Components of training aidsCOMPONENTS of training aids BENEFITS methodological recommendations for students on preparation for the Unified State Exam; features of task types; training tasks from open ones CMM options; training versions of the Unified State Exam; criteria for checking and evaluating implementation tasks C1, C2, C3, C4, C51 – C53; List of literary texts for required reading.
Problem
PROBLEM Lack of sufficient methodological assistance in solving difficulties in preparing for the Unified State Exam
Target
TARGET Creating recommendations (cheat sheets) for preparation graduates for the exam literature in Unified State Exam format
Tasks
TASKS analyze existing literature on the issue; study the structure of CMMs and criteria performance reviews and evaluations; compile a dictionary of literary studies terms; analyze the list of artistic texts and divide all material into blocks; get acquainted with algorithms and reminders analysis of the epic, dramatic and lyrical works; Learn more about the recommendations for creating essays (part C5); get acquainted with the recommendations of psychologists in preparation for the Unified State Exam. PSYCHOLOGICAL SETTING. Exam preparation: Prepare a place for studying: remove unnecessary things from the table, make it convenient arrange the necessary textbooks, manuals, notebooks, paper, pencils, etc. Introduce yellow and purple colors. For this A picture or print in these colors is enough. Make a lesson plan. First, determine whether you are a night owl or "early person", and depending on this, make the most of morning or evening hours. Making a plan for each day of preparation, It is necessary to clearly define what exactly will be studied today. Not in general: “I’ll study a little,” and what sections and topics exactly. Start with the most difficult section, with the material you know worst of all. But if it’s difficult for you to “swing”, you can start with material that is most interesting and enjoyable. Alternate exercise and rest: 40 minutes of exercise, then 10 minutes - break. During a break, you can wash the dishes, water the flowers, do exercises, take a shower. Complete as many different published texts as possible this subject. These workouts will familiarize you with the designs text lessons. Train with a stopwatch in your hands, time your execution time tests (on average, 1 task in part A should take no more than 2 minutes). As you prepare for exams, mentally paint yourself a picture of triumph. Never think that you will not cope with the task. Leave one day before the exam to review again. the most difficult questions.
Material distribution
MATERIAL DISTRIBUTION
Theory
THEORY
Theory
THEORY
Historical and literary context
HISTORICOLITERARY CONTEXT Life moments of the authors of the works, directly related to specific a work; Influence public life to the plan works; Reflection of time; Imitation of historical figures.
Works
WORKS
Preparation for the Unified State Exam
PREPARATION FOR THE USE
Part 1: Working with text. Episode analysis.
PART 1: WORKING WITH TEXT. EPISODE ANALYSIS. 1. Set the boundaries of the episode (time, spatial, textual). 2. Determine the main meaning of the episode, if necessary, give it Name. 3. Decide which characters are the main ones carriers of meaning in the episode. 4. Trace the changes in moods, feelings of the characters, the author’s the motivation for their actions. 5. See what artistic means the author uses to reveal the main meaning of the episode (landscape, portrait, description, author's characteristics, dialogues and etc.). 6. Understand what is the logic of revealing the episode. 7. Feel what verbal means of expression help create the emotional atmosphere of the episode. 8. Establish what the role of the episode is in the work, how it “linked” with other episodes, with all the works in as a whole (with the idea, problems, theme of the work).
Sample episode analysis plan
SAMPLE ANALYSIS PLAN EPISODE The place of the episode in the development of plot and composition works; Speech structure (description, narration, reasoning, presence of author's digressions); What events happen in the episode and who is in them? involved, what aspects of the characters’ character open up; How and for what purpose does the author use the details? subject visualization; What figurative means the writer uses artistic speech, with what purpose; What is the emotional pathos of the episode and how does it created; The theme and problem of the work that was received here is its development, the meaning of the episode for revealing the ideas of works, expressions author's position.
Part 2: Analysis of the poem.
PART 2: ANALYSIS OF THE POEM. Author, title; Genre of the poem (sonnet, elegy, confession, miniature, letter); Main theme (love, friendship, heroism, loneliness, poet and poetry); Plot, composition, problem; Motive for creation: what served as the source of writing, inspiration; Lyrical hero; The author's place in the work; Emotions, feelings that arise when reading poems; Artistic media (portrait sketches; speech characteristics; landscape, its role; dream; letters; dialogues; monologues); Linguistic means (phonetic, lexical, tropes, morphological, syntactic); Your opinion.
Part 3: Writing a literary essay.
PART 3: WRITING LITERARY ESSAY. How to write an essay? Composition of the essay:
Introduction Main part Conclusion
Introduction
INTRODUCTION Introduction - introduces the topic, gives preliminary, general information about that problem which stands behind the proposed topic. In the introduction you can: contain an answer to a question asked on the topic; your opinion is presented if the title contains a reference to the writer’s opinion (“as you understand the meaning of the name..."); contain a fact from the author’s biography or characterized historical period, if these information is important for subsequent text analysis; your understanding is formulated literary terms, if they used in the title of the theme (“the theme of fate”, “the image of a hero”...).
Main part
MAIN PART Main part: represents the analysis literary work in accordance with given topic. In general, you should avoid: Retelling a literary work; Presentation of information that has no direct relationship to the topic; In the main part it is necessary demonstrate knowledge of literary material, ability to be logical, reasoned and stylistically correct, competent express your thoughts. The main part is checking how The topic is understood correctly.
Conclusion
CONCLUSION Conclusion: summing up, generalization what has been said, completion of the text, appeal again attention to the most important thing. The final part should be: Short but succinct; Organically connected with the previous presentation.
The conclusion may express the attitude writing about the work, its characters, the problem. It must be presented correctly, without excessively enthusiastic assessments, have a clear expressed certain meaning and be prepared by the material of the main part.
Evaluation criteria.
ASSESSMENT CRITERIA. Assessment of the completion of tasks C1 and C3 The examinee demonstrates an understanding of the specifics of the task: answers the question with reason, putting forward the necessary
3 theses, giving arguments developing them and making appropriate conclusions, there are no factual errors in the answer. Assessment of the completion of tasks C2 and C4 The examinee demonstrates an understanding of the specifics of the task: answers to the question, requiring the involvement of literary context, that is, it calls less than two works by the same or different writers, in creativity which reflected the specified problem or the named motive, artistic technique, etc. (2 or more matching positions), and gives meaningful justification for comparison, citing the necessary arguments; There are no factual errors in the answer.
