Characteristics plan according to the literature. Description of the appearance of a literary hero

Significantly influences the expression of his ideas. The writer focuses his attention on those who attract him to given time life phenomena and embodies them through artistic depictions of characters, landscapes, and moods. At the same time, he strives to connect them in such a way that they are truly convincing and really reveal what he wanted to show, so that they encourage the reader to think.

Belinsky constantly pointed out in his works that composition in literature significantly influences the revelation of the writer’s ideological plan. He believed that the author’s main idea should meet the following criteria: isolation and completeness of the whole, completeness, proportionate distribution of roles between the characters work of art. Thus, composition in literature is determined by the author’s positions: ideological and aesthetic. But idea and theme can only be harmoniously combined in a mature work.

The composition of the text is considered by literary scholars from different points of view. And on general definition they have not agreed to this day. Most often, composition in literature is defined as a construction relating all its parts to a single whole. It is known that it has many components that writers use in their works to complete the depiction of life pictures. The main elements that make up a composition in literature are lyrical digressions, portraits, inserted episodes, epigraphs, titles, landscapes, and surroundings.

Epigraphs and titles carry a special load.

The title usually indicates the following aspects of the work:

Subject (for example, Bazhov “Malachite Box”);

Images (for example, George Sand “Countess Rudolfstadt”, “Valentine”);

Issues (E. Bogat “What moves the Sun and luminaries”).

An epigraph is a kind of additional title, which is usually associated with the main idea of ​​the work or hints at the striking features of the main character.

Lyrical digressions stand apart from the storyline. With their help, the author has the opportunity to express his own attitude to the events, phenomena and images that he depicts. There are also lyrical digressions in which the experiences of several characters merge, but at the same time it is still clear that here the writer expressed his feelings and thoughts. For example, as in the digression about mother’s hands in the novel “The Young Guard” by Fadeev.

By choosing the sequence of connecting the listed elements, his own principles of “assembling” them, each author creates a unique work. And he uses the following:

• Ring composition, or framing composition. The writer repeats artistic descriptions, stanzas at the beginning of the work, and then at the end; the same events or characters at the beginning of the story and at the end. This technique is found in both prose and poetry.
• Reverse composition. When the author places the ending at the beginning of the work, and then shows how events developed, explains why it is this way and not otherwise.
• Using the technique of retrospection is when the writer places readers in the past, when the reasons for the events that happened in the past were formed. this moment. Sometimes the retrospective is presented in the form of memories of the main character or his story (the so-called “story within a story”).
• A compositional break in events, when one chapter ends at the most intriguing moment, and the next begins with a completely different action. This technique is more often found in works of the detective and adventure genre.
• Using exposure. It may precede the main action, or it may be completely absent.

There are three levels of literary work:

Subject figurativeness is vital material

Composition – organization of this material

Artistic language - speech structure literary work, on all four levels artistic language: phonics, vocabulary, semantics, syntax.

Each of these layers has its own complex hierarchy.

The apparent complexity of a literary work is created by the hard work of the writer at all three levels of the artistic whole.

Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different characteristics and indicators.

A literary text represents a communicative, structural and semantic unity, which is manifested in its composition. That is, this is the unity of communication – structure – and meaning.

The composition of a literary text is a “mutual correlation And location units of depicted and artistic and speech means.” The units of what is depicted here mean: theme, problem, idea, characters, all aspects of the external and internal world depicted. Artistic speech means are everything figurative system language at the level of its 4 layers.

Composition is the construction of a work that determines its integrity, completeness and unity.

Composition - represents "system connections" all its elements. This system also has independent content, which should be revealed in the process of philological analysis of the text.

Composition, either structure or architectonics is the construction of a work of art.

Composition is an element of the form of a work of art.

Composition contributes to the creation of a work as an artistic integrity.

The composition unites all components and subordinates them to the idea, the intention of the work. Moreover, this connection is so close that it is impossible to remove or rearrange a single component from the composition.

Types of compositional organization of a work:

Plot type - that is, plot (epic, lyric, drama)

Non-plot type - plotless (in lyric poetry, epic and drama created by the creative method of modernism and postmodernism)

The plot type of compositional organization of a work is of two types:

Event-based (in epic and drama)

Descriptive (lyrics)

Let's consider the first type of plot composition - event-based. It has three forms:

Chronological form - events develop along a straight line of time, the natural time sequence is not disrupted, there may be time intervals between events

Retrospective form - a deviation from the natural chronological sequence, a violation of the linear order of events in life, interruption with the memories of the heroes or the author, familiarizing the reader with the background of events and the lives of the characters (Bunin, “Easy Breathing”)

Free or montage form - a significant violation of spatio-temporal and cause-and-effect relationships between events; the connection between individual episodes is associative-emotional, and not logical-semantic (“Hero of Our Time”, “The Trial” by Kafka and other works of modernism and postmodernism)

Let's consider the second type of composition - descriptive:

It is present in lyrical works, they generally lack a clearly limited and coherently developed action, the experiences of the lyrical hero or character are brought to the fore, and the entire composition is subordinated to the goals of his depiction, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of the lyrical hero .

The composition can be external and internal

External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes; their arrangement may vary depending on the methods of creating the plot chosen by the author.

External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.

External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in drama, etc.), this organizes and directs the reader’s perception. The architectonics of the text serves as a way of “portioning” meaning; with the help of... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of elements of the text (and therefore its content).

External composition: no less significant is the lack of division of the text or its expanded fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the undifferentiation, and fluidity of the narrator’s or character’s picture of the world (for example, in “stream of consciousness” literature).

Internal composition : this is a composition (construction, arrangement) of images - characters, events, setting, landscapes, interiors, etc.

Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.

Don't be confused: the plot has elements plot, composition has techniques(internal composition) and parts(external composition) composition.

The composition includes in its construction both all the elements of the plot - plot elements and extra-plot elements.

Internal composition techniques:

Prologue (often referred to as the plot)

Epilogue (often referred to as the plot)

Monologue

Character portraits

Interiors

Landscapes

Extra-plot elements in the composition

Classification of compositional techniques by highlighting individual elements:

Each compositional unit is characterized by promotion techniques that provide emphasis the most important meanings of the text and activate the reader's attention. This:

geography: various graphic highlights,

repetitions: repetitions of linguistic units of different levels,

strengthening: strong positions of the text or its compositional part - positions of advancement associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful connections between elements adjacent and distant, belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningAndend works (parts, chapters, chapters). With their help, the author emphasizes the most significant structural elements for understanding the work and at the same time determines the main “semantic milestones” of a particular compositional part (the text as a whole).

Widespread in Russian literature of the late 20th century. the techniques of montage and collage, on the one hand, led to increased fragmentation of the text, on the other, it opened up the possibility of new combinations of “semantic plans.”

Composition in terms of its coherence

The architectural features of the text reveal its most important feature, such as coherence. The segments (parts) of the text selected as a result of division are correlated with each other, “linked” based on common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)

Cohesion (from Latin - “to be connected”), or local connectivity, is linear type connectivity, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.

Coherence(from lat. - “cohesion”), or global coherence, is a coherence of a nonlinear type that combines elements of different levels of text (for example, title, epigraph, “text within text” and main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.

In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as “incremental meaning”.

Any literary text is permeated with semantic echoes, or repetitions. Words connected on this basis can occupy different positions: located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradational series, etc.

Consideration of semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of “plotless” texts, texts with weakened cause-and-effect relationships of components, texts rich in complex images. Identifying semantic chains in them and establishing their connections is the key to interpreting a work.

Extra-plot elements

Inserted episodes

Lyrical digressions,

Artistic advance

Artistic framing,

Dedication

Epigraph,

Heading

Inserted episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “Dead Souls”)

Lyrical digressions- can be lyrical, philosophical, journalistic, express the thoughts and feelings of the writer directly, in the direct author’s word, reflect the author’s position, the writer’s attitude towards the characters, some elements of the theme, problem, idea of ​​the work (in “Dead Souls” - about youth and old age , about Rus' as a bird - troika)

Artistic advance - depiction of scenes that anticipate the further course of events (

Artistic framing – the scenes with which a work of art begins and ends are most often the same scene, given in development, and creating ring composition(“The Fate of Man” by M. Sholokhov)

Dedication – short description or lyrical work having a specific addressee to whom the work is addressed and dedicated

Epigraph – an aphorism or quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in “The Captain’s Daughter”)

Heading- the title of a work, which always contains the theme, problem or idea of ​​the work, a very brief formulation that has deep expressiveness, imagery or symbolism.

