10936

the traditional plan of a foreign language class, can be provided with any text materials and contribute to the development of all the skills required by regulatory documents. Thus, the technology can be successfully used in foreign language teaching without any time, economic and intellectual losses.

The use of this technology does not cause any serious intellectual difficulties for a teacher, since the names of the stages of technology reveal both the essence of cognitive activity that is carried out at this stage, and the content which fills the cognitive process flow.

The first stage, which is called "evocation", aims to create a positive emotional context and motivation for learning, activate existing knowledge, and achieve joint goal-setting. In foreign language classes the "evocation" stage has an additional and extremely important meaning: it allows a teacher to find out a degree of students’ proficiency in lexical and grammatical material on this topic and remove possible difficulties (by analyzing unknown or difficult language phenomena), which makes it easier for students to continue their educational activities, providing psychologically comfortable atmosphere in the classroom and thus, conscious further work. At the next stage of "realization" new information is received. A distinctive feature of this stage in comparison with traditional classes is the constant activity of all participants of the pedagogical process during new material learning. When organizing cognitive activity in the technology of RWCT, students do not only independently (individually, in pairs or groups) receive new information through reading, but also formalize it in writing (in the form of a summary, diagram, answers to questions, etc.) in accordance with a personally accepted goal. Consequently, each student exercises independent internal control (self-control) over a process and a result of his own cognitive activity and has an opportunity to seek help from friends, discuss his ideas with them, correct possible shortcomings, and emphasize obvious advantages of his own result. At the end of their work students share their results first in small groups, trying to answer controversial questions together and generalize the knowledge gained, then representatives from every group speak to a wide audience and a new round of generalization occurs. It is important for a teacher to pay attention to the involvement of all students into a discussion, gradually leveling the undoubtedly existing fear of public speaking.

The representatives’ presentation of their works in the classroom marks the transition to the final stage of "reflection". In the traditional practice of foreign language teaching, such activities are extremely rare. The goal of the "reflection" stage in the technology of RWCT is not grading or ranking, but making all participants of the pedagogical process realize their personal development through the completed activity. This goal can be specified through a set of specific tasks:

–comparison of different points of view (before and after receiving new information, different opinions in group and collective work);

–generalization of new information and its systematization;

1110

–socialization (the ability to present the results of personal activities to a team, tolerant attitude to other people's opinions, and mutual assistance);

–development of creative abilities;

–assessment and self-assessment (fixing personal attitudes).

A distinctive feature of the technology of RWCT, as well as many other student-centered interactive technologies, is the division of responsibilities between all participants of the pedagogical process: a teacher is not the only source of information, facilitator, assistant or controller. All these functions are evenly distributed among all members of educational activities: a teacher, just due to his or her greater experience, is more responsible for organizing active activities in the classroom, but each student also happens to be an equal participant of the pedagogical process, which is non-standard compared to the traditional practice of foreign language teaching.

In addition to a variety of methods and techniques in the technology of RWCT, many strategies are used, each of them is a ready-made project of a class, containing all the necessary stages: "Reading with stops", "I know – I want to know – I’ve learned", "Logbook", "Mutual learning", "Active lecture", "Readers’ conference", "Reasoned writing", "Cross-discussion", "Zigzag", "Cube", "RolePlaying games" and "Portfolio" [7].

In conclusion, we note that the organization of foreign language teaching in the technology of RWCT (through the basic three – phase model that applies both to the organization of every single lesson, and of a complete course of foreign language teaching) has the following advantages:

–reflects the main activity stages of the educational process;

–integrates with the traditional foreign language teaching system;

–provides opportunities to attract additional active and interactive

methods;

–contributes to the development of critical thinking, which is one of the main characteristics of a modern person.

There are many examples of successful realization of the technology of RWCT both in foreign and domestic pedagogical experience [3, 5, etc.]. They prove that foreign language training can not only solve all of the tasks assigned to a modern teacher and a student, but also contribute to the intensification of general educational process and improve the quality of this process for all its participants.