3
Assessment criteria for assignment C5
ASSESSMENT CRITERIA FOR TASK C5 1. Depth and independence of understanding of the problem proposed in question The examinee demonstrates an understanding of the problem proposed in the question; formulates his opinion taking into account the position of the author, putting forward the necessary theses, giving reasons and arguments that develop them and drawing appropriate conclusions; demonstrates knowledge of the subject matter of the work and the ability to substantiate judgments; There are no factual errors. points
3 2. Level of theoretical and literary knowledge.
3 The examinee reveals a high level of knowledge of theoretical and literary knowledge, appropriately applying appropriate literary terms at analyzing literary material and explaining the functions of certain literary techniques.
3 3. The validity of using the text of the work.
3 The text of the work in question is used reasonably and sufficiently versatile (quotes with comments to them, a brief retelling of the content, necessary to prove judgments, appeal to micro-topics of the text and their interpretation, various kinds of references to what is depicted in the work, etc.).
3 4. Consistency and logic of presentation.
3 The parts of the statement are logically connected, the thought develops from part to part, no violations of the sequence within the semantic parts of the utterance and unreasonable repetitions.
3 5. Following the norms of speech.
3 Maximum score
15
Difficulties
DIFFICULTIES Psychological: anxiety, confusion, lack of clarity of structure thinking, etc.; Lack of information base; Large volume of material; Lack of necessary practice in writing an essay in literature lessons; Small number of rehearsal exams in Unified State Exam format.
Problems and their solutions
PROBLEMS AND THEIR SOLUTIONS Large volume of material
Reader's diary
Reader's diary
READER'S DIARY Name writer Ivan Alexeyevich Bunin Name produce nia " Village " Names and main heroes Tikhon and Kuzma Krasov; Young; Deniska; Grey Topics, ideas, problems The problem of the “Russian soul” and "national character". The author shows by example tragic fates of two brothers predetermined fate of the Russian people, which combines talent, naivety and mercy with impracticality, inability to apply one's strength to the point and cruelty.
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Let's repeat the theory of literature!
Preparation for the Unified State Exam in Literature
Content elements tested by KIM Unified State Exam 2011 tasks
1.9 Detail. Symbol. Subtext.
1.10 Psychologism. Nationality. Historicism.
1.11 Tragic and comic. Satire, humor, irony, sarcasm. Grotesque.
1.12 Language of a work of art. A rhetorical question. Aphorism.Inversion. Repeat. Anaphora. Fine and expressive means in a work of art: comparison, epithet, metaphor (including personification), metonymy. Hyperbola. Allegory. Sound design: alliteration, assonance.
Content elements tested by KIM Unified State Exam 2011 tasks
Epic- one of the three main types of literature, in contrast to lyrics and drama, which highlights an objective image of reality, the author’s description of events unfolding in space and time, a narration about various life phenomena, people, their destinies, characters, actions, etc. d. A special role in works of epic genres is played by the bearer of the narrative (author-narrator or storyteller), reporting on events, their development, characters, their lives, while separating himself from the depicted.
Literary genera and genres
Epic
Depending on the time span of events, major genres of epic are distinguished - epic, novel, epic poem, or epic poem; medium - a story and small - a story, short story, essay.
Some genres of oral folk art also belong to the epic family: fairy tales, epics, fables.
Novel
NOVEL- (from French roman - originally: a work written in one of the Romance (i.e. modern, living) languages, as opposed to written in Latin) - epic genre: a large epic work that comprehensively depicts the life of people in a certain period time or over the course of an entire human life. Characteristic properties of the novel: multi-linear plot, covering the fate of a number of characters; the presence of a system of equivalent characters; covering a wide range of life phenomena, staging social significant problems; significant duration of action.
Novel
Conventionally, the typology of the novel can be presented as follows: the themes differ from autobiographical, documentary, political, social; philosophical, intellectual; erotic, female, family and everyday life; historical; adventurous, fantastic; satirical; sentimental, etc. R. According to structural characteristics: R. in verse, R.-travel, R.-pamphlet, R.-parable, R.-feuilleton, etc. Often the definition correlates R. with the era in which one or another reigned a different type of R.: antique, knightly, educational, Victorian, Gothic, modernist, etc. In addition, R.-epic stands out - a work in which the center of artistic attention is the fate of the people, and not the individual (L.N. Tolstoy "War and Peace", M.A. Sholokhov "Quiet Don"). A special type of R. is polyphonic.
Tale
STORY- average (between a story and a novel) epic genre, which presents a number of episodes from the life of the hero (heroes). In terms of volume, P. is larger than a story and depicts reality more broadly, drawing a chain of episodes that make up a certain period in the life of the main character; it contains more events and characters, however, unlike a novel, as a rule, there is one storyline.
Story Essay
ESSAY - epic genre: prose work, based on facts, documents, personal impressions of the author, that is, unlike the story itself, devoid of elements of fiction. The O. genre is also characterized by free construction and openness of the author's position.
Depending on the degree of factuality, journalistic-documentary and artistic essays differ. In a journalistic-documentary essay, documentary is its specific feature. genre sign. The subjects of depiction in artistic images are usually everyday life, the way of life, the customs of a particular environment (moral descriptive images), its typical representatives or bright, outstanding, colorful personalities. Fiction includes the so-called “physiological” O. (with a predominance of description), biographical essays, travel, and satirical O.
Parable
PARABLE- Epic genre: a short narrative work of an edifying nature, containing religious or moral teaching in an allegorical (allegorical) form. It is close to a fable, but differs from it in the breadth of generalization and the significance of the idea contained in the poem. In P. there is no depiction of characters, indications of the place and time of action, or showing phenomena in development: its goal is not to depict events, but to report about them. P. is often used for the purpose of direct instruction, therefore it includes an explanation of the allegory
Poem
POEM- (from the Greek poiema - creation) - lyric-epic genre: a large or medium-sized poetic work (a poetic story, a novel in verse), the main features of which are the presence of a plot (as in an epic) and an image of a lyrical hero (as in a lyric ): for example: J. Byron “Childe Harold’s Pilgrimage”, A.S. Pushkin" Bronze Horseman", A. Akhmatova "Poem without a hero", etc.
