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EN
Evaluation is such a wide concept that it includes a lot of theories and definitions. Since its appearance in the fifteenth century it has been studied by many humanists and psychologists. Its connection with education cannot be underestimated. The development of evaluation over the years has brought its new form, self-assessment whose purpose was to make students more reflective and aware of their learning. The usage of The European Language Portfolio as the integral part of the foreign languages learning process promotes student’s independence and responsibility. Nowadays, students make decisions themselves about their learning process and teachers become helpers, who guide them. Moreover, responsible and reflective students are more aware of the necessity and importance of learning and self-development.
EN
This article compares British novelist Julian Barnes’s novel A History of the World in 10½ Chapters with the novel The Incomplete Manuscript by Azerbaijani author Kamal Abdulla. In each novel accepted history is revised, the idea that history is subjective is explored, as well as the fact that history is fiction, and in the process a new alternative history is written. The postmodern liberation strategy of both authors emphasizes history, past revision, history’s subjectivity, as well as the creation of a new alternative history to make history fictitious. The idea of history, catastrophe, error and human foolishness in Barnes’s novel is similar to the ideas of a fictitious, imagined, authenticated reality in Abdulla’s novel. This form of narration in Barnes’s and Abdulla’s novels is concerned with the ironic modes of 20thcentury thinking and the fact that human thinking has cast doubt on our understanding of the world. In Barnes’s novel, history is a catastrophe, an erroneous ghost, while in the novel by Abdulla we find fiction, fabrication, and reality.
EN
The paper deals with the central problem of Lessing’s Laocoön „Why does not marble Laocoön in his famous depiction scream?“ against division of our experience into scientific knowledge and art. First, Lessing’s original solution based on the constitutive differences between poetry and plastic arts is generalized leading to the difference between causal and intentional explanation. Second, the resulting discontinuity between science and art is presented as an instance of a more basic discontinuity between knowledge and its object to be overcome by a reflective account of knowledge as derived from the philosophy of Hegel.
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