The object of literary analysis in the study of composition different aspects of the composition may become:

1) architectonics, or external composition of the text - dividing it into certain parts (chapters, sub-chapters, paragraphs, stanzas, etc.), their sequence and interconnection;

2) a system of images of characters in a work of art;

3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that constitutes "the central problem of composition»; consideration of different points of view in the structure of the text in relation to the architectonics of the work allows us to identify the dynamics of the development of artistic content;

4) a system of details presented in the text (composition of details); their analysis makes it possible to reveal ways to deepen what is depicted: as subtly noted by I.A. Goncharov, “details that appear fragmentarily and separately in the long view of the general plan”, in the context of the whole “merge in the general structure... as if thin invisible threads or, perhaps, magnetic currents were acting”;

5) correlation with each other and with the other components of the text of its extra-plot elements (inserted short stories, short stories, lyrical digressions, “scenes on stage” in drama).

Composition analysis thus takes into account different aspects of the text.

The term “composition” in modern philology turns out to be very ambiguous, which makes it difficult to use.

To analyze the composition of a literary text, you must be able to:

Identify in its structure repetitions that are significant for the interpretation of the work, serving as the basis for cohesion and coherence;

Identify semantic overlaps in parts of the text;

Highlight markers - separators of different compositional parts of the work;

Correlate the features of text division with its content and determine the role of discrete ( individual parts) compositional units as part of the whole;

Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.

Identify all the techniques of external and internal composition in F. Tyutchev’s poem “Silentium” (namely: parts of the composition, type of plot - non-plot, event - descriptive, vision of individual elements, type of their coherence, - NB

Composition is the arrangement of parts of a literary work in a certain order, a set of forms and methods artistic expression by the author depending on his intention. Translated from Latin language means “composition”, “construction”. Composition builds all parts of the work into a single, complete whole.

It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the end. Sometimes the composition of a book intrigues the reader and he looks for a sequel to the book or other works by this writer.

Composition elements

Among such elements are narration, description, dialogue, monologue, inserted stories and lyrical digressions:

1. Narration - main element compositions, the author's story, revealing the content of the work of art. Occupies most the volume of the entire work. Conveys the dynamics of events; it can be retold or illustrated with drawings.
2. Description. This is a static element. During the description, events do not occur; it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. A landscape is not necessarily an image of nature; it can be a city landscape, a lunar landscape, a description of fantasy cities, planets, galaxies, or a description of fictional worlds.
3. Dialogue- conversation between two people. It helps to reveal the plot and deepen the characters of the characters. Through the dialogue between two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, and begins to better understand the characters’ characters.
4. Monologue- speech of one character. In the comedy by A. S. Griboyedov, through Chatsky’s monologues, the author conveys the thoughts of the leading people of his generation and the experiences of the hero himself, who learned about his beloved’s betrayal.
5. Image system. All images of a work that interact in connection with the author’s intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are awkward images invented by the author, for example, “The Nose” from Gogol’s story of the same name. The authors simply invented many images, and their names became commonly used.
6. Insert stories, a story within a story. Many authors use this technique to create intrigue in a work or at the denouement. A work may contain several inserted stories, events in which take place at different times. Bulgakov in “The Master and Margarita” used the device of a novel within a novel.
7. Author's or lyrical digressions. Gogol has many lyrical digressions in his work “Dead Souls”. Because of them, the genre of the work has changed. This large prose work is called the poem “Dead Souls”. And “Eugene Onegin” is called a novel in verse due to the large number of author’s digressions, thanks to which readers are presented with an impressive picture Russian life early 19th century.
8. Author's description. In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his heroes - so precise and succinct that his heroes often become household names.
9. Plot of the story- this is a chain of events occurring in a work. The plot is the content of a literary text.
10. Fable- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
11. Scenery- description of nature, real and imaginary world, city, planet, galaxies, existing and fictional. Landscape is an artistic device, thanks to which the character of the characters is revealed more deeply and an assessment of events is given. You can remember how it changes seascape in Pushkin’s “The Tale of the Fisherman and the Fish,” when the old man comes to the Golden Fish again and again with another request.
12. Portrait- this is a description of not only the appearance of the hero, but also his inner world. Thanks to the author’s talent, the portrait is so accurate that all readers have the same idea of ​​the appearance of the hero of the book they read: what Natasha Rostova, Prince Andrei, Sherlock Holmes looks like. Sometimes the author draws the reader's attention to some characteristic feature of the hero, for example, Poirot's mustache in Agatha Christie's books.

Don't miss: in the literature, examples of use.

Compositional techniques

Subject composition

The development of the plot has its own stages of development. There is always a conflict at the center of the plot, but the reader does not immediately learn about it.

Subject composition depends on the genre of the work. For example, a fable necessarily ends with a moral. Dramatic works of classicism had their own laws of composition, for example, they had to have five acts.

The composition of works of folklore is distinguished by its unshakable features. Songs, fairy tales, and epics were created according to their own laws of construction.

The composition of the fairy tale begins with the saying: “Like on the sea-ocean, and on the island of Buyan...”. The saying was often composed in poetic form and was sometimes far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen to him without being distracted. Then he said: “This is a saying, not a fairy tale. There will be a fairy tale ahead."

Then came the beginning. The most famous of them begins with the words: “Once upon a time” or “In a certain kingdom, in the thirtieth state...”. Then the storyteller moved on to the fairy tale itself, to its characters, to wonderful events.

Techniques of a fairy-tale composition, a threefold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka on a horse flies to her and tears off the ring, three times the Tsar tests his daughter-in-law in the fairy tale “The Frog Princess”.

The ending of the fairy tale is also traditional; about the heroes of the fairy tale they say: “They live, live well and make good things.” Sometimes the ending hints at a treat: “A fairy tale for you, but a bagel for me.”

Literary composition is the arrangement of parts of a work in a certain sequence; it is an integral system of forms of artistic representation. The means and techniques of composition deepen the meaning of what is depicted and reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.

During the times of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This rule of three unities: time, place, plot. This is a five-act structure of dramatic works. This speaking names and a clear division into negative and positive characters. The compositional features of classicism are a thing of the past.

Compositional techniques in literature depend on the genre of the work of art and on the talent of the author, who has available types, elements, techniques of composition, knows its features and knows how to use these artistic methods.

Composition is a kind of program for the process of perception of a work by the reader. Composition makes a whole out of individual parts; the very arrangement and correlation of artistic images expresses artistic meaning. What is composition , compositional analysis of a work of art?

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Composition of a work of art

Composition is a kind of program for the process of perception of a work by the reader. Composition makes a whole out of individual parts; the very arrangement and correlation of artistic images expresses artistic meaning.

« What is composition?This is, first of all, the establishment of a center, the center of the artist’s vision,” he wrote A.N. Tolstoy . (Russian writers about literary work. - L., 1956, vol. IV, p. 491) The composition of a work of art is understood differently.

B. Uspensky States that " central problem composition of a work of art" is "point of view problem" “It is assumed that the structure of a literary text can be described by isolating different points of view, that is, the author’s positions from which the narration (description) is conducted, and exploring the relationships between them.” (Uspensky B. Poetics of composition. - St. Petersburg, 2000, p. 16)Point of view in a literary work– “the position of the “observer” (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in relation to the “volume” (degree awareness), and in terms of assessing what is perceived; on the other hand, it expresses the author’s assessment of this subject and his outlook.” (Tamarchenko N.D., Tyupa V.I., Broitman S.N.Theory of literature. In 2 volumes. – M., 2004, vol. 1, p. 221)

« Composition - a system of fragments of the text of a work, correlated with the points of view of the subjects of speech and image; this system organizes, in turn, a change in the reader’s point of view both on the text and on the depicted world.” . (Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, vol. 1, p. 223) These authors highlightthree compositional forms of prose speech

V. Kozhinov believes that unit of composition“is a segment of a work within the framework or boundaries of which one specific form (or one method, perspective) is preserved literary image" “From this point of view, in a literary work one can distinguish elements of a dynamic narrative, static description or characterization, character dialogue, monologue and so-called internal monologue, character writing, author’s remark, lyrical digression... Composition – connection and correlation of individual forms of image and scenes.” (Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964, p. 434)Large units of composition– portrait (composed of individual elements of narration, description), landscape, conversation.

A. Esin gives the following definition: “ Composition - this is the composition and specific arrangement of parts, elements and images of a work in some significant time sequence.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, reinforcement, contrast, montage.

Repetition is a call between the beginning and the end of a text, or a repeating detail as the leitmotif of a work, or a rhyme. Reinforcement – ​​selection of homogeneous images or details. Opposition is the antithesis of images. Montage – two adjacent images give rise to a new meaning.

V.Khalizev names such compositional techniques and means: repetitions and variations; motives; close-up, overall plan, defaults; point of view; co-and oppositions; installation; temporary organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) “ Composition of a literary work, which constitutes the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means.”

(Khalizev V.E. Theory of Literature. - M., 2005, p. 276)

N. Nikolina highlights different aspects of composition:architectonics, or external composition of the text; system of character images; change of points of view in the structure of the text; parts system; extra-plot elements. (Nikolina N.A. Philological analysis of the text. - M., 2003, p. 51) Composition organizes the entire artistic form of the text and operates at all levels: figurative system, character system, artistic speech, plot and conflict, extra-plot elements.