Initially, in ancient times, the basis of the content of the poem were heroic and mythological subjects, but over time its genre content expanded: poems began to be called not only poetic texts of a heroic, historical, lyrical or satirical nature, but also prose works, the author of which sought to emphasize the scale artistic concept (for example: N.V. Gogol “Dead Souls”).
Ballad
BALLAD- (from the French ballade - dance song) - a genre of lyric-epic poetry: a narrative song or poem of a relatively small volume, with a dynamic development of the plot, the basis of which is an extraordinary incident. Often in a ballad there is an element of the mysterious, fantastic, inexplicable, unspoken, even tragically insoluble. By origin, ballads are associated with traditions, folk legends, and combine the features of a story and a song.
Ballad is one of the main genres in the poetry of sentimentalism and romanticism. For example: ballads by V.A. Zhukovsky, M.Yu. Lermontov.
Literary genera and genres
Lyrics- (from the Greek lyricos - sung to the sounds of the lyre) - one of the three main types of literature, highlighting the subjective image of reality: individual states, thoughts, feelings, impressions of the author, caused by certain circumstances, impressions. In L., life is reflected in the experiences of the poet (or lyrical hero): it is not narrated, but an image-experience is created. The most important property L. is the ability to convey an individual (feeling, state) as universal. Characteristic features of the lyrics: poetic form, rhythm, lack of plot, small size.
Literary genera and genres
Thematically (conventionally) they distinguish between landscape, friendly, love, political, philosophical, etc. lyric genres usually include ode, elegy, epigram, epistle, hymn, etc.
Sonnet
SONNET- (from Italian sonette - song) - poetic form: a poem of 14 lines, consisting of two quatrains and two tercets (tercets). It arose in Sicily in the 13th century; later F. Petrarch, Dante, W. Shakespeare and others turned to this form. The first Russian sonnet belongs to V.K. Trediakovsky. In the 20th century The sonnet became a popular genre of philosophical and love lyrics.
A wreath of sonnets is considered an exquisite poetic form - a poem of fifteen sonnets interconnected in such a way that the last verse of the previous sonnet is repeated in the first line of the next one, and the concluding sonnet (the main one) consists of the first lines of all previous ones, for example , "Wreath of Sonnets" by V. Soloukhin ("Wreath of Sonnets - an old dream...").
Elegy
ELEGY- (Greek elegeia< от elegos - жалобная песня) - жанр лирики: стихотворение медитативного (от лат. meditatio - углубленное размышление) или эмоционального содержания, передающее глубоко личные, интимные переживания человека, как правило, проникнутые настроениями грусти, светлой печали. Чаще всего написано от первого лица. Наиболее распространенные темы элегии - созерцание природы, сопровождающееся философскими раздумьями, любовь, как правило, неразделенная, жизнь и смерть и др. и др. Наибольшей популярностью этот возникший в античную эпоху жанр пользовался в поэзии сентиментализма и романтизма.
Message
MESSAGE- poetic genre: a poetic letter, a work written in the form of an appeal to someone and containing appeals, requests, wishes, etc. (“To Chaadaev”, “Message to the Censor” by A.S. Pushkin; “Message to the Proletarian Poets” V.V. Mayakovsky). There are lyrical, friendly, satirical, journalistic, etc. messages.
Oh yeah
OH YEAH- (from the Greek oide - song) - a genre of lyrics, a solemn poem of an enthusiastic nature, designed to glorify a person, phenomenon or event. For example: M.V. Lomonosov "Ode on the day of accession to the All-Russian throne of Her Majesty Empress Elisaveta Petrovna in 1747."
Epigram
EPIGRAM- (from the Greek epigramma - inscription) - a short satirical poem ridiculing a person or containing a response to topical events in public life, for example E. D. D. Minaev's "To Boborykin in the role of Chatsky": Carriage for me, carriage! ("Woe from Wit", Act IV) Seeing this play on stage, I only cried about the fact that Boborykin's carriage was not offered in the first act. 1864
Literary genera and genres
Drama- (from Greek drama - action) 1) One of the three main types of literature, reflecting life in actions taking place in the present. The dramatic genre includes tragedies, comedies, dramas proper, melodramas and vaudeville. 2) Drama in the narrow sense of the word is one of the leading genres of drama; a literary work written in the form of a dialogue between characters. Intended for performance on stage. Focused on spectacular expressiveness. The relationships between people and the conflicts that arise between them are revealed through the actions of the heroes and are embodied in a monologue-dialogue form. Unlike tragedy, drama does not end in catharsis.
Comedy
COMEDY- (from Greek from komos - cheerful crowd< k?mos - веселая толпа, процессия на дионисийских празднествах и odie - песня) - один из ведущих жанров драмы: произведение, в основе которого лежит осмеяние общественного и человеческого несовершенства. Различают "К. положений" (предпочтение отдается событиям, интриге: Шекспир "Комедия ошибок"), "К. нравов" (в основе ее - яркое изображение общественных нравов: "Тартюф" Ж.-Б. Мольера), сатирическую К. ("Клоп" В.В. Маяковского), К. характеров (источник смешного - характеры: "Горе от ума" А.С. Грибоедова). Часто возможно слияние тех или иных названных разновидностей К. (Н.В. Гоголь "Ревизор").
Tragedy
TRAGEDY < греч. tragos - козел и ode - песнь) - один из основных жанров драмы в 1 знач. : пьеса, в которой изображаются крайне острые, зачастую неразрешимые жизненные противоречия. В основе сюжета Т. - непримиримый конфликт Героя, strong personality, with supra-personal forces (fate, state, elements, etc.) or with oneself. In this struggle, the hero, as a rule, dies, but wins a moral victory. T.'s goal is to cause shock in the viewer by what he sees, which, in turn, gives rise to sorrow and compassion in their hearts: such a state of mind leads to catharsis. The peaks of the genre of theater are considered to be the plays of the ancient Greek tragedians Aeschylus, Sophocles, and Euripides, and in modern times - T. W. Shakespeare, P. Corneille, J. Racine, F. Schiller, I.-V. Goethe, A.S. Pushkina and others.