References:

1. Гущин Ю.В. Интерактивные методы обучения в высшей школе [Электронный ресурс] / Гущин Ю.В. // Психологический журнал международного университета природы, общества и человека . – 2012. - № 2. – С. 1-18. Код доступа: http://www.fgosvo.ru/uploadfiles/mnenie%20%20expertov/2012n2a1.pdf

1111

2. Новые педагогические и информационные технологии в системе образования [Текст] / Под ред. Е.С. Полат. – М.: Изд-во «Академия», 2001.

– 272 с.

3. Солуянова О.Н. Развитие умения работать с информацией как важнейшей составляющей общекультурных компетенций в процессе изучения иностранного языка в нелингвистическом вузе [Текст] / О.Н. Солуянова // Диалог культур: концепции развития лингвистики и лингводидактики / М.: Издательство НИУ МГСУ. - 2015. - C. 51-61.

4.Ставрук М.А. О повышении роли информационно-коммуникационных технологий в образовании [Текст] / М.А. Ставрук // Инновации и инвестиции. – 2014. - № 5. – С. 256-259.

5.Темпл, Ч. Критическое мышление и критическая грамотность [Текст] / Ч. Темпл // Перемена. – 2005. – № 2. – С. 15-20.

6.Юлик, О.А. Технология развития критического мышления в формировании коммуникативной компетенции при обучении иностранному языку [Текст] / О.А. Юлик. // Молодой учёный. – 2014. - № 2 (61). – С. 890892.

7.Critical thinking in reading and writing [Electronic recourse] / Learning skill group // Macquarie University. – 2015. - 36 p. Access code: http://students.mq.edu.au

8.Diane F. Halpern Thought and knowledge: an introduction to critical thinking [Text] // Psychology Press. – 2013. - 656 p.

O.I. Storozhilova, E.A. Belous

(Nizhny Novgorod State University of Architecture and Civil

Engineering)

THE NEO-RUSSIAN STYLE IN NIZHNY NOVGOROD

The research work entitled “The Neo-Russian style in Nizhny Novgorod” is devoted to the study of a number of various movements within Russian architecture that arose in the second quarter of the 19th century. There was a revival of interest in national architecture in Russia at the end of the 19th century. It was during this period that buildings started to arise embodying the best traditions of ancient Russian architecture and folk art, which in general can be defined as the "Russian" style.

The relevance of the work is considerable as the "Russian" style, which developed at the turn of the 19th-20th centuries, represents the brightest period in the history of Russian architecture.

1112

Thus, the purpose of the research is to study the key features of the NeoRussian style, which emerged during the period of eclecticism. In accordance with the set goal, the tasks of the research are the following:

1)To reveal the features of the Neo-Russian style;

2)To learn creativity of masters of architecture, that worked in the Russian style;

3)To analyze the Neo-Russian surviving buildings in Nizhny Novgorod.

The objects of my research are the characteristics of the Neo-Russian style and the buildings in Nizhny Novgorod constructed in this architectural style.

The Neo-Russian style absorbed the best elements of ancient Russian architecture, on the basis of which it arose. In Russia the predominant development had wooden architecture, which also influenced stone constructions. The characteristic details of the design of the buildings of ancient Russian architecture were blades on the walls, carved ornaments on temples, porches, kokoshniks, hanging weights and other elements. In the 19th century, the architecture of classicism was replaced by the era of eclecticism, in the Greek language it means "choosing ". This is one of the directions of the architectural style of historicism in Russian architecture, which combines elements of different styles, as well as the use of elements of the so-called "historical" architectural styles (Neo-Renaissance, Neo-Baroque, Neo-Gothic, Russian-Byzantine, PseudoRussian style and others).

At the turn of the 19th-20th centuries, interest in native Russian architecture increased in Russia again. The Neo-Russian style arose within the framework of a general rise in interest in national architecture and is an interpretation and stylization of the ancient Russian architectural heritage. S.Sherwood, I.Ropet, D.Chichagov, A.Pomerantsev, A.Parland, V.Pokrovsky worked in the NeoRussian style.

