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Вackground. The article is devoted to one of the organizational forms of teaching created for a fundamentally new course of literature at school. The course was developed by G.N. Kudina and Z.N. Novlyanskaya in line with the system of developmental education by D.B. Elkonin and V.V. Davydov and is based on the theoretical position of M.M. Bakhtin on the relationship between the author and the reader of a literary work as a specific correspondence dialogue. From this point of view, each of the participants in this dialogue is supposed to have the experience of «being» in the place of the other: the author is to be a reader, and the reader — to be an author. Therefore, the positional teaching method serves as the methodological basis for the new course, which allows to build the process of children training as their engagement into 2 main positions: the author's and the reader's ones, and to ensure the possibility of moving from one position to another. The need for early engagement of children into the author's position requires developing the new types of training that are not typical for traditional education. One of them is a collective creative etude. Objective. To substantiate, describe, and illustrate with typical examples the process of conducting collective creative etudes with schoolchildren of the 2nd and 3rd grades. To demonstrate the effectiveness of the new type of training for mastering the author's position, for developing children's ability to transform life impressions into verbal art images and for their transition to individual creativity. Results. The article provides an analysis of two collective etudes: the one connected with the perception of reality object, and the other — with the development of cultural forms of the verbal creativity. As a result of such activities children learn to select and transform life impressions in accordance with their plot, to embody them in an adequate cultural form, for example — in the form of a riddle. It is shown that a collective creative etude contributes to the emergence and implementation of individual creative ideas and the development of the author's position in the primary schoolchildren. Conclusions. A collective creative etude is an effective “pre-action” for the subsequent independent activity of a child in the author's position. It promotes the awakening of children's “creative initiative”, their ability to find material for the adequate embodiment of a creative idea in the life phenomena. It also opens the way to the assimilation of the author's position and to successful attempts in individual creativity.

The article is devoted to the functioning of literature (and, more broadly, cultural texts) in popular circulation and the transformation of their role in the 20th century. The starting point for the analysis is the link between commercialisation (as an immanent feature of the ‘lowbrow’ circulation) and the artistic quality of the output that is part of it. The examples of the phenomena under discussion come from different linguistic milieux. This highlights the transnational nature of popular works, which feature invariant solutions to plots. In these two contradictory yet simultaneous tendencies can be observed: schematisation and de-schematisation, which renews conventionalised solutions. The author also emphasises the role of English-language works in the creation of figures of the collective imagination. Their presence in the minds of readers and the transformations they undergo with the development of industrial society and urbanisation processes can be traced from the late 19th century to the 1990s. That is why the 20th century — a period of intense expansion of popular culture — is a cohesive cultural entity with distinguishable individual periods. They are usually associated with socio-political crises, with stories becoming a cultural response to them and, at the same time, their artistic reception in the imaginarium communis. In addition, this is a time of technological progress, significantly affecting the distribution and media-based mediation of cultural texts in popular circulation. Literature has ceased to be a ‘separate phenomenon’ in it, hence the need to look at it as a part of a larger whole, with which it enters into various relationships. The domination of English-language output during the analysed period is associated with the global hegemony of the Anglo-American entertainment model. At the same time — in the works available to Polish-speaking readers — its ‘over-presence’ stems from the appearance after 1989 of a large number of translations, which have significantly influenced domestic pop-culture; moreover, their popularity in the reality of the free market economy has been determined by the read- ers themselves with their purchasing choices. It is hard to speak in this situation of the existence of national models of popular culture, although undeniably there are authors who dominate the local publishing markets. And yet they, too, exist in the context of the global pop culture industry.

The article is devoted to the functioning of literature (and, more broadly, cultural texts) in popular circulation and the transformation of their role in the 20th century. The starting point for the analysis is the link between commercialisation (as an immanent feature of the ‘lowbrow’ circulation) and the artistic quality of the output that is part of it. The examples of the phenomena under discussion come from different linguistic milieux. This highlights the transnational nature of popular works, which feature invariant solutions to plots. In these two contradictory yet simultaneous tendencies can be observed: schematisation and de-schematisation, which renews conventionalised solutions. The author also emphasises the role of English-language works in the creation of figures of the collective imagination. Their presence in the minds of readers and the transformations they undergo with the development of industrial society and urbanisation processes can be traced from the late 19th century to the 1990s. That is why the 20th century — a period of intense expansion of popular culture — is a cohesive cultural entity with distinguishable individual periods. They are usually associated with socio-political crises, with stories becoming a cultural response to them and, at the same time, their artistic reception in the imaginarium communis. In addition, this is a time of technological progress, significantly affecting the distribution and media-based mediation of cultural texts in popular circulation. Literature has ceased to be a ‘separate phenomenon’ in it, hence the need to look at it as a part of a larger whole, with which it enters into various relationships. The domination of English-language output during the analysed period is associated with the global hegemony of the Anglo-American entertainment model. At the same time — in the works available to Polish-speaking readers — its ‘over-presence’ stems from the appearance after 1989 of a large number of translations, which have significantly influenced domestic pop-culture; moreover, their popularity in the reality of the free market economy has been determined by the readers themselves with their purchasing choices. It is hard to speak in this situation of the existence of national models of popular culture, although undeniably there are authors who dominate the local publishing markets. And yet they, too, exist in the context of the global pop culture industry. [ABSTRACT FROM AUTHOR]

The article describes the theoretical grounds and structure of a literature course as a part of aesthetic education at school, based on the concept of developmental learning by D.B. Elkonin and V.V Davydov. This course became a first attempt to create a program from the first to the final year at school, which required finding a solution to a complicated problem of transferring the practice of developmental learning from primary to secondary school. The conception was innovative in that it considered literature as a part of Arts rather than Philology. The purpose of the course is to educate a cultured reader who would be able to engage in a text-mediated dialogue with an author. The course is based on the ‘author – literary text – reader’ relation (M.Bakhtin). It is shown that a child’s experience of creative work in literature (as the author) is essential for fostering the cultured reader. Learning happens through acquiring and interchanging the positions of the author, reader, critic and theorist, and furthermore, on different educational stages these positions play different roles in literature development of schoolchildren. The main educational paths are: “Readers’ practice and creative work of children” and “History of the world literature”.