Theme and idea
Subject- (from the Greek theme - what is the basis) - the subject of the image in a work of art: the circle of life phenomena and events about which the author writes. The theme is understood not as what is directly depicted in the work, but what is “read” behind the events, conflict, relationships between characters, etc. For example, the theme of the novel by I.S. Turgenev's "Fathers and Sons" is not a conflict of generations, personified in the images of Bazarov and Kirsanovs, but a study of a new human type(nihilist), who appeared in Russian life in the 40s - 50s. XIX century The novel by N.S. is devoted to the same topic. Leskova "Nowhere".
Theme and idea
Idea- from Greek idea - idea, concept, prototype, representation) - the main idea underlying a work of art. The idea is realized through the entire system of images, revealed in its entirety. artistic structure the work and thus gives an idea of the author’s attitude towards what is depicted.
Problem
PROBLEM - (Greek problema - task, task) - a question posed in a work of art and requiring resolution. The problem may be resolved or remain unresolved. The same topic can serve as the basis for posing various problems (moral, philosophical, ethical, aesthetic, religious, etc.).
Issues
PROBLEMATICS - a set of problems posed by the author in the work, which can be independent in nature or subordinate main problem. Types of P. in a work of art: socio-political, moral and ethical, national-historical, philosophical, etc.
Plot
PLOT- (from the French sujet - subject) - an event or a set of events in epic and dramatic works, the development of which allows the writer to reveal the characters of the characters and the essence of the depicted phenomena in accordance with the author's intention. The plot is based on conflict. In a plot, the following structural elements are usually distinguished: beginning, development of action, climax and denouement. According to S.I. Kormilov, the plot can be called “an image of an event or a chain of events,” while the plot constitutes the eventual basis of the narrative and can be briefly retold.
Fable
FABULA- (from Latin fabula - story, narration) - a chain, a series of events in an epic or dramatic work, which forms the basis of the plot. Unlike the plot, F. can be briefly retold. “F. is what actually happened, the plot is how the reader found out about it” (B.M. Tomashevsky). In addition, the same story can become the basis for many different stories (for example, the story of the imaginary auditor was used not only by N.V. Gogol, but also by other authors).
Composition
COMPOSITION- (from Latin compositio - composition, connection, addition) - construction of a work of art: the arrangement and interrelation of its parts, images, episodes in accordance with the content, genre form and the author’s intention. In the most general form, they distinguish linear (for example, I.A. Goncharov’s novel “Ordinary History”), inversion (for example, I.A. Bunin’s story “ Easy breath"), circular (for example, V. Nabokov's story "The Circle") and other compositions.
Stages of action development
EXPOSITION- (from Latin expositio - presentation) - part of a literary work, usually preceding the plot (see) and containing information about the characters, place and time of the action, a description of the circumstances that took place before it began. However, not all works contain E., in addition, in accordance with the author’s plan, it can be located after the beginning, that is, in the middle or end of the text (for example, the biography of Chichikov in the eleventh chapter of “Dead Souls” by N.V. Gogol ). There is a distinction between E., which depicts the circumstances preceding the beginning of the action (for example, the first part of I. A. Goncharov’s novel “Oblomov”, the initial chapters of I. S. Turgenev’s novel “On the Eve”, etc.), and E. of the hero, which reveals the formation of character the main character (the first chapter of the novel "Eugene Onegin", the chapter "Sergeant of the Guard" in the story " Captain's daughter"A.S. Pushkin).
Stages of action development
TIE- plot element; the event that served as the beginning of the emergence and development of a conflict in a work of art; an episode that determines the entire subsequent unfolding of the action. In "The Inspector General" N.V. Gogol, for example, Z. is the mayor’s message about the arrival of the auditor.
CLIMAX- (from Latin culmen - peak) - a structural element of the plot: the peak of the conflict, the moment of the highest tension of action, the utmost aggravation of contradictions. K. reveals the main problem of the work and the characters of the characters most fully, after which the action usually weakens. Precedes the denouement. In works with many storylines There may be not one, but several climaxes.
Stages of action development
INTERCLOSURE- a structural element of the plot: the final episode in the development of the action, where the resolution of the conflict of a work of art is described, indications are given of possible ways to resolve it, or its fundamental unsolvability is revealed.
EPILOGUE- (from the Greek epilogos - afterword) - part of the text of a work of art that goes beyond the boundaries of the plot: the author’s story about what happened to the characters after the denouement of the plot action, about the further fate of the heroes.
Lyrical digression
LYRICAL DISTRACTION - an extra-plot element of the work: the author’s direct reasoning, reflection, statement, expressing an attitude towards the depicted or having an indirect relation to it (lyrical digressions in “Eugene Onegin” by A.S. Pushkin). The author's deliberate deviation from the plot of the story can take the form of memories, appeals by the author to readers ( lyrical digression in chapter 6 of “Dead Souls” by N.V. Gogol).
Conflict
CONFLICT- (from lat. conflictus - collision) - an acute clash of characters and circumstances, views and life principles, which forms the basis of the action of a work of art. Conflict is expressed in confrontation, contradiction, clash between heroes, groups of heroes, hero and society, or in the internal struggle of the hero with himself.
The development of the conflict sets the plot action in motion. The conflict can be solvable or unresolvable ( tragic conflict), explicit or hidden, external (direct clashes of characters) or internal (confrontation in the soul of the hero).
Author
AUTHOR- (from Latin au(c)tor - creator) - the concepts should be distinguished:
author - the creator (creator) of a work of literature, whose ideas about the world and man are reflected in the entire structure of the work he creates (A.S. Pushkin, author of the novel "Eugene Onegin");
author - an image, character, protagonist of a work of art, considered among other characters; can be extremely close to the biographical A. or deliberately distant from it (the image of the author in A.S. Pushkin’s novel “Eugene Onegin”);
author - "sign" artistic system"(definition by G. Gukovsky).
