ПРЕВОДАЧА

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2015 година
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SCIENCES ET GUERRE, SCIENCES EN GUERRE

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СБОРНИК В ЧЕСТ НА ПРОФ. МАРИЯ КИТОВА

Магдалена Караджункова

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ДО УЧАСТНИЦИТЕ В VII МЕЖДУНАРОДНА КВАЛИФИКАЦИОННА ШКОЛА ВАРНА, 2015

«Ñîâðåìåííûå ïåäàãîãè÷åñêèå òåõíîëîãèè »

МОСКОВКИН ЛЕОНИД ВИКТОРОВИЧ

доктор педагогических наук, профессор кафедры русского языка как иностранного и методики его преподавания

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Мастер-класс «Обучение РКИ в контексте исторической памяти и на-, циональной идентичности (на материале русской литературы)»

БУКИН ДЕНИС ЮРЬЕВИЧ

Сфера научных интересов

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ЗА ДУМАТА ЦИВИЛИЗАЦИЯ

Мария Костова

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ФРАНКОФОНИЯ И ФРАНКОФОНИ

Димитър Веселинов

БИТИЕТО НА ОБРАЗИТЕ

Йосиф Каменов

IN MEMORIAM

Elena Alekova

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LA LANGUE DANS L’OEIL ET LA PEAU

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ЗАЕДНО ПРЕЗ ВЕКОВЕТЕ

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2014 година
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БИЛИНГВИЗЪМ В УСЛОВИЯТА НА НАРУШЕН СЛУХ

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Борис Тимофеевич Евсеев – поэт, прозаик, эссеист. Лауреат премии Правительства Российской Федера- ции в области культуры и премии «Ве- нец», Бунинской, Горьковской и многих других литературных премий. Получил музыкальное, литературное и жур- налистское образование. В советское время публиковался в Самиздате. Ав- тор 15 книг прозы. Переводился на английский, болгарский, голландский, испанский, итальянский, китайский, немецкий, эстонский, японский и др.

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MIGRATING MEMORIES

Irina Peryanova

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ЕЗИКЪТ – НАУКА И ПРАКТИКА

Павлина Стефанова

ВРЕМЕНАТА ОТЛИТАТ, НАПИСАНОТО ОСТАВА

Магдалена Караджункова

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ОЦЕНЯВАНЕТО ОТ РОДИТЕЛИТЕ – ВЪЗМОЖНОСТИ И ПРЕДИЗВИКАТЕЛСТВА

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ПРЕВОДЪТ В ЕВРОПА

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ОБЩОБАЛКАНСКИТЕ КОРЕНИ

Русана Бейлери

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ПАДНАЛИТЕ АНГЕЛИ

Мони Алмалех

ПРОФ. Д-Р БАГРЕЛИЯ БОРИСОВА СЪБЧЕВА (1955 – 2013)

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ПРОЕКТ НА НАЦИОНАЛНО ИЗДАТЕЛСТВО „АЗ БУКИ“ И ФОНД „РУССКИЙ МИР“

ПРОЕКТ НА НАЦИОНАЛНО ИЗДАТЕЛСТВО „АЗ БУКИ“ И ФОНД „РУССКИЙ МИР“

2013 година
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ИЗ ДЕБРИТЕ НА ПОРТУГАЛИСТИКАТА

Весела Чергова. (2012). Конюнктивният имперфект в съвременния пор-

МАТУРА ПО ФРЕНСКИ ЗА ОТЛИЧЕН

Ботева, С., Кръстева, Ж. & Железарова-Сариева, А. 100% успех. Матура по френски език. София: Просвета. 298 с. ISBN: 9789540126258

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ПОЛИТИЧЕСКАТА РЕЧ – МОДЕЛИ НА ПОВЕДЕНИЕ И КОМУНИКАЦИЯ

Владислав Миланов, Надежда Михайлова-Сталянова. (2012). Езикови портрети на български политици. Част първа. София: УИ „Свети Климент Охридски“. 230 с. ISBN 978-954-07-3323-4

ПРОЕКТ НАЦИОНАЛЬНОГО ИЗДАТЕЛЬСТВА „АЗ БУКИ“ И ФОНДА „РУССКИЙ МИР“

Идея проекта «Открытая линия» - популяризация современных тенденции, исследования и анализы ведущих ученых в сфере обучения русскому языку как иностранному, а также - обмен опыта между болгарскими учителями. Проект реализируется Национального издательства «Аз Буки» - часть Ми- нистерство образования и науки Болгарии, вместе с фондом «Русский мир». Сегодня – благодаря мастер-классов, у нас есть исключительная возможность познакомится с новейшими разработками ведущих ученых и мето

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ЧУЖДОЕЗИКОВО ОБУЧЕНИЕ МЕЖДУ ТРАДИЦИИ И ИНОВАЦИИ, МЕЖДУ ОБРАЗОВАТЕЛНА ТЕОРИЯ И УЧЕБНА ПРАКТИКА

Чуждоезиковото обучение в съвременната образователна парадигма – теория, практика, перспективи. Велико Търново: Ивис, 2011, 277 с.

