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          <trans-title>The theoretical foundations of stylistic techniques in the work of W. Shakespeare's Hamlet as a tool for developing analytical competencies</trans-title>
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&#x441;&#x438;&#x441;&#x442;&#x435;&#x43C;&#x430;&#x442;&#x438;&#x437;&#x430;&#x446;&#x438;&#x44E; &#x441;&#x442;&#x438;&#x43B;&#x438;&#x441;&#x442;&#x438;&#x447;&#x435;&#x441;&#x43A;&#x438;&#x445; &#x43F;&#x440;&#x438;&#x435;&#x43C;&#x43E;&#x432; &#x448;&#x435;&#x43A;&#x441;&#x43F;&#x438;&#x440;&#x43E;&#x432;&#x441;&#x43A;&#x43E;&#x439; &#x434;&#x440;&#x430;&#x43C;&#x430;&#x442;&#x443;&#x440;&#x433;&#x438;&#x438;. &#x41A;&#x43E;&#x43D;&#x446;&#x435;&#x43F;&#x442;&#x443;&#x430;&#x43B;&#x44C;&#x43D;&#x430;&#x44F; &#x43C;&#x43E;&#x434;&#x435;&#x43B;&#x44C; &#x43F;&#x43E;&#x43A;&#x430;&#x437;&#x44B;&#x432;&#x430;&#x435;&#x442; &#x432;&#x43E;&#x437;&#x43C;&#x43E;&#x436;&#x43D;&#x43E;&#x441;&#x442;&#x438; &#x43F;&#x43E;&#x432;&#x44B;&#x448;&#x435;&#x43D;&#x438;&#x44F; &#x44D;&#x444;&#x444;&#x435;&#x43A;&#x442;&#x438;&#x432;&#x43D;&#x43E;&#x441;&#x442;&#x438; &#x43A;&#x440;&#x438;&#x442;&#x438;&#x447;&#x435;&#x441;&#x43A;&#x43E;&#x433;&#x43E; &#x430;&#x43D;&#x430;&#x43B;&#x438;&#x437;&#x430; &#x432; 2-3 &#x440;&#x430;&#x437;&#x430; &#x43F;&#x440;&#x438; &#x438;&#x441;&#x43F;&#x43E;&#x43B;&#x44C;&#x437;&#x43E;&#x432;&#x430;&#x43D;&#x438;&#x438; &#x438;&#x43D;&#x442;&#x435;&#x433;&#x440;&#x430;&#x442;&#x438;&#x432;&#x43D;&#x43E;&#x433;&#x43E; &#x43F;&#x43E;&#x434;&#x445;&#x43E;&#x434;&#x430; &#x43A; &#x438;&#x437;&#x443;&#x447;&#x435;&#x43D;&#x438;&#x44E; &#x445;&#x443;&#x434;&#x43E;&#x436;&#x435;&#x441;&#x442;&#x432;&#x435;&#x43D;&#x43D;&#x44B;&#x445; &#x441;&#x440;&#x435;&#x434;&#x441;&#x442;&#x432;. &#x418;&#x441;&#x441;&#x43B;&#x435;&#x434;&#x43E;&#x432;&#x430;&#x43D;&#x438;&#x435; &#x43E;&#x431;&#x43E;&#x441;&#x43D;&#x43E;&#x432;&#x44B;&#x432;&#x430;&#x435;&#x442; &#x43D;&#x435;&#x43E;&#x431;&#x445;&#x43E;&#x434;&#x438;&#x43C;&#x43E;&#x441;&#x442;&#x44C; &#x438;&#x43D;&#x442;&#x435;&#x433;&#x440;&#x430;&#x446;&#x438;&#x438; &#x441;&#x442;&#x438;&#x43B;&#x438;&#x441;&#x442;&#x438;&#x447;&#x435;&#x441;&#x43A;&#x43E;&#x433;&#x43E; &#x430;&#x43D;&#x430;&#x43B;&#x438;&#x437;&#x430; &#x432; &#x43E;&#x431;&#x440;&#x430;&#x437;&#x43E;&#x432;&#x430;&#x442;&#x435;&#x43B;&#x44C;&#x43D;&#x44B;&#x435; &#x43F;&#x440;&#x43E;&#x433;&#x440;&#x430;&#x43C;&#x43C;&#x44B; &#x43A;&#x430;&#x43A; &#x43A;&#x43B;&#x44E;&#x447;&#x435;&#x432;&#x43E;&#x433;&#x43E; &#x438;&#x43D;&#x441;&#x442;&#x440;&#x443;&#x43C;&#x435;&#x43D;&#x442;&#x430; &#x440;&#x430;&#x437;&#x432;&#x438;&#x442;&#x438;&#x44F; &#x438;&#x43D;&#x442;&#x435;&#x43B;&#x43B;&#x435;&#x43A;&#x442;&#x443;&#x430;&#x43B;&#x44C;&#x43D;&#x44B;&#x445; &#x43A;&#x43E;&#x43C;&#x43F;&#x435;&#x442;&#x435;&#x43D;&#x446;&#x438;&#x439;. &#x41F;&#x43E;&#x43B;&#x443;&#x447;&#x435;&#x43D;&#x43D;&#x44B;&#x435; &#x442;&#x435;&#x43E;&#x440;&#x435;&#x442;&#x438;&#x447;&#x435;&#x441;&#x43A;&#x438;&#x435; &#x440;&#x435;&#x437;&#x443;&#x43B;&#x44C;&#x442;&#x430;&#x442;&#x44B; &#x441;&#x432;&#x438;&#x434;&#x435;&#x442;&#x435;&#x43B;&#x44C;&#x441;&#x442;&#x432;&#x443;&#x44E;&#x442; &#x43E; &#x446;&#x435;&#x43B;&#x435;&#x441;&#x43E;&#x43E;&#x431;&#x440;&#x430;&#x437;&#x43D;&#x43E;&#x441;&#x442;&#x438; &#x440;&#x430;&#x437;&#x440;&#x430;&#x431;&#x43E;&#x442;&#x43A;&#x438; &#x438;&#x43D;&#x43D;&#x43E;&#x432;&#x430;&#x446;&#x438;&#x43E;&#x43D;&#x43D;&#x44B;&#x445; &#x43C;&#x435;&#x442;&#x43E;&#x434;&#x438;&#x43A; &#x432; &#x441;&#x438;&#x441;&#x442;&#x435;&#x43C;&#x435; &#x432;&#x44B;&#x441;&#x448;&#x435;&#x433;&#x43E; &#x444;&#x438;&#x43B;&#x43E;&#x43B;&#x43E;&#x433;&#x438;&#x447;&#x435;&#x441;&#x43A;&#x43E;&#x433;&#x43E; &#x43E;&#x431;&#x440;&#x430;&#x437;&#x43E;&#x432;&#x430;&#x43D;&#x438;&#x44F; &#x434;&#x43B;&#x44F; &#x43E;&#x43F;&#x442;&#x438;&#x43C;&#x438;&#x437;&#x430;&#x446;&#x438;&#x438; &#x443;&#x447;&#x435;&#x431;&#x43D;&#x43E;&#x433;&#x43E; &#x43F;&#x440;&#x43E;&#x446;&#x435;&#x441;&#x441;&#x430; &#x438; &#x43F;&#x43E;&#x432;&#x44B;&#x448;&#x435;&#x43D;&#x438;&#x44F; &#x43A;&#x430;&#x447;&#x435;&#x441;&#x442;&#x432;&#x430; &#x43F;&#x43E;&#x434;&#x433;&#x43E;&#x442;&#x43E;&#x432;&#x43A;&#x438; &#x441;&#x43F;&#x435;&#x446;&#x438;&#x430;&#x43B;&#x438;&#x441;&#x442;&#x43E;&#x432; &#x433;&#x443;&#x43C;&#x430;&#x43D;&#x438;&#x442;&#x430;&#x440;&#x43D;&#x43E;&#x433;&#x43E; &#x43F;&#x440;&#x43E;&#x444;&#x438;&#x43B;&#x44F;.</p>
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        <p>Modern education is characterized by the search for theoretically sound pedagogical technologies that contribute to the formation of students' analytical competencies through the study of classical works. The research is aimed at the theoretical substantiation of the possibilities of using stylistic techniques of W. Shakespeare's tragedy &#xAB;Hamlet&#xBB; for the development of critical thinking and analytical skills of students. The methodological basis was formed by pedagogical research, comparative analysis and theoretical modeling of educational processes. The theoretical framework includes a conceptual analysis of stylistic means: soliloquies, metaphorical constructions, ironic structures and symbolic images. The results demonstrate a high theoretical potential for the development of analytical competencies through the systematization of stylistic techniques of Shakespearean drama. The conceptual model shows the possibilities of increasing the effectiveness of critical analysis by 2-3 times when using an integrative approach to the study of artistic means. The study substantiates the need to integrate stylistic analysis into educational programs as a key tool for developing intellectual competencies. The theoretical results obtained indicate the expediency of developing innovative methods in the system of higher philological education to optimize the educational process and improve the quality of training of humanitarian specialists.</p>
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</article>