Character
CHARACTER- (French personnage, from Latin persona - face, personality) - the general name of any character in a literary work.
Characters are divided into main, secondary, episodic, off-stage (in plays). Sometimes the term character is used not to refer to the main characters, but to secondary characters.
Character
LITERARY CHARACTER- (from the Greek character - trait, feature) - an artistic image of a person, in which, unlike the type, individual traits predominate, social, everyday, psychological conditioning of personality properties, manifested in certain circumstances, and the individual can be revealed against the background typical and vice versa (for example, W. Shakespeare's Hamlet is a typical person of the end of the Renaissance, but at the same time a bearer of personality traits unique to him).
Type
TYPE- (from the Greek typos - sample) - an artistic image of a person, in whose individual traits and behavior the properties inherent in people of a particular era, social environment, social group, nationality, etc. are embodied. As a type of artistic generalization, typification is characteristic primarily for realism. For example, Russian literature of the 19th century. types were discovered little man(Samson Vyrin in “The Station Agent” by A.S. Pushkin, Akakiy Akakievich Bashmachkin in “The Overcoat” by N.V. Gogol), extra person(Eugene Onegin in the novel of the same name by A.S. Pushkin, Pechorin in “Hero of Our Time” by M.Yu. Lermontov, Rudin in the novel of the same name by I.S. Turgenev (to which the definition that first appeared in “The Diary of an Extra Man” belongs) and etc.
Lyrical hero
LYRICAL HERO- endowed with stable personality traits, uniqueness of appearance, individual fate, a conventional image of a person who says “I” about himself in a lyric poem; one of the ways of expressing the author's consciousness in a lyrical work. The lyrical hero (the term was introduced by Yu. Tynyanov) is not identical to the image of the author - the creator of the work. The spiritual experience of the author, the system of his worldview and worldview are reflected in the lyrical work not directly, but indirectly, through inner world, experiences, mental states, manner of verbal self-expression of the lyrical hero.
Portrait
PORTRAIT- (French portrait - portrait, image) - one of the means of creating an image: depicting the appearance of the hero of a literary work as a way of characterizing him. It may include a description of the appearance, actions and states of the hero (the so-called dynamic portrait, which depicts facial expressions, eyes, facial expressions, gestures, posture), as well as features formed by the environment or that are a reflection of the character’s individuality: clothing, behavior.
A special type of description - a psychological portrait - allows the author to reveal the character, inner world and emotional experiences of the hero. For example, the portrait of Pechorin in the novel by M.Yu. is psychological. Lermontov "Hero of Our Time", portraits of heroes F.M. Dostoevsky.
Scenery
SCENERY- (from the French paysage, from pays - country, area) - a description of nature as part of the real situation in which the action takes place, a picture of nature. The landscape can emphasize or convey the mental state of the characters, while the internal state of a person is likened to or contrasted with the life of nature.
Scenery
Depending on the subject of the image, style and artistic method, the landscape performs various functions in the work, for example: sentimentalist literature strictly depicts heroes in the bosom of beautiful, peaceful nature; in a romantic work, the landscape, as a rule, becomes a reflection of the violent passions of the heroes, hence - traditional for romanticism components of the depicted natural world: sea, mountains, sky, steppe, etc.
The landscape can also fulfill social function(for example, chapter 3 of I.S. Turgenev’s novel “Fathers and Sons”, F.M. Dostoevsky’s novel “Crime and Punishment”). In lyric poetry, landscape usually has an independent meaning and reflects the perception of nature by the lyrical hero or lyrical subject.
Remarque
REMARK- (from the French remargue - remark, note, explanation) - the author’s explanation of the text of the play, usually given in parentheses. In R., prefaced by the text as a whole, an act, a phenomenon, an episode or a replica, information is given about the place and time of action, the setting, the past of the characters, their psychological state, rate of speech, gestures, intonation, etc. Often R. opens up the author's assessment what is happening (for example, in M. Gorky’s play “At the Lower Depths”: “The basement is like a cave. The ceiling is heavy, stone vaults...”). For many plays of the twentieth century. The so-called expanded (gravitating towards narration) R. is characteristic.
Pathos
PATHOS- (from the Greek pathos - passion, feeling) - the writer’s emotional and evaluative attitude to the reality he depicts, the emotional mood of the work, which determines its overall tone. There are different types of pathos: heroic, tragic, comic.
Tale
SKAZ - 1. A type of narration based on the stylization of the speech of the hero who acts as the narrator. The narration in S. is conducted on behalf of the hero (character), in his characteristic speech style, and imitates lively colloquial speech with all the features characteristic of the oral form of speech (spontaneity of speech, often the use of colloquial and colloquial vocabulary and phraseology, the use of dialectisms, professionalisms , jargon, incomplete sentences). Examples of S. in Russian literature are “Evenings on a Farm near Dikanka” by N.V. Gogol, “Lefty”, “The Enchanted Wanderer” by N.S. Leskov, tales of P. Bazhov, many stories of M. Zoshchenko.
INTERNAL MONOLOGUE- artistic technique of psychologism: reproduction of the speech of the character addressed to himself and not spoken out loud. Widely used in works of art in order to reveal the inner experiences of the hero and recreate his inner world. The internal monologue imitates the character’s oral speech, which is directly born at a given moment in time, and therefore often has a non-linear character: it reflects the character’s mental state as a flow of feelings, images, memories, which may lack logic, semantic and syntactic order.
Detail
ARTISTIC DETAIL- (from the French detail - detail, trifle, particularity) - one of the means of creating an image: an element highlighted by the author artistic image, carrying a significant semantic and emotional load in the work. D. x. can reproduce features of everyday life, setting, landscape, portrait (portrait detail), interior, action or state (psychological detail), speech of the hero (speech detail), etc.; it is used to visualize and characterize the characters and their environment. The author's desire for detail is dictated, as a rule, by the task of achieving exhaustive completeness of the image.
Symbol
SYMBOL- (from the Greek symbolon - sign, identification mark) - a universal aesthetic category, a special artistic image-sign. Unlike a sign-symbol, which contains an unambiguous, practical meaning (for example, in mathematics), metaphor and allegory, a symbol has not one or several, but an inexhaustible variety of meanings and has an extraordinary semantic capacity.