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COMPOUND VERBS FROM А COGNITIVE AND SEMANTIC PERSPECTIVE

Bagasheva, Alexandra. (2012). Refl ections on Compound Verbs and Com-

ТЕАТРАЛЬНАЯ АТМОСФЕРА В КЛАССЕ

Тодорова, Румяна В. Димитрова, Розалина И

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ЗА УЧИТЕЛЯ И ЧОВЕКА ЧУДОМИР – АНАЛИЗ НА ЗАПИСКИТЕ МУ ЗА ЕДНО ПЪТУВАНЕ В ТУРЦИЯ

Мевсим, Хюсеин. Пътуването на Чудомир в Турция (1932). Пловдив: „Жанет 45“, 2012, 200 с. ISBN 978-954-491-785-2 Милена Йорданова

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Китова-Василева, Мария. Любовта към словото. За изворите на науката за езика (От древността до края на Ренесанса). София: Колибри, 2012, 492 с. ISBN: 978-954-529-982-7x

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Peter Doyé. Lernen in zwei Sprachen. Deutsch im bilingualen Kindergarten. Hildesheim – Zürich – New York: Georg Olms Verlag AG, 2012, 110 S. ISBN 978-3-487-08870-9

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LES MOYENS SYNTAXIQUES DU RHEME EN RUSSE

Anna Khaldoyanidi, Mary-Annick Morel

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Донка Мангачева

ТВОРЕЦЪТ КАТО МОРЕПЛАВАТЕЛ

Аспарух Аспарухов

2012 година
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НА УЧИТЕЛЯ – ЛИЧНО

90 ГОДИНИ ОТ РОЖДЕНИЕТО НА ПРОФЕСОР ЖАНА МОЛХОВА

ПРОФЕСОР НИКОЛАЙ МИХОВ НА 70 ГОДИНИ

Даниела Кожухарова Николай Николов Михов е роден на 30 април 1942 г. в семейството на индустриалец. През 1956 г. заминава за София, за да учи в гимназия. Изу- чава руски и френски език, към които добавя факултативните латински, немски и английски. Учи неуморно и до днес. Професор-полиглот, който по време на кандидатстудентските кампа- нии, докато проверява работите по френски език, по време на кратката си почивка попълва тестовете по немски и по испански език, показвай

ЕВРОПЕЙСКИ ДЕН НА ЕЗИЦИТЕ

Цветанка Панова

РЕТРОСПЕКТИВНА БИБЛИОГРАФИЯ RETROSPECTIVE BIBLIOGRAPHY

Преди 50 години Симеонов, Йосиф. Някои трудности при изучаване на френски език. С., Наука и изкуство, 1962, 84 с. Методика на обучението по френски език в средния курс на общообра- зователните училища: Учебник за учит. инст. за прогимназ. учители / Валерия Карабаджева. София: Народна просвета, (1962), 192 с. Нагледна граматика на немски език / Жана Николова-Гълъбова. Со- фия: Народна просвета, 1962, 243 с. : с табл., 2 л. табл. Българско-немски речник / Александър Дорич, Герда Минкова, Стефан

КНИГИ И ПЕРИОДИЧНИ ИЗДАНИЯ, ПОЛУЧЕНИ В РЕДАКЦИЯТА BOOKS AND PERIODICALS RECEIVED

Ботева, С., Ж. Кръстева, А. Железарова-Сариева. 100% успех. Матура по френски език. София, Просвета, 298 с. Легурска, П. Семантичен речник на типологичните характеристики на вторичното назоваване в руския и българския език. София, Изда- телство „Ето“, 2011, 312 с. Легурска, П. Съпоставителни лексикални анализи и основа за съпос- тавка. София, Издателство „Ето“, 2011, 228 с. Мавродиева, Ив. Политическа реторика в България: от митингите до онлайн социалните мрежи (1989–2011 г.). Автореферат н

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