Representatives of the Neo-Russian style addressed to the details in ancient Russian architecture, which were widely used in religious and residential constructions. The source of inspiration for them was the decorations of windows, porches, kokoshniks and hanging weights.

A lot of constructions were built in Russian style in Nizhny Novgorod. In particular, the capital masters of architecture worked there at the exhibition in 1896.

Stylization in the architecture of Nizhny Novgorod is widely represented. Thus, grandiose Spaso-Preobrazhensky Cathedral in Sormovo was built in NeoByzantine style. It was designed by the architect P.P. Malinovsky. The massive Cathedral has an emphatically centered composition. The cross-dome system borrowed from Byzantine architecture (Fig.1).

The state Bank on Bolshaya Pokrovskaya street was built in Nizhny Novgorod in 1913. The Bank building is designed in the ancient Russian architecture, it impresses with the high quality of decorative and artistic works:

1113

stone carvings, including a hipped entrance, a porch typical of merchant chambers (Fig.2). The author of the project is the architect Pokrovsky.

Fig.1 Spaso-Preobrazhensky Cathedral Fig.2 The state Bank

Another example, Spasskaya church is located on Gorkovskaya Street, the church is a typical sample of stylization at the end of XIX century. The image of the temple resembles the architecture of the XVII century. Red clay bricks are used in combination with white plastered decorative details for the facades. The accent in the overall composition is the front porch of the main entrance (Fig.3). The Church was designed by A.Kochetov.

Smirnov's apartment building, on Dalnaya Street, which was built immediately after the exhibition, must be mentioned, the architect is probably Ropet. Its important components are balconies, verandas and a projecting porch. Cornices and plat bands attract attention with through carvings that resemble the lace of wooden buildings of ancient Russian architecture. The four-sided tent is decorated with keeled openings on the four sides (Fig.4).

In 1896, the All-Russian Industrial and Art Exhibition was held in Nizhny Novgorod, where the leading architects of the capital worked (S.Sherwood,

1114

I.Ropet, D.Chichagov, A.Pomerantsev, A.Parland, V.Pokrovsky). The exhibition became a significant event in the cultural life of Russia and aroused interest in its architectural and construction achievements abroad.

The exhibition struck with a rich variety of architectural forms, the silhouette of many towers, resembling ancient Russian architecture, which could be seen in many buildings: Royal pavilion, Marine pavilion, Gardening and vegetable growing pavilion, Agricultural pavilion (Fig.5,6). It is obvious that the image of these buildings is inspired by ancient Russian wooden architecture.

So, it is obvious that the Russian style was a source of inspiration for architects for almost a century.

As the result of the conducted research the following conclusions were

made:

1)It is revealed that the basis of eclectic architecture was the use of elements of the so-called "historical" architectural styles (NeoRenaissance, Neo-Baroque, Neo-Gothic, including Russian style). Blades on the walls, carved ornaments on temples, porches, kokoshniks, hanging weights, decorative carved window decorations became connecting elements of the Neo-Russian and old Russian style;

2)It is revealed that the leading masters of the Russian style were the architects S.Sherwood, I.Ropet, D.Chichagov, A.Pomerantsev, A.Parland, V.Pokrovsky and others.

3)The study examines examples of architectural monuments in Nizhny Novgorod, built in the Russian style by architects P.Malinovsky, A.Kochetov, V.Pokrovsky, as well as metropolitan architects who created the complex of pavilions of the All-Russian exhibition in 1896.

References:

1. А.А Худин, Эклектика. – Н.Новгород: ООО «БегемотНН», 2017. 2.Н.Ф.Филатов, Нижегородское зодчество XVII-начала XX века. – Горький: Волго-Вятское кн. изд-во, 1980.

1115

V.S. Talova1, E.A. Aleshugina2

(1School №7, Nizhny Novgorod, 2Nizhny Novgorod State University of Architecture and Civil Engineering)

THE CHARACTERS IN THE COMEDY BY D.I. FONVISIN

“NEDOROSL”

Fonvizin's comedy "Nedorosl" was written in the best traditions of Russian classicism. In accordance with the classic canons, the characters in the work are clearly divided into positive and negative, and their names and surnames capaciously characterize and reveal the main features of the characters. However, in contrast to the traditional images of classicistic plays, the heroes of "Nedorosl" are devoid of stereotypes, which is what attracts modern readers and viewers.