Subtext
SUBTEXT - hidden meaning statements not expressed directly, but arising from the situation, individual parts, replicas, dialogues of heroes, the internal content of speech. The subtext will not coincide with the direct meaning of the statement, with what the characters say, but it allows you to understand what they feel. In a work of art, the subtext often reveals the author’s attitude towards the characters, their relationships, and ongoing events. Examples of the masterful use of subtext are the plays of A.P. Chekhov, stories by I.A. Bunin (for example, “Cold Autumn”), M. Tsvetaeva’s poem “Longing for the Motherland!.. Long time ago...”.
Psychologism
PSYCHOLOGISM- (from Greek psyche - soul and logos - concept, word) - way of depiction mental life of a person in a work of art: reconstruction of the character’s inner life, its dynamics, changes in mental states, analysis of the character’s personality traits.
Psychologism can be explicit - open (direct reproduction of the hero’s inner speech or images arising in his imagination, consciousness, memory, for example, “dialectics of the soul” in the works of L.N. Tolstoy) and implicit - hidden, taken into the “subtext” (for example , “secret psychology” in Turgenev’s novels, where the internal state of the characters is revealed thanks to expressive gestures, peculiarities of speech, and facial expressions).
Tragic
TRAGIC- (from Greek tragodia - goat song< греч. tragos - козел и ode - песнь) - эстетическая категория, обозначающая принципиальную неразрешимость конфликта в художественном произведении, трагическое противостояние личности и мира влечет за собой гибель или тяжелейшие страдания героя, достойного глубокого сочувствия и уважения. Однако эта гибель вызывает не только отчаяние, но и просветление, очищение (КАТАРСИС), возвышает душу читателя. Трагическое может быть свойственно произведению любого жанра.
Comic Satire
SATIRE- (from Latin satura - mixture, mishmash, all sorts of things) - Type of comic: a way of manifesting the comic in art, which consists in destructive ridicule of phenomena that seem vicious to the author. S. is the most acute form of exposing reality. If humor is ridicule of the “private,” then S., as a rule, is ridicule of the “general,” exposing social and moral vices and shortcomings (for example, “Gulliver’s Travels” by J. Swift). The satirical principle can be present in works of any genre: comedies, farces, literary and folk song lyrics, stories, tales, novels, anecdotes, proverbs, etc.
Humor
HUMOR- (from the English humor - comedy, quirk, disposition< лат. humor – влага; восходит к с древним представлениям о том, что четыре телесные жидкости определяют темперамент человека) - вид комического: способ проявления комического в искусстве, заключающийся в добродушной насмешке; смех, имеющий своей задачей не обличение, а указание или намек на недостатки, которые не носят характера пороков.
Sarcasm
SARCASM- (from the Greek sarkasmos (literally “tearing meat”) - mockery) - a type of comic: evil, caustic ridicule, mockery containing a destructive assessment of a person, object or phenomenon, highest degree manifestations of irony. The essence of irony lies in allegory, subtle hint, while S. is characterized by an extreme degree of emotional openness, the pathos of denial, turning into indignation.
Grotesque
GROTESQUE- (from Italian grottesco - bizarre) - a type of comic: an image of people, objects or phenomena in a fantastically exaggerated, ugly-comic form that violates the boundaries of plausibility. Grotesque is based on the combination of the real and the unreal, the terrible and the funny, the tragic and the comic, the ugly and the beautiful. It differs from other types of comic in that the funny in it is not separated from the terrible, which allows the author in a specific picture to show the contradictions of life and create a sharply satirical image.
Examples of works in which G. is widely used to create a satirical image are “The Nose” by N.V. Gogol, “The History of a City”, “How One Man Fed Two Generals” by M.E. Saltykov-Shchedrin.
Reminiscence
REMINISCENCE- (from Late Lat. reminiscentia - memory) - an implicit reference to another text, suggestive of a memory of it and designed for readers’ associations; reproduction by the author in literary text individual elements of one’s earlier (autoreminiscence) or someone else’s work with the help of quotations (often hidden), borrowing images, rhythmic-syntactic moves, etc.
Tasks 1. Indicate the name of the means of artistic expression that Tyutchev uses
Damage, exhaustion - and everything
That gentle smile of fading,
What in a rational being we call
Divine modesty of suffering.
2. What is the name of a combination of lines held together by a common rhyme and intonation?
Nature is a sphinx. And the more faithful she is
His art destroys a person,
What may happen, no longer
There is no riddle and she never had one.
3. What artistic technique of syntactic organization of verse does Tyutchev use?
These poor villages
This meager nature
The native land of long-suffering,
You are the land of the Russian people.
4. What remedy does Fet use to empower nature? human feelings and experiences?
Garden color breathes
Apple tree, cherry tree,
So he clings, kisses,
Secretly and immodestly
5. What are the names of the consonances of the ends of poetic lines?
The summer evening is calm and clear.
Look how the willows sleep
The western sky is pale red,
And the rivers sparkle with their twists and turns.
used by Tolstoy in the title of the novel “War and Peace” and became
compositional support of the work.
7. Name the term denoting the traditional form of a fairy tale
beginning, which Saltykov-Shchedrin uses in satirical tales
(“once upon a time there lived two generals,” “in a certain kingdom...”)
Answers
Metaphor
Stanza
Anaphora, parallelism
Personification
Rhyme
Antithesis
Initiation
Sources
Description of the presentation by individual slides:
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Unified State Examination in Literature (from work experience) Teacher of Russian language and literature MBOU “Gymnasium No. 21” of the Volga region of Kazan Sheveleva A.V.
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Structure of KIM Unified State Examination in Literature KIM in Literature can be divided into three parts Part1. Tasks 1-9. Epic and dramatic works. Tasks 1-7 - short answers to questions with a word or phrase. Task 8-9 - Detailed answer of 5-10 sentences.
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Part 2. 10-16 tasks – Lyrical work. 10-14 tasks - short answers 15-16 tasks - detailed answer of 5-10 sentences. Part 3. Includes three tasks 17.1-17.3, from which you need to choose one and give a detailed answer in the essay genre of less than 200 words.