« Composition - the construction of a work of art, determined by its content, character and purpose and largely determining its perception. Composition is the most important organizing component artistic form“, giving the work unity and integrity, subordinating its elements to each other and the whole.” (Great Soviet Encyclopedia - M., 1973. T.12. Art. 1765.-p.293)

The reader perceives the text, first of all, through the features of its construction. Wide view onmontage as a principle of joining elements of a wholeunderlies the understanding of composition. S. Eisenstein argued: “... the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude towards phenomena. It dictates the structure and characteristics according to which the image itself is deployed.” (Eisenstein S. Selected works. In 6 T. T.3. - M., 1956, -p.42)

The composition of a literary work is based on such an important category of text as connectivity In the same time repetitions and oppositions(contrast) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic theory of compositionoriginated at the beginning of the 20th century. V.V.Vinogradov wrote about verbal, linguistic composition. He put forward an understanding compositions artistic text “as a system of dynamic deployment of verbal series in a complex verbal and artistic unity”

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of linguistic composition are word sequences. " Verbal sequence – is a sequence (not necessarily continuous) of linguistic units of different tiers presented in the text, united by compositional role and correlation with a certain sphere linguistic use or with a certain method of constructing a text.” (Gorshkov A.I. Russian stylistics. - M., 2001, p. 160)Language composition- this is a comparison, contrast and alternation of verbal series in a literary text.

Types of composition.
1.Ring
2.Mirror
3.Linear
4.Default
5. Retrospection
6.Free
7.Open, etc.
Types of composition.
1. Simple (linear).
2. Complex (transformational).
Plot elements

Climax

Development Fall

Action Actions

Exposition Commencement Resolution Epilogue

Extra-plot elements

1.Description:

Scenery

Portrait

3.Inserted episodes

Strong text positions

1.Name.

2.Epigraph.

3. The beginning and end of the text, chapter, part (first and last sentences).

4.Words in rhyme of the poem.

Drama composition- organization of dramatic action in time and space.
E. Kholodov

IPM – 2

Compositional analysis of a work of art

Compositional analysisin accordance with the style of the text, he is most productive in working on a literary work. L. Kaida writes that “all components of an artistic structure (facts, a set of these facts, their location, nature and method of description, etc.) are important not in themselves, but as a reflection aesthetic program(thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.” (Kaida L. Compositional analysis of literary text. - M., 2000, p. 88)

V. Odintsov argued that “only after realizing general principle construction of the work, you can correctly interpret the functions of each element or component of the text. Without this, a correct understanding of the idea, the meaning of the entire work or its parts is unthinkable.” (Odintsov V. Stylistics of the text. - M., 1980, p. 171)

A. Esin says that “it is necessary to begin the analysis of the composition of an entire work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition... Analysis of the reference points is the key to understanding the logic of the composition, and therefore the entire internal logic of the work as a whole.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

Composition anchor points

1. Climax
2. Denouement
3. Peripeteia in the hero's fate
4. Strong text positions
5. Spectacular artistic techniques and means
6. Replays
7. Oppositions

Object of analysisdifferent aspects of the composition can serve: architectonics, or the external composition of the text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account variousgraphic highlights,repetitions of linguistic units of different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

“When analyzing the overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 150)

The concept of text composition is effective at two stages of analysis: at the stage of familiarization with the work, when it is necessary to clearly imagine its architectonics as an expression of the author’s views, and at the final stage of analysis, when intra-textual connections of different elements of the work are considered; techniques for constructing text are identified (repetitions, leitmotifs, contrast, parallelism, editing, and others).

« To analyze the composition of a literary text, you must be able to: highlight in its structure repetitions that are significant for the interpretation of the work, serving as the basis for cohesion and coherence; identify semantic overlaps in parts of the text; highlight linguistic signals marking the compositional parts of the work; correlate the features of the division of the text with its content and determine the role of discrete compositional units within the whole; establish a connection between the narrative structure of the text... and its external composition.” ( Nikolina N.A. Philological analysis of the text. – M., 2003, p.51)

When studying composition, one should take into account the generic features of the work. Compositional analysis of a poetic text may include, for example, operations.

Compositional analysis of poetic text

1. Stanzas and verses. Microtheme for each part.

2.Language composition. Key words, word series.

3.Composition techniques. Repetition, reinforcement, antithesis, montage.

4.Strong positions of the text. Title, epigraph, first and last sentences, rhymes, repetitions.

Compositional analysis of prose text

1.Plan of the text (micro-topics), plot diagram.

2. Reference points of the composition.

3.Repetitions and contrasts.

4.Composition techniques, their role.

5.Strong positions of the text.

6.Language composition. Key words, word series.

7.View and type of composition.

8. The role of the episode in the text.

9. Character image system.

10.Change of points of view in the structure of the text.

11. Temporal organization of the text.

1.External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6.Stage and off-stage characters.

Analysis of an episode of prose text

What is an episode?

Assumption about the role of the episode in the work.

A condensed retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after parts? Why here?

The place of the episode in the plot of the work. Exposition, plot, climax, development of action, denouement, epilogue.

What themes, ideas, problems of the text are reflected in this fragment?

Arrangement of characters in the episode. New in the characters' characters.

What objective world works? Landscape, interior, portrait. Why in this particular episode?

Motives of the episode. Meeting, argument, road, sleep, etc.
Associations. Biblical, folklore, ancient.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Linguistic means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes of the work are developed in this episode? The meaning of the fragment to reveal the idea of ​​the text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Psychological.
The episode reveals state of mind character.
3. Rotary.
The episode shows a new twist in the characters' relationship
4.Evaluative.
The author gives a description of a character or event.

IPM – 3

Program

"The study of artistic composition

Works for literature lessons in grades 5 - 11"

Explanatory letter

Relevance of the problem

The problem of composition is the center of the study of a work of art. The composition of a work of art is understood in different ways.

B. Uspensky argues that “the central problem of the composition of a work of art” is the “problem of point of view.” V. Kozhinov writes: “Composition is the connection and correlation of individual forms of image and scenes.” A. Esin gives the following definition: “Composition is the composition and a certain arrangement of parts, elements and images of a work in some significant time sequence.”

In linguistics there is also a theory of composition. Linguistic composition is a comparison, opposition, alternation of verbal series in a literary text.

Compositional analysis in accordance with the stylistics of the text is most productive when working on a literary work. L. Kaida says that “all components of the artistic structure are important not in themselves, but as a reflection of the aesthetic program of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.”

The way for children to acquire reading qualifications is through an independent deep aesthetic analysis of a literary text, the ability to perceive a text as a sign system, a work as a system of images, to see ways of creating an artistic image, to experience pleasure from perceiving the text, to want and be able to create their own interpretations of a literary text.

"The structure of literary text in in this case(analysis) acts as a “killed” object of study: in the text you can select elements, compare them with each other, compare them with elements of other texts, etc....analysis helps the reader find answers to the questions: “How is the text structured?” “What elements does it consist of?”, “For what purpose is the text structured this way and not otherwise?” - writes Lavlinsky S.P.

Goal and tasks

Development of reading culture, understanding of the author’s position; figurative and analytical thinking, creative imagination.

• Know the concepts of “composition”, “compositional techniques”, “types of composition”, “types of composition”, “linguistic composition”, “compositional forms”, “ reference points compositions”, “plot”, “plot elements”, “extra-plot elements”, “conflict”, “strong positions of the text”, “literary hero”, “motive”, “plot”, “verbal devices of subjectification”, “types of narration” , "system of images".
• Be able to perform compositional analysis of prose text, poetic text, dramatic text.

5th grade

"Narration. Basic concept aboutplot and conflictin an epic work, portrait,construction of the work" (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Verse and stanza.

Strong text positions: title, epigraph.

Text outline, microtheme.

Compositional techniques: repetition, opposition.

Plot elements: beginning, development of action, climax, fall of action, denouement.

The structure of a folk fairy tale (according to V. Propp).

"Propp's Maps"

1. Absence of any family member.

3. Violation of the ban.

4. Scouting.

5.Issuance.

6. The catch.

7. Involuntary complicity.

8. Sabotage (or shortage).

9.Mediation.

10. Beginning counteraction.

11. The hero leaves the house.

12.The donor tests the hero.

13. The hero reacts to the actions of the future donor.

14. Obtaining a magic remedy.

15. The hero is transported, delivered, brought to the “location” of the search items.

16. The hero and antagonist enter into a fight.

17. The hero is marked.

18. The antagonist is defeated.

19.The trouble or shortage is eliminated.