The goal the research is to reveal the characters in the comedy and draw their analysis.

The object of the research are the characters in D.I. Fonvisin’s comedy “Nedorosl”.

Positive characters include Pravdin, Sophia, Starodum and Milon. Each of them supports the ideas of the Enlightenment, considering virtue, honesty, love for the motherland, high morality and education as the basic human values. Their complete opposite is depicted as negative characters - Prostakovs, Skotinin and Mitrofan. They are representatives of the "old" nobility, which with all its might is grasping at the outdated ideas of serfdom and feudal system. Their main values are money, position in the social hierarchy and physical strength.

In Fonvizin's comedy "Nedorosl", the main characters are divided into peculiar dual pairs, in which the author depicts people with similar social roles, but depicting them in mirror distortion. Thus, besides a couple of "children" - Sophia and Mitrofan, one can single out "educators" - Starodum and Prostakov, "suitors" - Milon and Skotinin, as well as "owners" - Prostakov and Pravdin.

Mitrofan is an ignoramus and the main character of the comedy - a spoiled, stupid young man of sixteen, for whom everything was always done by his mother, nanny or servants. Having taken over from his mother a love for money, rudeness and disrespect for relatives (Prostakova is ready to deceive her brother, just to settle a marriage that is profitable for her), and from his father complete weakness, he behaves like a small child - he does not want to learn, while he finds marriage fun fun. Sophia is the complete opposite of Mitrofan. This is an educated, intelligent and serious girl with a difficult fate. Having lost her parents at an early age and living in the care of the Prostakovs, Sophia does not adopt their values, but, in fact, becomes a “black sheep” in their society (Prostakova is even indignant that the girl can read).

Prostakova appears before readers on the one hand as an uneducated, cunning woman who is ready for almost anything for the sake of profit, and on

1116

the other, as a practical housewife and loving mother, for whom the happiness and carefree future of her son is above all. Prostakova brought up Mitrofan the way she was brought up, therefore she could convey and show by her own example outdated ideas and values that had long been exhausted.

Starodum has a completely different approach to upbringing - he does not treat Sophia as a small child, talking with her on an equal footing, instructing her and advising her based on his own experience. In the matter of marriage, a man does not undertake to finally decide for a girl, since he does not know if her heart is free. In the image of Starodum, Fonvizin portrays his ideal parent and educator - an authoritative strong personality who herself has gone a worthy path. However, analyzing the character system of the "Nedorosl" from the point of view of the modern reader, it should be noted that the image of Starodum as a teacher is also not ideal. All the time while he was absent, Sophia was deprived of parental care and left to herself. The fact that a girl learned to read appreciates morality and virtue, rather the merit of her parents, who instilled this in her at a young age.

In general, the topic of kinship is important for both the positive characters of the play "The Little Growth" and the negative ones. Sophia is the daughter of worthy people, Milon is the son of Starodum's good friend. Prostakova, however, only after marriage received this surname, in fact, she is Skotinina. Brother and sister are very similar, they are both driven by greed and cunning, they are not educated and cruel. Mitrofan is depicted as a real son of his parents and a pupil of his uncle, who inherited all their negative traits, including a love for pigs.

Characters whose relationship is not mentioned in the play are Prostakov and Pravdin. Prostakov is fundamentally different from his wife; in comparison with the active and active Prostakova, he looks weak-willed and passive. In a situation where he must show himself to be the master of the village, the man is lost against the background of his wife. This leads to the fact that the more active Pravdin becomes the owner of the inheritance, who was able to pacify Prostakov. In addition, Prostakov and Pravdin act as some kind of "auditors" of what is happening. Pravdin is the voice of the law, while Prostakov is the opinion of a simple (remember the “speaking” names of the play) people who do not like how the “old” nobility in the person of his wife and brother-in-law behaves, but is afraid of their anger, therefore he speaks only aside and does not agreeing.