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Task 1 What type of literature does it belong to? this work? Answer: epic Type of literature: Epic Drama Lyrics Lyric-epic
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Task 2 Indicate the genre of A.I.’s work. Solzhenitsyn's "One Day in the Life of Ivan Denisovich"? Answer: story
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Types and genres of work 1. Epic: story, tale, novel, epic novel, fable, epic, myth, fairy tale 2. Lyrics: poem, elegy, sonnet, song, romance, epigram, ode, hymn, invective, madrigal, message , stanzas, prose poem, epitaph, pastoral. 3. Lyric-epic: poem, ballad, novel in verse 4. Drama: tragedy, drama, comedy
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Dramaturgy Work genre direction 1. Fonvizin “The Minor” comedy classicism 2. Griboedov “Woe from Wit” comedy realism 3. Gogol “The Inspector General” comedy realism 4. Ostrovsky “The Thunderstorm” drama realism 5. Chekhov “ The Cherry Orchard» comedy realism 6. Gorky “At the Bottom” drama realism
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The lyrics of ODA (from Greek “song”) are a choral, solemn song. HYMN (from Greek “praise”) is a solemn song based on programmatic verses. EPIGRAM (from Greek “inscription”) is a short satirical poem of a mocking nature that arose in the 3rd century BC. e. ELEGY is a genre of lyrics dedicated to sad thoughts or a lyric poem imbued with sadness. The word "elegy" is translated as "reed flute" or "plaintive song." MESSAGE - a poetic letter, an appeal to a specific person, a request, a wish, a confession. SONNET (from the Provencal sonette - “song”) is a poem of 14 lines, which has a certain rhyme system and strict stylistic laws.
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Task 3 Part of the given fragment is structured as an exchange of remarks between characters. What is this form called? Answer: dialogue
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Forms of constructing the characters' speech 1. Dialogue - a conversation between two or more persons 2. Monologue - speech in the first person, conversation with oneself 3. Reply - 1) response, remark to the words of the interlocutor. 2) in stage dialogue - the words of one of the characters. 4. Remark - the author's indication of the setting of the action, the internal state of the hero, facial expressions, gestures. 5. Polylogue - a genre of speech that arises during direct communication between several persons 6. Cross-cutting figures of speech, idioms
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Task 4 Who were the heroes of “One Day in the Life of Ivan Denisovich” by A.I. Solzhenitsyn in life before the camp? Characters Fate A) Caesar 1) Baptist B) Alyosha 2) peasant C) Shukhov 3) librarian 4) capital intellectual Answer: 412
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Task 5 Which fragment of the composition of the work does the above passage refer to? A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich"? Answer: denouement Requires knowledge of the compositional parts of the work.
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Task 6 To which literary movement is the work of A. I. Solzhenitsyn usually classified? Answer: realism
Task 7 What was the name of Bazarov’s belief system? What is the name of the main character of Sholokhov’s story “The Fate of a Man”? What is the name of a significant, highlighted element of an artistic image, an expressive detail? Name a means of characterizing a hero based on a description of his appearance?
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Creation Tool literary hero Title of the work Epigraph to literary work Portrait of a hero Landscape Artistic detail Background of the hero’s life (if any) Belief system of the literary hero Nihilism
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Tasks 8 and 15 with a detailed answer. Task 8 is an analysis of an episode. Task 15 is an analysis of a poem. There must be a concise, coherent, reasoned answer in the amount of 5-10 sentences. !!! When starting to complete the task, it is necessary to identify key words in the wording of the question that will not allow you to avoid answering the question. They can be introduced both into the thesis and into the arguments in the answer. You need to pay attention to the verb in the task. If it IS INTENDED, then it is necessary to look for the beginning of the conflict. If PICTURED, then we should talk about the means by which the author’s position is expressed. You should remember the issues, the conflict, the characters and the idea of the work.
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Structure of a detailed answer 8 and 15 Thesis - a direct short answer to the question Arguments - a consistent substantiation of your answer based on the given fragment. The author's position must be taken into account. Conclusion – must be relevant to the question
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Components for a successful answer Direct, coherent answer Reliance on the text (analysis, quotation) Identification of the author's position Use of theoretical and literary concepts Generalization of observations of the text Absence of factual errors Compliance with speech norms
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Task 8 What character traits of Ivan Denisovich are revealed in the above passage? (episode when I.D. hopes to finish smoking Caesar’s cigarette) Thesis. In the above passage, Ivan Shukhov reveals a respectful attitude towards his “teammate”, patience and self-esteem. Arguments. Solzhenitsyn contrasts Shukhov with Fetyukov, who is ready to humiliate himself for the sake of the “underdog.” Ivan Denisovich doesn’t just wait for Caesar to offer him a cigarette butt, he shows tact and respect, trying not to bother him with his presence, not to interrupt Caesar’s thoughts. A psychological detail emphasizing the hero’s gratitude is expressed in the movement of his hand: “Shukhov perked up, hastily took the cigarette butt with one hand in gratitude.” Conclusion. Thus, in the above passage, the hero reveals traits that allow him to survive in the difficult conditions of camp life without losing his human dignity.
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Task 15. What is the internal state of the lyrical hero waiting for the Beautiful Lady? Thesis. Internal state lyrical hero waiting A beautiful lady, not difficult to describe. He sees himself as a knight who has made a vow of eternal service to his beloved. Arguments. The lyrical hero is so excited that just the thought that She will appear now sends a shiver through his body: In the shadow of a high column I tremble from the creaking of the doors... The hero of A.A. Blok is far from reality: he is immersed in his “fairy tales and dreams " Obediently bowing his knee before his beloved, he is ready to meekly fulfill the will of the “Majestic Eternal Wife,” whose earthly image is inseparable from the one that flickers on the icons in the radiance of the lamps. Conclusion. Thus, the mental state of the lyrical hero of the poem can be characterized by several phrases: romantic delight, unquestioning admiration, divine veneration of the Beloved.