20. Return of the hero.

21. The hero is persecuted.

22. The hero escapes from persecution.

23. The hero arrives home or to another country unrecognized.

24. A false hero makes unreasonable claims.

25. The hero is offered a difficult task.

26. The problem is being solved.

27. The hero is recognized.

28. The false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

1. Beginning. Exposition: the situation before the action begins.

2. Set-up: the hero is faced with a new situation (sabotage, shortage, the hero leaves home).

3. Development of the action: the hero sets off on a journey, crosses the border of another world (donor, magic remedy).

4. Climax: the hero is between life and death.

5.Falling action: tense moments.

6. Denouement: resolution of contradictions (wedding, accession of the hero). The ending.

Ways to invent stories (according to D. Rodari)

• Binom of fantasy.
• Limerick.
• Mystery.
• Propp's maps.
• A fairy tale inside out.
• An old fairy tale in a new way.
• Character material.
• Salad from fairy tales.
• Continuation of the fairy tale.
• Fantastic hypothesis.

"Fantastic Hypothesis"

What would happen if...? We take any subject and predicate - their combination gives a hypothesis. What would happen if our city suddenly found itself in the middle of the sea? What would happen if money disappeared all over the world?

What would happen if a person suddenly woke up in the guise of an insect?

F. Kafka answered this question in the story “The Metamorphosis”.

"Limerick"

Limerick (English) – nonsense, absurdity. The most famous are E. Lear's limericks. The structure of a limerick is as follows.

The first line is the hero.

The second line is the character's description.

The third and fourth lines are the actions of the hero.

The fifth line is the final description of the hero.

Once upon a time there was an old marsh man,

A cantankerous and burdensome grandfather,

He sat on the deck,

Sang songs to the little frog,

A corrosive old man from the swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the choice of the hero.

The second line is the actions of the hero.

The third and fourth lines are the reaction of others to the hero.

The fifth line is the output.

The old grandfather lived in Granier,

He walked on tiptoes.

Everything is against him:

I'll laugh with you!

Yes, a wonderful old man lived in Granier.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is defamiliarization. Let us define the object as if we were seeing it for the first time in our lives.

The second operation is association and comparison. The object of association is not the object as a whole, but one of its characteristics. For comparison, choose another item.

The third operation is the choice of metaphor (hidden comparison). We give the subject a metaphorical definition.

The fourth operation is an attractive form of riddle.

For example, let's come up with a riddle about a pencil.

First operation. A pencil is a stick that leaves a mark on a light surface.

Second operation. The light surface is not only paper, but also a snow field. The pencil mark resembles a path on a white field.

Third operation. A pencil is something that draws a black path on a white field.

Fourth operation.

He's on a white - white field

Leaves a black mark.

"Tales from the Inside Out"

Everyone enjoys the game of twisting fairy tales. Perhaps a deliberate “turning inside out” of the fairy tale theme.

Little Red Riding Hood is evil, but the wolf is kind... The boy - with - Thumb conspired with his brothers to run away from home, abandon their poor parents, but they made a hole in his pocket and poured rice into it... Cinderella, a mean girl, mocked her wonderful stepmother, took away her sister's groom...

"Continuation of the fairy tale"

The fairy tale is over. What happened next? The answer to this question will be a new fairy tale. Cinderella married the Prince. She, untidy, in a greasy apron, always hangs out in the kitchen by the stove. The Prince was tired of such a wife. But you can have fun with her sisters, attractive stepmother...

"Salad from fairy tales"

This is a story in which characters from various fairy tales live. Pinocchio ended up in the house of the seven dwarfs, became Snow White's eighth friend... Little Red Riding Hood met the Boy - Thumb and his brothers in the forest...

"An old fairy tale in a new key"

In any fairy tale, you can change the time or place of action. And the fairy tale will take on an unusual coloring. Adventures of Kolobok in the 21st century...

"Character Material"

From the characteristic features of the character, one can logically deduce his adventures. Let the glass man be the hero. The glass is transparent. You can read our hero's thoughts, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered softly, handshakes should be abolished. The doctor will be a glass blower...

A wooden man must be wary of fire, but he does not drown in water...

The Ice Cream Man can only live in the refrigerator, and his adventures take place there...

"Binomial of fantasy"

Let's take any two words. For example, a dog and a closet. The following variants of combining words arise: dog with a closet, dog's closet, dog on the closet, dog in the closet, etc. Each of these pictures serves as the basis for inventing a story. A dog is running down the street with a wardrobe on his back. This is his booth, he always carries it with him...

In the 5th grade, “the teacher introduces schoolchildren to the construction of fairy tales, dialogue and monologue, story plan, episode, and forms the initial concept of a literary hero. By comprehending the structural elements of the concept of “literary hero”, children learn to highlight the description of the hero’s appearance, his actions, relationships, characterize experiences, referring to descriptions of nature, surrounding the hero situation." (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102)

6th grade

« Basic concept of composition. Development of the concept of portrait literary hero, scenery". (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Strong text positions: first and last sentences, rhymes, repetitions.

Language composition: keywords.

Types of composition : ring, linear.

Plot elements: exposition, epilogue.

Extra-plot elements: descriptions (landscape, portrait, interior).

Plot outline : plot elements and extra-plot elements.

In 6th grade we need to “introduce students to the elements of composition. Landscape, interior...as a background and scene of action,...as a means of characterizing the hero, as a necessary part of the work, determined by the writer’s plan...we draw children’s attention to the eventful side of the work and the means of depicting the characters...” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102 - 103)

7th grade

« Development of the concept of plot and composition, landscape, types of description.The role of the narrator in storytelling."(Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Language composition: verbal thematic series.

Compositional techniques: gain.

Types of composition : mirror, retrospection.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In the 7th grade, “we set the task of identifying the role of composition in revealing the characters of the characters... the construction and organization of the work, the presentation of events, the arrangement of chapters, parts, the relationship of components (landscape, portrait, interior), the grouping of characters are determined by the author’s attitude to events and characters.” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 103 - 104)

8th grade

« Development of the concept of plot and composition, and science as a way of constructing a work." (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Compositional techniques: antithesis, montage.

Types of composition: free.

Plot and motive.

Verbal techniques of subjectification: direct speech, improperly direct speech, internal speech.

In grade 8, “not only special cases of composition are considered (for example, the technique of antithesis), but also connections are established between the composition and the idea of ​​the work; composition acts as the most important “above-verbal” means of creating an artistic image.” (Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. - M., 1983, p. 110)

9th grade

Types of composition: open, default.

Extra-plot elements: author's digressions, inserted episodes.

Types of composition

Episode comparison.

Justify role of the episode in the text.

Subject of speech : point of view bearer.

Composition as an arrangement of text fragments that are characterized by the point of view of the author, narrator, or character.

Language compositionas comparison, contrast, alternation of verbal series.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In the 9th grade, “the concept of composition is enriched in connection with the study of works of a more complex structure; students to some extent master the skills of compositional analysis for more high levels(systems of images, “roll call of scenes”, change of points of view of the narrator, conventions of artistic time, construction of characters, etc.).” (Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. - M., 1983, p. 113)

10 – 11 grades

Deepening the concept of composition.

Various aspects of compositionliterary text: external composition, figurative system, character system, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Compositional forms and means: repetition, reinforcement, contrast, montage, motive, comparison, “close-up” plan, “general” plan, point of view, temporal organization of the text.

Composition anchor points: climax, denouement, strong positions of the text, repetitions, contrasts, twists and turns in the hero’s fate, effective artistic techniques and means.

Strong text positions: title, epigraph,

Main types of composition: ring, mirror, linear, default, flashback, free, open, etc.

Plot elements: exposition, plot, development of action (vicissitudes), climax, denouement, epilogue.

Extra-plot elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Types of composition : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of poetic text.

Compositional analysis of dramatic text.

IPM – 4

System of methodological techniques for teaching composition

Analysis of a work of art.

Methodological techniques for teaching compositional text analysis are generously scattered in the works of M. Rybnikova, N. Nikolina, D. Motolskaya, V. Sorokin, M. Gasparov, V. Golubkov, L. Kaida, Yu. Lotman, E. Rogover, A. Yesin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V. Golubkov believes that it is necessary to use works of painting in literature lessons. “In an artist’s painting, all its components are before your eyes, and their connection is not difficult to establish. Therefore, if a teacher wants to explain to students what the composition of a literary work is, it is best to start with a picture” (Golubkov V. Methods of teaching literature. - M., 1962, p. 185-186).

Interesting ideas can be found in books M. Rybnikova . “Compositional analysis consists of three sides: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) a system of images... Take any central scene of a story or story and show how it was prepared by all previous and how all subsequent scenes are conditioned by it... Take the denouement... and prove with the entire course of the action, the characters of the characters, that this denouement is natural, that it cannot be otherwise... The next question: about the roll call of heroes in the work, about their proximity, about contrasts, similarities, with the help which the author makes the scenes and characters bright..." (Rybnikova M. Essays on the method of literary reading. - M., 1985, p. 188 - 191).

• The methodologist cut up the text of Chekhov’s “Death of an Official”, distributed it to the students on cards, and the children placed them in the correct sequence.
• The students drew up a plan for Tolstoy’s story “After the Ball,” determined which part was central, and retold it in horizontal order.