The last couple of characters are Skotinin and Milon. Men represent outdated and new ideas about marriage and family life. Milon has known Sophia since childhood, they love each other, and therefore their relationship is based on mutual respect and friendship. Skotinin does not even try to get to know the girl better, he only cares about his dowry, while he is not even going to equip her with good conditions after marriage.

In addition to the main characters, there are Nedorosl characters in the comedy - the teachers and educators of Mitrofan the ignoramus. The characterization of the supporting characters - Eremeevna, Tsyfirkin, Kuteikin and Vralman - is associated with their social role in the play. The nanny is an

1117

example of a serf who faithfully serves his mistress all his life, enduring beatings and injustice. On the example of the images of teachers, the author reveals all the problems of education in Russia in the 18th century, when children are taught by retired military men who did not graduate from seminary or even grooms.

For the 18th century, Fonvizin's innovation consisted in the fact that the author portrayed the characters of the "Nedorosl" without the excessive pathos and stereotypes inherent in many works of classicism. Each comedy hero is undoubtedly a composite image, but not created according to a ready-made "stencil", but possessing its own individual features. That is why the characters of the comedy "Nedorosl" even today remain the brightest images of Russian literature.

References:

1.Д.И. Фонвизин. Недоросль. М., Азбуковедия, 2003. – 70 С.

2.https://www.literaturus.ru/2015/07/glavnye-geroi-nedorosl-fonvizin- personazhi-spisok.html

3.https://litgeroi.ru/po-avtoram/fonvizin/nedorosl-glavnye-geroi.html

A.S. Teterina, E.V. Kartseva

(Nizhny Novgorod State University of Architecture and Civil Engineering)

GLASS IN CONSTRUCTION IN THE STUDENT’S PROJECT WORK

Since the beginning of the former century lots of spheres of human knowledge and creation have been transformed into futuristic and fancy ones. The things that were unrecognized and were kind of absurd in the past – today are easy to understand and apply for even by children. And if nobody asks us to reinvent the wheel we are obligated to change, modify and use new forms and functions of trivial objects. The author finds glass to be the most budding and finest material. The huge variety of internals and outward forms make it indispensable in building engineering at any levels of difficulty. The combination of utility and glory justifies complex production and costliness [Fig1.].

Figure1. The project of the pavilion

1118

While the author was creating the project of the pavilion in public space she learnt that a lot of analogues are made by different design bureaus. The main springboard of the author’s idea was the material, not look.

Holmenkollen in Oslo was the most inspiring real object, kind of prototype, for her concept. The author admires the great work of engineers and constructors, who create not just a ski track and a hotel but fantastic atmosphere of power and uniqueness which look like the step into the future. Due to this project her idea grew up into the closed canopy with the observation deck. The location and environment determine the choice of glass. Scandinavian pine forest with a 3-4 – meter wide river and a waterfall – that is an ideal position of the pavilion. As planning, the canopy comes from the mountain image. It must be merged with environment because of transparency and reflectivity of the material. At the first stage of dreaming up the author wanted to use colored blue glass. But finally, it was decided to stop on crystal clear one to avoid green shadows with yellow light and make a safe place [Fig.2]. As for constructing points the main platform is situated on the hard ground. The place for observation sights around hang over the waterfall. The glass deck is fixed on the top of precipice. Visitors must feel vulnerable in front of glory of nature but safe under the big dome. As for the backbone system it must be a robust metal construction graphite color. Using frameless type of glazing creates a solid, steady look and does not divide the form. To transform the thesis into a real object the work has to be done with all sides of physical properties, for example, soil density, tilt angle, system of cleaning the surface and illumination, fences inside etc. Later it is planned to do a complex base and produce a wide professional project ready for bringing into life.

Figure 2. Colouring of glass and environment choice

Realizable buildings require great knowledge and experience. But nevertheless, everything stars with an idea. If we consider the genius mind of the Renaissance Leonardo da Vinci. He drew unreal objects. The low stage of

1119