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Tasks 9 and 16: comparison of works In tasks 9 and 16 you are required to write a detailed answer to the question about the connection between a prose fragment or a proposed poetic text with the works of other Russian writers and poets. Tasks 9 and 16 consist of two related questions. The first part of the task requires justifying the choice of a particular work in line with the proposed question, and the second tests the ability to compare literary phenomena, find thematic, figurative, character, etc. parallels.
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Task 9 and 16 9. In which works Russian literature the restrictions on the freedom of the heroes are described and in what way they can be compared with “One Day in the Life of Ivan Denisovich” by A.I. Solzhenitsyn? 16. In what works of Russian poets do the authors reflect on the purpose of the poet and in what ways can these works be compared with the given fragment of “The Poet and the Citizen” by N. A. Nekrasov?
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The structure of the answer to tasks 9 and 16 The question consists of two parts: Part 1 of the question - you need to indicate and justify (i.e. explain, prove) Part 2 - you need to compare (find similarities or differences depending on the question)
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Comparison positions: Authors (representatives of what time, direction, views). Title of the poems. Genre. Theme, idea. The mood of the lyrical hero. Construction: meter, rhyme, rhyming methods, use of tropes and stylistic figures, vocabulary.
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Task 9. The theme of limiting the freedom of heroes in Russian literature is not uncommon. Pushkin, Tolstoy, Dostoevsky, and many others turned to her. In the epic novel L.N. Tolstoy we meet Platon Karataev, who was captured by the French. He, like the hero of Solzhenitsyn's story Ivan Shukhov, is a peasant, peace-loving, hardworking, with the characteristic peasant ingenuity and skill he adapts to the conditions of captivity, he is not ashamed to earn extra money, he sews a shirt for a French soldier, patches something. But there is a fundamental difference in these images: Shukhov is active, conscious, has a sense of his own dignity, while Karataev is passive and does not think about the meaning of what is happening. In M. Sholokhov’s story “The Fate of a Man” there is also a motif of captivity. Andrei Sokolov was captured by Germans during the war. No “inhuman torments” broke the hero; he does not lose his fortitude and escapes from captivity. This hero is the personification of the best that is in a Russian person, he is the embodiment of national pride, courage, and hard work. Tolstoy, Solzhenitsyn, Sholokhov showed us human behavior at the moment of restriction of freedom. The main thing for the heroes is to preserve their inner freedom and survive in inhuman conditions.
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16. Which works of Russian poets reflect the theme of the poet and the purpose of poetry, and in what ways are these works consonant with G.R. Derzhavin’s work “Monument”? (sample answer) In the poem by G.R. Derzhavin’s “Monument” develops the theme of the poet and the purpose of poetry, which later became traditional in Russian literature. All the great poets thought about the place and role of the poet and poetry. Following Derzhavin, A.S. Pushkin writes his poem “I erected a monument to myself not made by hands...”, in which, just like Derzhavin, he sums up his work and outlines his literary priorities: For a long time I will be so kind to the people, That I awakened good feelings with my lyre That in my cruel age I glorified freedom and called for mercy for the fallen. Many poets saw literature as a powerful means of propaganda and education of civic consciousness. N.A. Nekrasov writes very convincingly about this in his poems “Elegy”, “Poet and Citizen”, which can be called the poet’s poetic declaration. The author is convinced that the theme of the people, their suffering and troubles is relevant at all times, and it was to this theme that he devoted his work: “I dedicated the lyre to my people.” Derzhavin, Pushkin, Nekrasov are very different poets, but they agreed that poetry should be close to the people, that its duty is: “to pay attention to the people.” powerful of the world", "to speak the truth to kings with a smile" and "to awaken good feelings" with the lyre.
▫ New Year's days are the time when you can ask your Guardian Angel for everything you want with all your heart: Happiness, Hope, Luck, Love.... ... But the most important thing is when your wishes begin to come true, don’t forget to tell your THANK YOU to the angel, and then his precious gift will decorate your life all next year! Oleg Roy ▫ 6571236-a151550 Thank you, Irina Fedorovna! Magically! Happy upcoming you! “Hurry,” we say, “quickly!” And twelve small doors slammed loudly in the cold silence in turn... And we don’t feel sorry for those who left: may they be forgotten! Those slow days passed in sad monotony. And those others who entered through the half-opened doors brought no sadness, no loss, but only joy. But the bright gifts before their time, misty, melt away, crowded together and stand in the darkness, smiling at us from afar... Vladimir Nabokov January 1, 1919 ▫ 6478421-a151550 ▫ `Quietly on soft paws, confusing footprints in the snow, a year passes. Paints over vivid impressions with white paint. But they don't fade, no. Just a little more and all of this will suddenly be called the past. What has passed is from last year. A little more... and again there is a snow-white sheet in front of you. If you want to write, if you want to draw, if you want to dream. Make plans, move forward. Just a little more... And again white snowfalls, and ringing drops, and May bird cherry, and sweet strawberries will flow into the treasury of life, apple aromas will be replaced by golden leaf fall... Again, again, again.. Just don’t miss it, just create , just love, just live.. Just a little more.... New Year is on the doorstep!' Anna Koryagova And probably the most important measure of our life remains - how much love we have. How much of it we have collected and accumulated within ourselves - thanks to and in spite of. After all, the main magic of the New Year and Christmas is to unite the hearts of people. Let us surrender trustingly to their charms, their magical and healing magic! Galinochka! Thank you for being there! WITH COMING! ▫ `Still, there is no better holiday than the New Year. And even if someone considers it a Bolshevik ersatz of Christmas, for me this surrogate is much nicer than the original. All of his quasi-traditions, those same Soviet rituals that replaced Christian rituals, do not seem to me to be a shame, but perhaps sweet and touching, because I myself am one of the children of a bygone era. The New Year is good precisely because of its meaninglessness, its rejection of any roots - ethnic or religious. This holiday is about nothing, and therefore - for everyone. Tied only to an empty calendar date, devoid of historical, moral or any other meaning, it can be sincerely celebrated by Orthodox Christians, Buddhists, Russians, and Tatars. This is the true day of intercultural, interethnic reconciliation`... Dmitry Glukhovsky, Twilight 2007 I liked the topic! Thank you, Alexey Alekseevich! Happy upcoming you! Health and creative spirit!