D.Motolskaya offers a whole group of composition analysis techniques.

1. “From the very grouping of characters, it becomes to some extent clear what the author’s intention is...Identifying the principle of grouping the heroes of a work will allow students...to keep in sight the “part” and the “whole” (Motolskaya D. Studying the composition of a literary work. - In book: Questions of studying the craft of writers in literature lessons in grades VIII - X, L., 1957, p.68).

2. “When analyzing a composition, it is taken into account... how the writer disposes storylines(does it give them in parallel, does one storyline intersect another, is one given after the other) ... how do they relate to each other, what connects them to each other” (p. 69).

3. “...it seems important to find out where the exposition is given, where the portrait or characterization of the character is, in what place the description of the situation, the description of nature is given...why the author’s reasoning or lyrical digressions appear in this particular place of the work” (p. 69).

4. “...what is given by the artist close-up, which seems to be relegated to the background, which the artist details, which, on the contrary, he writes briefly about” (p. 70).

5. “...the question of the system of means of revealing human character: biography, monologue, remarks of the hero, portrait, landscape” (p. 70).

6. “...the question of through whose perception this or that material is given...And when the author depicts life from the point of view of one of his heroes...when the narrator narrates...” (p. 71).

7. “In the composition of epic works...an important role is also played by the principle of dividing the material in them (volume, chapter)...which serves as the basis for the writer for dividing into chapters...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work by considering the composition. “Movement from the “whole” to the “part” and from the “part” to the “whole” is one of the possible ways to analyze a work... In such cases, turning to the “whole” is both the initial stage of the work and the final one” (p. 73).

When studying composition, one should take into account not only the specific, but also the generic features of the work. When analyzing the composition of dramatic works, it is necessary to pay attention to off-stage characters, denouement, storylines pulled into one dramatic knot.

“When analyzing the composition of a lyrical work, one must not miss what is inherent specifically in lyric poetry... the author’s “I”, the feelings and thoughts of the poet himself... it is the poet’s feelings that organize the material that is included in the lyrical work” (p. 120).

“When analyzing epic works imbued with a lyrical principle, one should always raise the question of what place lyricism occupies in an epic work, what is its role in an epic work, what are the ways of introducing lyrical motifs into the fabric of epic works” (p. 122).

V. Sorokin also writes about methodological techniques for analyzing composition. “The main task of composition analysis...at school is to teach students to draw up not only the “external” plan, but also to grasp its “internal” plan, the poetic structure of the work” (Sorokin V. Analysis of a literary work in secondary school. - M. , 1955, p. 250).

1. “... when analyzing the composition of a plot work, it is important to establish what conflict lies at its basis... how all the threads of the work stretch towards this main conflict... Students should be taught to determine the main conflict of a plot work, recognizing it as the compositional core of this work” (p. 259 ).

2. “...what significance does...each character have for revealing the main idea of ​​the work” (p. 261).

3. "B" plot work It is important not only to name the plot, climax, denouement, but it is even more important to trace the entire course of development of the action, the growth of the conflict...” (p. 262).

4. “At school, all the most important extra-plot elements when analyzing works of art must be identified and clarified by students... their expressiveness and relationship with the whole work” (p. 268).

5. “The epigraph is an important compositional element of the work” (p. 269).

“When analyzing large works, it is necessary to identify compositional elements (plot, images, lyrical motifs), their meaning and interrelation, and dwell on the most important parts (plot, climax, lyrical digressions, descriptions)” (p. 280).

“In grades 8-10, small messages, but independently prepared by students, are possible: to trace the development of the plot (or one storyline), find the key points of the plot and explain their expressiveness” (p. 280).

V. Sorokin speaks of the need to use “the technique of expressive reading, retelling the most important episodes in the plot, summary plot, retelling of the climax, denouement, student sketches, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or plot, memorization of lyrical digressions, own composition with mandatory compositional techniques (for example, exposure, landscape, lyrical digressions)” (p. 281).

L. Kaida developed a decoding technique for composition analysis. “The research involves two stages: at the first, the real meaning of the statement is revealed as a result of the interaction of syntactic units...; on the second (compositional) - the real meaning of the syntactic structures that make up the components of the composition (title, beginning, ending, etc.) is revealed as a result of functioning in the text" (Kaida L. Compositional analysis of a literary text. - M., 2000, p. 83).

A. Esin argues that the analysis of a composition needs to begin with reference points. He considers the following elements to be the reference points of the composition: climax, denouement, vicissitudes in the hero’s fate, strong positions of the text, effective artistic techniques and means, repetitions, contrasts. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

N. Nikolina names the skills necessary to analyze the composition of a literary text (Nikolina N.A. Philological analysis of text. - M., 2003, p. 51).

In the 5th grade, the teacher gives “an initial concept of plot and conflict in an epic work, a portrait, the construction of a work” (Bogdanova O., Leonov S., Chertov V. Methods of teaching literature. - M., 2002, p. 268.).

It seems successful to get acquainted with the composition using the example of folk fairy tales. “The teacher introduces schoolchildren to the construction of fairy tales, dialogue, monologue, story plan, episode, forms the initial concept of a literary hero” (Snezhnevskaya M. Theory of literature in grades 4-6 of secondary school. - M., 1974, p. 102.). The study of the composition of a fairy tale in the form of playing cards was proposed by D. Rodari in the book “The Grammar of Fantasy” (Rodari D. The Grammar of Fantasy. Introduction to the art of inventing stories. - M., 1978, p. 81.). This idea is developed by Yu. Sipinev and I. Sipineva in the manual “Russian Culture and Literature” (Sipinev Yu., Sipineva I. Russian Culture and Literature. - S.-P., 1994, p. 308).

The outstanding folklorist V.Ya. Propp wrote about the structure of a fairy tale in his works “Morphology of Fairy Tales”, “Historical Roots of Fairy Tales”, “Transformations of Fairy Tales”.

Can be used in lessons different shapes work with “Propp cards”: compose a fairy tale based on the proposed situations, compose a formula for a fairy tale, compose a formula for a fairy tale, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM – 8).

Thus, compositional analysis is effective at the stage of getting to know the work, when you need to imagine its architectonics, and at the final stage of analysis, when techniques for constructing the text are identified (repetitions, leitmotifs, contrast, parallelism, montage) and intra-textual connections between the elements of the work are considered.

Summary

Methodical techniques

• Condensed retelling.
• Creating a simple (complex, quotation) plan.
• Mental rearrangement of episodes.
• Recovering missing text links.
• Identification of the principle of grouping of actors.
• Justification of the role of the episode in the text.
• Identifying the location of storylines.
• Detection of plot and extra-plot elements.
• Coming up with your own ending.
• Comparison of plot and plot.
• Drawing up a chronological diagram.
• Detecting different points of view.
• Analysis of the composition of a work of painting.
• Selection of illustrations for episodes.
• Creating your own drawings.
• Identification of the principle of material division.
• Detection of a system of means for creating a character’s image (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and construction of word series.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the reference points of the composition.
• Determining the type of composition.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• E. Etkind’s technique “Up the ladder of meanings”

1.External plot.

2. Fiction and reality.

3.Nature and man.

4. Peace and man.

5 people.

• Detection of compositional forms in literary text.
• Detection of verbal techniques of subjectification.
• Analysis of narrative type.
• Search for motives in the text.
• Writing a story using D. Rodari’s techniques.
• Analysis of the structure of a fairy tale.
• Working with Propp cards.
• Oral word drawing.

IPM – 5

Subject

A.A. Fet “Whisper, timid breathing...”

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

Gleam of amber

And kisses and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What seemed unusual in the text?

What's not clear?

What did you see?

What did you hear?

How did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

There are no verbs in the text, mostly nouns and adjectives.

II. Linguistic composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

Let's build two verbal thematic series - nature and man.

"Nature" - the trill of a nightingale, the silver and swaying of a sleepy stream, the light of the night, the shadows of the night, the purple of roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - whispers, timid breathing, a series of magical changes in a sweet face, kisses, tears.

Conclusion. The composition is based on the technique of psychological parallelism: the natural world and the human world are compared.

III. Compositional analysis.

First stanza

What is the microtheme?

A date between lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

Epithet “timid”, “sleepy”, metaphor “silver”.

Second stanza

What is it about?

The night that lovers spend.

What sounds?

Silence.

What colors? Why?

No color definitions.

What is the role of epithets?

Third stanza

What is the microtheme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza there are muted, dim colors, in the last there are bright colors. This shows the passage of time - from evening through night to dawn. Nature and human feelings change in parallel: evening and timid meeting, dawn and stormy farewell. Through sounds, the change in mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.

IV. Time and action.

There are no verbs in the poem, but there is action.

Most nouns contain movement - trills, swaying.

What is the timing characteristic?

Evening, night, morning.

V. Rhythmic pattern of the poem.

Work in pairs or groups.

Meter is trochee. The size is varied with pyrrhichiums. Constant on 5th and 7th syllables. The clause is male and female. There is no caesura. Short and long lines alternate. Anacrusis is variable. The rhyme in the verse is final, masculine and feminine, precise and imprecise, rich, open and closed alternate. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-foot trochee with pyrrhic elements. The constant, alternating on 5 and 7 syllables, gives harmony to the rhythm. The alternation of long and short lines, female and male clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a strong masculine ending, the last line is short.

VI. Features of the composition of the poem.

The text contains three stanzas of 4 verses each. Composition of the stanza: in the first stanza 1 verse - man, 2,3,4 verses - nature; in the second stanza 1,2 verses - nature, 3,4 verses - man; in the third stanza 1,2,4 verses - nature, 3rd verse - man. These lines intertwine and alternate.

Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply records them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. – St. Petersburg, 1996
2. Lotman Yu.M. At the school of poetic word. – M., 1988
3. Etkind E. Conversation about poetry. – M., 1970
4. Etkind E. The Matter of Verse. – St. Petersburg, 1998
5. Ginzburg L. About lyrics. – M., 1997
6. Kholshevnikov V. Fundamentals of poetry. – M., 2002
7. Gasparov M. About Russian poetry. – St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. – M., 1994
9. Sukhikh I. The World of Feta: Moments and Eternity. – Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poetry. – Neva, 1995, No. 11
11. Sukhova N. Masters of Russian Lyrics. – M., 1982
12. Sukhova N. Lyrics of Afanasy Fet. – M., 2000

IPM – 6

Summary of a literature lesson in 9th grade

Subject

“Darling” by A. Chekhov. Who is Darling?

I. Individual task.

Compare the images of Darling and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the entire work, I cannot read some parts of this without tears amazing story... The author obviously wants to laugh at what he considers a pitiful creature... but the amazing soul of Darling is not funny, but holy.”

M. Gorky: “ Here Darling scurries anxiously, like a gray mouse, a sweet, meek woman who knows how to love so slavishly and so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

2nd group. Reading written works “My attitude towards Darling”.

1 group. Story outline compositional techniques.

1. Darling is married to entrepreneur Kukin.
2. Death of husband.
3. Darling is married to the manager Pustovalov.
4. Death of husband.
5. Darling's romance with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes a “understudy” for her husband. Under Kukin, she sat in his cash register, looked after the order in the garden, recorded expenses, gave out salaries... Under Pustovalov, “she sat in the office until the evening and wrote invoices there and released goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else’s personal experience, someone else’s “direction of life,” as if doubling the object of one’s affection. Darling’s selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency.”

3rd group. Analysis of strong points: title, beginning and end of each chapter.

Linguistic analysis of a fragment from the words “In Lent he left for Moscow...”

Find key words, build a series of words that creates the image of the heroine (couldn’t sleep without him, sat by the window, looked at the stars, compared herself to chickens, don’t sleep, feel anxious, there’s no rooster in the chicken coop).

"IN poetic tradition contemplation of the starry sky usually presupposes a sublime system of thoughts, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself to winged creatures, however, flightless ones, and contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of a free migratory bird..., Chekhov’s Darling is a parody of the traditional allegorical Psyche.”

The heroine of the story is deprived of the ability to make independent choices life position, uses other people's self-definitions. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called “Darling”? Why is there a chapter about Sasha in the finale?

“So, no rebirth of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having accepted the author’s point of view on what is communicated to us in the text, we will be forced to admit that the last attachment finally exposes the failure of Olga Semyonovna as a person. Darling... with her inability to self-determination, inability to actualize this meaning in herself, appears in the story as an undeveloped “embryo” of personality.”

Bibliography.

1. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.67.
2. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.61.
3. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.72.

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. Free
7. Open

Plot elements

1. Exposition
2. The beginning
3. Development of action
4. Climax
5. Denouement

1. The meaning of the title of the work.

IPM – 7

Summary of a literature lesson in 10th grade

Subject

A man and his love in A. Chekhov’s story “The Lady with the Dog.”

Goals:

1. Cognitive:

• know compositional techniques and their role in a work of art, strong positions of the text, a scheme for compositional analysis of prose text;
• be able to find compositional techniques and determine their function in a work, analyze the strong positions of the text, interpret a literary text using compositional analysis.

2. Developmental:

• development of thinking skills;
• complication of the semantic function of speech, enrichment and complication of vocabulary.

Equipment

1. Visual material. Photo of the writer, tables “Scheme of compositional analysis of prose text”, “Composition”, “Compositional techniques (principles)”.
2. Handout. Photocopies of “Scheme of compositional analysis of prose text.”

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, make a plan for the story.
2. Individual tasks. Three students are preparing an expressive reading of fragments of chapters I, III, a comparison of Pushkin’s “The Stone Guest” with Chekhov’s story (Don Guan and Dmitry Gurov).

During the classes

I. Motivation for cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: “An artist of gray people and gray everyday life. The structure of life, woven from these absurdities, does not break.” Do you agree with this statement? Why?

II. Goal setting.

“The Lady with the Dog” is a story about a holiday romance or true love? Today in class we will try to answer this question using compositional text analysis.

III. Updating what has been learned.

1. Survey. What is composition? Name compositional techniques. What is a repeat? What is amplification? What is the role of opposition? What is the role of editing?

2. Checking homework.

Reading and discussing story plans.

Chapter 1 Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.

Chapter 2 Love (?) and separation.

Chapter 3 Meeting of heroes in the city of S.

Chapter 4 Love and “the most difficult and difficult thing is just beginning.”

What is discussed in each chapter? Brief retelling plot.

IV. Formation of skills in compositional text analysis.

What is interesting about the composition of the story? Thematic repetitions: in chapters 1 and 3; in chapters 2 and 4 events are repeated. Let's compare these chapters. What changes in them?

Chapter 1. The student expressively reads the fragment from the words “And then one evening, he was having dinner in the garden...” to the words “She laughed.” Why does Gurov meet a woman? What kind of life does the hero lead?

Personal message“Don Guan of Pushkin and Dmitry Gurov of Chekhov.”

Chapter 3. The student expressively reads the fragment “But more than a month has passed...”. What happened to the hero?

Linguistic analysis of the episodefrom the words “He arrived in S. in the morning...”. Why does the author need the epithet “gray” three times? Why is the horseman's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads the fragment from the words “During the first intermission, the husband went to smoke...”. What has changed by Chapter 3?

“So, a true rebirth occurs with Gurov in the city of S.... The emergence of a genuine, inner closeness between two personalities transforms everything. In Yalta, as we remember, while Anna Sergeevna was crying, Gurov was eating watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, at the Slavic Bazaar, he orders himself tea in a similar situation. A thematically adequate gesture takes on the exact opposite meaning. Tea drinking is a purely domestic, everyday, peaceful activity. With genuine intimacy, two individuals create an atmosphere of homely intimacy around themselves (on the heroine, for example, “his favorite gray dress”).

Reading the ending of the story. Why “...the most difficult and difficult is just beginning”? Read the first and last sentences. Match them. What is everyone's role?

Why is the story called “The Lady with the Dog” (after all, we are talking about Gurov’s love)?“The story told in “The Lady with the Dog” is not just a story of secret love and adultery. The main event of the story is the change that occurs under the influence of this love. Throughout the entire story, Gurov’s point of view dominates, the reader looks through his eyes, and, first of all, a change occurs in him.”

The lady with the dog became a symbol of the emotional change that happened to Gurov. Internal rebirth, the rebirth of a person under the influence of love for a woman.

We came to the idea of ​​Chekhov's story using compositional analysis. What composition techniques did the author use and why? (Repetition and contrast).

Is this a story about a holiday romance or about true love?

V. Reflection.

Write a thumbnail “ Gray people and gray everyday life” in “The Lady with the Dog”.

VI. Homework.

1. For the whole class. Reading the story “Ionych”. Make a plan, find compositional techniques.

2. Individual tasks. What is the meaning of the title of the story “Ionych”. Analysis of the first and last sentences in each chapter. Comparative characteristics Gurova and Startsev.

Bibliography.

1. Tyupa V.I. The artistry of Chekhov's story. M., 1989, p. 44-45.
2. Kataev V.B. Chekhov's literary connections. M., 1989, p. 101.

Application

Composition

The composition and specific arrangement of parts, elements and images of a work in some significant time sequence.

Language composition

Comparison or contrast of verbal series.

Compositional techniques

1. Repeat.
2. Gain.
3. Opposition (opposition).
4. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Scheme of compositional analysis of prose text

1. Draw up a text plan (micro-themes) or a plot diagram (plot elements and extra-plot elements).
2. Find the reference points of the composition.
3. Highlight repetitions and oppositions in the structure.
4. Discover compositional techniques. Determine the role of these techniques.
5. Analysis of the strong positions of the text.
6. Find keywords. Construct verbal thematic series.
7. Determine the type and type of composition.
8. Justify the role of a specific episode in the text.
9. The meaning of the title of the work.

IPM – 8

Bibliography

1. Lazareva V.A. Principles and technology literary education schoolchildren. Article one. – Literature at school, 1996, No. 1.
2. Collection of normative documents. Literature. Federal component state standard. – M., 2004.
3. Lavlinsky S.P. Technology of literary education. Communicative-activity approach. – M., 2003.
4. Loseva L.M. How the text is constructed. – M., 1980.
5. Moskalskaya O.I. Text grammar. – M., 1981.
6. Ippolitova N.A. Text in the system of studying the Russian language at school. – M., 1992.
7. Vinogradov V.V. On the theory of artistic speech. – M., 1971.
8. Russian writers about literary work. – L., 1956, vol.IV.
9. Uspensky B. Poetics of composition. – St. Petersburg, 2000.
10. Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. – M., 2004, vol. 1.
11. Kozhinov V.V. Plot, plot, composition. – In the book: Theory of Literature. - M., 1964.
12. Esin A.B. Principles and techniques of analyzing a literary work. – M., 2000.
13. Khalizev V.E. Theory of literature. – M., 2005.
14. Nikolina N.A. Philological analysis of the text. – M., 2003.
15. Great Soviet Encyclopedia - M., 1973. T.12. Article 1765.-p.293.
16. Eisenstein S. Selected works. In 6 T. T.3. - M., 1956.
17. Gorshkov A.I. Russian stylistics. – M., 2001.
18. Kaida L. Compositional analysis of literary text. – M., 2000.
19. Odintsov V. Stylistics of the text. – M., 1980.
20. Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. – M., 2002.
21. Snezhnevskaya M.A. Theory of literature in grades 4–6 of secondary school. – M., 1978.
22. Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. – M., 1983.
23. Golubkov V. Methods of teaching literature. – M., 1962.
24. Rybnikova M. Essays on the methodology of literary reading. – M., 1985.
25. Motolskaya D. Study of the composition of a literary work. – In the book: Questions of studying the craft of writers in literature lessons in grades VIII – X, L., 1957.
26. Sorokin V. Analysis of a literary work in secondary school. – M., 1955.
27. Rodari D. Grammar of Fantasy. An introduction to the art of storytelling. – M., 1978.
28. Sipinev Yu., Sipineva I. Russian culture and literature. – S.-P., 1994.
29. Fundamentals of literary criticism. Ed. V. Meshcheryakova. – M., 2003.

30. Galperin I.R. Text as an object of linguistic research. – M., 1981.

31.Gadamer G.G. The relevance of beauty. – M., 1991.

32. Linguistics and poetics. – M., 1979.

33. Zhinkin N.I. Speech as a conductor of information. – M., 1982.

34. Zarubina N.D. Text. – M., 1981.

35. Turaeva Z.Ya. Linguistics of text. – M., 1986.

36. Wells G. Understanding the text. – Questions of psychology, 1996, No. 6.

37. Muchnik B.S. Man and text. – M., 1985.

38. Ricoeur P. Conflict of interpretation. Essays on hermeneutics. – M., 1995.

39. Granik G.G., Soboleva O.V. Understanding the text: earthly and cosmic problems. – Questions of psychology, 1993, No. 5.

40. Soboleva O. On understanding a mini-text. – Questions of psychology, 1995, No. 1.

41.Granik G.G., Kontsevaya L.A., Bondarenko S.M. On the implementation of laws of understanding in educational text. – In the book: Problems of a school textbook. Issue 20. M., 1991.

42. Bakhtin M.M. Aesthetics verbal creativity. – M., 1979.

43. Granik G., Bondarenko S.M., Kontsevaya L.A. When a book teaches. – M., 1988.

44.Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach schoolchildren to read thoughtfully. – Education of schoolchildren, 1991, No. 5, 6, 1992, No. 5-6.

45.Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach to work with a book. – M., 1995.

46. ​​Granik G.G. The role of attitude in the process of text perception. – Questions of psychology, 1993, No. 2.

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49.Granik G.G. How to teach understanding of a literary text. – Russian language, 1999, No. 15.

50.Granik G.G. and others. Literature. Learning to understand literary text. Problem book - workshop. – M., 2001.

The composition of a literary work plays a big role in expressing ideological meaning. The writer, focusing on those phenomena of life that attract him at the moment, embodying them in artistic images of characters, landscape, thoughts, mood, strives to combine them in a work of art so that they sound with the greatest conviction: they more clearly reveal the essential aspects of reality , caused deep thought in the reader.

Composition is the construction of a work of art, the correlation of all parts of the work into a single whole, determined by its content and genre. To depict a picture of life, writers use various elements of composition: titles, epigraphs, lyrical digressions, introductory, inserted episodes, plot, portrait, landscape, environment.

COMPOSITION OF THE WORK:

Internal organization works depending on the author's intentions and tasks, a single and holistic system certain forms or methods of artistic depiction: narration, description (portrait of a character, his surroundings - interior, landscape), characterization (direct author's, from the outside - by other characters, self-characterization - diary, confession, letter), the character's own direct speech (dialogue, monologue , internal monologue), author's reasoning, lyrical digressions, inserted episodes, framing, etc.

Composition components:

Titles and epigraphs play a significant role in a work of art.

Titles- can be associated with different aspects of a work of art. Most often with themes ("Autumn" by Pushkin, "Motherland" by Lermontov, "Nanny" by Pushkin and many others) with images ("Eugene Onegin" by Pushkin, "Oblomov" by Goncharov, "Rudin" by Turgenev and others): with issues ("Who guilty?” Herzen, “What to do?” Chernyshevsky, “How the steel was tempered” by Ostrovsky and others.)

Epigraphs represent the second title. Most often they are associated with ideological meaning, with ideological content works, with characteristic feature this or that hero. (“Take care of your honor from a young age,” “ Captain's daughter“Pushkin, “Vengeance is mine and I will repay.” “Anna Karenina” by Tolstoy, etc.)

Lyrical digressions make up outside plot lines in which the author expresses personal attitude to the depicted events, images, phenomena.

Composition of the image system.“Arrangement” of characters taking into account the conflict system.

Composition of the plot. The arrangement of events and actions, revealing the character of the heroes and the image of the world (the order of the narration of events).

Composition of storytelling methods. The actual narrative composition is a change of points of view on what is depicted.

Composition of details. A composition of details of the situation, behavior, experiences, the purpose of which is to create a holistic, plastic-dimensional image of the hero and the world.

Speech composition. Composition of stylistic devices.

Composition of extra-plot elements. Arrangement of inserted stories (episodes not directly related to the plot of the work) and lyrical digressions (actually lyrical, philosophical and journalistic fragments that reveal the writer’s feelings and thoughts in relation to the subject depicted and the author’s position).

Compositional completeness and integrity, in general, play an important role in identifying ideological - artistic originality literary work. After all, the writer strives not only to depict in the novel the interconnection of all the components of the life material underlying the work, at the same time to reveal the fate of his heroes and characters, to show in detail the social and everyday reality surrounding them. The most important thing is to give an artistic interpretation to what is depicted, to clearly express your ideological and aesthetic position.

The essence of the composition- in the grouping of all components of a work around the main idea, in the interconnection of parts and their subordination to the author’s intention. Mature in artistically The works are distinguished by their compositional unity of theme and concept. The need for a clear idea of ​​the era of the hero, the dynamics of events and actions of the characters, which serve to reveal the idea of ​​the work, require, in turn, a clear compositional basis of the work. Thus, the composition of a literary work is primarily determined by the artistic, aesthetic and ideological position of the author.

A true writer is not just an artist of words. Reflecting on the role and meaning literary creativity, we note the civic-minded positions of Uzbek writers, their attention to the most burning and pressing problems of our time, their ability to truthfully and highly artistically reflect the phenomena of reality.

Questions of searching for compositional solutions, ensuring the ideological and artistic integrity of a literary work, the connection of compositions with the individual style of the author have now become one of the most current problems modern literary process.

Compositional searches, in essence, always pursue such creative tasks as identifying connections between various pictures and phenomena of reality, showing the evolution of human characters, the logic of their behavior in certain situations and circumstances. Outside the context of a work of art, the composition itself has no value: it is significant only for revealing the essence typical characters under typical conditions.

4. ARCHITECTONICS OF THE WORK:

The external form of the structure of the work:

· Epic – book, volume, part, chapter, prologue, epilogue

· Drama - act, action, scene, phenomenon

· Lyrics – STR O F I C A:

A stanza is a combination of verses that represents a semantic, syntactic and rhythmic-intonation whole and has a certain system rhymes. The following stanzas are distinguished:

Couplet, tercist (terza - aba bvb vgv gdg...), quatrain, pentaverse, sextine, septima, octave (abababvv), nine- and ten-line, sonnet (abba abba vvg vvg), Onegin stanza (ababvvggdeedzhzh).

Poems that are not divided into stanzas are called astrophic.

End of work -

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In the development of postmodernism in Russian literature, three periods can be roughly distinguished: The end of the 60s - the 70s. – (A. Terts, A. Bitov, V. Erofeev, Vs. Nekrasov, L. Rubinstein, etc.) 70s – 8

Symbolism and Acmeism
SYMBOLISM - a literary and artistic movement in European and Russian art of the 1870s-1910s, which considered the goal of art to be an intuitive comprehension of world unity through symbols

Futurism in Russia
In Russia, futurism first appeared in painting, and only later in literature. Artistic searches of the brothers David and N. Burlyuk, M. Larionov, N. Goncharova, A. Exter, N. Kulbin and

Cubofuturism
Program Russian futurism, or rather that group of his, which at first called itself “Gilea”, and entered the history of literature as a group of Cubo-Futurists (almost all Hylean poets - in one degree or another

Ego-futurism. Igor Severyanin
The northerner was the first in Russia, in 1911, to call himself a futurist, adding another word to this word - “ego”. The result is egofuturism. (“Future self” or “future self”). In October 1911, an organization was organized in St. Petersburg

Other futurist groups
After Kubo and Ego, other futuristic groups arose. The most famous of them are “Mezzanine of Poetry” (V. Shershenevich, R. Ivnev, S. Tretyakov, B. Lavrenev, etc.) and “Tsen

Futurists and the Russian Revolution
The events of 1917 immediately placed the futurists in a special position. They greeted October Revolution as the destruction of the old world and a step towards the future they were striving for. "I'll accept

What was the general basis of the movement?
1. A spontaneous feeling of “the inevitability of the collapse of old things.” 2. Creation through art of the coming revolution and the birth of a new humanity. 3. Creativity is not imitation, but continuation

Naturalism as a literary movement
Along with symbolism, in the years of its emergence, another equally widespread trend in bourgeois literature was naturalism. Representatives: P. Bobory

Expressionism as a literary movement
EXPRESSIONISM (French expression – expression) – avant-garde movement in literature and art of the early twentieth century. The main subject of the image in expressionism is internal experiences

Baedeker on Russian Expressionism
Terekhina V. On October 17, 1921, at the Polytechnic Museum, under the chairmanship of Valery Bryusov, a “Review of all poetic schools and groups” was held. Neoclassicists made declarations and poems

Declaration of Emotionalism
1. The essence of art is to produce a unique, unrepeatable emotional effect through the transmission in a unique form of a unique emotional perception. 2

Surrealism as a literary movement
Surrealism (French surrealisme - super-realism) is a movement in literature and art of the 20th century, which emerged in the 1920s. Originating in France on the initiative of the writer A. Breton, surre

About the merger of Oberiu
That's what the representatives called themselves literary group poets, writers and cultural figures, organized at the Leningrad House of Press, whose director N. Baskakov treated quite favorably

Alexander Vvedensky
Guest on a horse (excerpt) The steppe horse runs tiredly, foam drips from the horse’s lips. Night guest, you're gone

A constant of fun and filth
The water in the river gurgles and is cool, and the shadow of the mountains falls on the field, and the light in the sky goes out. And the birds are already flying in dreams. And a janitor with a black mustache *

Existentialism as a literary direction
Existentialism. In the late 40s and early 50s. French prose is experiencing a period of “dominance” of the literature of existentialism, which had an influence on art comparable only to the influence of Freud’s ideas. Add it up

Russian existentialism
A term used to identify a set of philosophies. teachings, as well as (in a broader sense) spiritually related literary and other artistic movements, the structure of categories, symbols and

Self-destructive art
Self-destructive art is one of the strange phenomena of postmodernism. Paintings painted with paint that fades before the eyes of the audience... A huge eighteen-wheeled structure t

Figures of speech. Trails
Means of expressive speech. Correctness, clarity, accuracy and purity are such properties of speech that the syllable of every writer should be distinguished by, regardless of the form of speech.

Paths (Greek tropos - turnover)
Quite a lot of words and entire phrases are often used not in their own meaning, but in a figurative one, i.e. not to express the concept they designate, but to express the concept of another, having some

Artistic speech and its components
Literary speech (otherwise the language of fiction) partially coincides with the concept of “literary language”. Literary language is a normative language, its norms are fixed

Versification systems (metric, tonic, syllabic, syllabic-tonic)
The rhythmic organization of artistic speech is also associated with the intonation-syntactic structure. The greatest measure of rhythmicity is distinguished by poetic speech, where rhythmicity is achieved through uniform

Dolniki. Accent verse by V. Mayakovsky
1. DOLNIK - a type of tonic verse, where only the number of stressed syllables coincides in the lines, and the number of unstressed syllables between them ranges from 2 to 0. The interval between stresses is n

G.S. Skripov On the main advantages of Mayakovsky’s verse
What is remarkable and dear to us about the creative image of V.V. Mayakovsky? His role in Soviet art and in the life of the Soviet people as an “agitator, loudmouth, leader” is well known and deserves

Meter, rhythm and size. Types of sizes. Rhythmic determinants of verse
The basis of poetic speech is, first of all, a certain rhythmic principle. Therefore, the characteristic of a specific versification consists primarily in determining the principles of its ri

Rhyme, ways of rhyming
Rhyme is the repetition of more or less similar combinations of sounds that connect the endings of two or more lines or symmetrically located parts of poetic lines. In Russian classical

Types of stanzas
A stanza is a group of verses with a specific rhyme arrangement, usually repeated in other equal groups. In most cases, the stanza is a complete syntactic whole

The sonnet is available in Italian and English
An Italian sonnet is a fourteen-line poem divided into two quatrains and two final tercets. In quatrains, either a cross or a ring is used

Philosophical and literary critical thought in Ancient Greece and Ancient Rome
Literary studies as a special and developed science arose relatively recently. The first professional literary scholars and critics appeared in Europe only in early XIX century (Saint-Beuve, V. Belinsky). D

Development of literary critical thought in the Middle Ages and the Renaissance
In the Middle Ages, literary critical thought completely died out. Perhaps some glimpses of it can be found in the short period of the so-called Carolingian Renaissance (late 8th - early 9th centuries). B with

Literary critical thought of the Enlightenment
Voltaire's compatriot Denis Diderot (1713–1784), without attacking the followers of Aristotle and Boileau, already expressed something new in comparison with them. In the article “Beautiful” Diderot talks about relative

Biographical method of literary criticism

Mythological school, mythological and ritual-mythological criticism in literary criticism
In the nineteenth century, literary criticism took shape as a separate science, dealing with the theory and history of literature and including a number of auxiliary disciplines - textual criticism, source studies, biography

Cultural-historical school. The main ideas of A. Veselovsky about the art of words
Another outstanding literary critic, Hippolyte Taine (1828–1893), considered himself a student of Sainte-Beuve, whose ideas and methodology were decisive for European literary criticism in the second half of the 19th century.

Comparative-historical method of literary criticism
It is not surprising that the largest Russian literary critic of the 19th century, A. Veselovsky, who in his youth was influenced by the cultural-historical school, later overcame its limitations and became the founder of or

Psychoanalytic criticism
This school, influential in literary criticism, arose on the basis of the teachings of the Austrian psychiatrist and psychologist Sigmund Freud (1856 - 1939) and his followers. Z. Freud developed two important psychologists

Formal schools in literary criticism. Russian formal school
Formal schools in literary criticism. For literary criticism the second half of the 19th century century is characterized by interest in the content side of literature. Major research schools of the time

Structuralism and the New Criticism
New criticism The most influential school in Anglo-American literary criticism of the twentieth century, the origin of which dates back to the period of the First World War. Methods of literary criticism of the twentieth century

Post-structuralism and deconstructivism
Poststructuralism An ideological movement in Western humanitarian thought that has had a strong influence on literary studies in Western Europe and the United States in the last quarter of a century. Poststructural

Phenomenological criticism and hermeneutics
Phenomenological criticism Phenomenology is one of the most influential movements of the twentieth century. The founder of phenomenology is the German idealist philosopher Edmund Husserl (1859–1938), who sought

Contribution from Yu.M. Lotman in modern literary criticism
Yuri Mikhailovich Lotman (February 28, 1922, Petrograd - October 28, 1993, Tartu) - Soviet literary critic, culturologist and semiotician. Member of the CPSU(b)

Contribution of M.M. Bakhtin into the modern science of literature
Mikhail Mikhailovich Bakhtin (November 5 (17), 1895, Orel - March 6, 1975, Moscow) - Russian philosopher and Russian thinker, theorist of European culture and art. Issle

Genres and internal dialogue of the work
Bakhtin saw literature not only as “organized ideological material,” but also as a form of “social communication.” According to Bakhtin, the process of social communication was imprinted in the text of the work itself. AND