Introduction to literary theory. Literary analysis of a lyrical work

Research work within each academic subject has its own characteristics and helps solve specific problems. This type of activity in the field of literature accustoms high school students to work independently with text, enriches the reading experience, helps to form evaluative positions, and make their professional choice.

Literary criticism examines a text from the perspective of its content, themes, ideas, etc. Literary analysis determines what literary genus the work belongs to, what literary tradition it belongs to, what genre it belongs to, etc.

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Municipal state educational institution

Toydinskaya secondary school

Paninsky municipal district

Voronezh region

The topic of the speech at the August RMS for teachers of Russian language and literature

"Literary analysis literary text»

Teacher of Russian language and literature

MKOU Toydinskaya Secondary School

T.S. Khrenova

year 2013

Development of society, its spiritual and material spheres make the problem of communication extremely relevant today. The role of communication has also increased in the process of personality formation and development. Along with this, in the modern Russian school great attention began to devote themselves to independent cognitive activity students, which is the basis for self-development and further active work of schoolchildren in higher educational institutions. At the same time, most high school teachers are faced with the inability of students to independently investigate a particular educational problem, choose required material, refer to the works of scientists, express your point of view on an issue of interest. Thus, schoolchildren find themselves incapable of creative and research activities, the skills of which become necessary when studying at universities.

Today the whole system literary education Regardless of the program, it is based on the analysis of a literary text. This type of work is present at the All-Russian, regional olympiads, in the formulation of essay topics for graduation and entrance exams. That is why there is a need to carry out a comprehensive analysis of the text in literature classes at school, to conduct search and research activities that help schoolchildren interpret the work, deepen and expand the ability to understand it, and, most importantly, formulate their attitude towards it.

Usage research method when analyzing a literary text, it is the leading type of work in the process of studying literature in grades 5–11, as well as in extracurricular work on the subject.

The research method is designed to ensure, firstly, the creative application of knowledge, and secondly, mastery of methods scientific knowledge in the process of searching for these methods and applying them. Thirdly, it forms... traits creative activity. And, fourthly, it is a condition for the formation of interest, the need for this type of activity.

When working with a literary text in literature lessons, I organize students’ research activities, which include a level-by-level analysis of the work:

Culturological (the place of the work in the literary process);

Literary analysis (analysis of linguistic means);

Linguistic analysis (analysis of syntax and morphology).

Work on developing primary skills in literary text analysis begins in the 5th grade. Observing the language and plot of fairy tales is initial stage teaching analysis of literary text. Also in the 5th grade, research work begins in lessons devoted to the study of lyrical works.

In the future, analytical work with the text continues, deepening and becoming more complex. In high school, complex text analysis takes on the features of scientific research work.

In school research activities, the actual discovery does not occur. But this does not mean that the student and teacher do not discover anything new. The end result is your own interpretation literary material(topics, problems), a new look at works of art. In order for this interpretation to take place, to be justified, reasoned, it is important for the teacher to find a topic, a problem in the solution of which the student can have his say, and direct the search by proposing a research methodology. The success of the research is largely determined by the topic. Addressing topics studied by literary criticism, classic ones for literary criticism, is undoubtedly educationally useful and interesting for a schoolchild who is passionate about literature.

Research work within each academic subject has its own characteristics and helps solve specific problems. This type of activity in the field of literature accustoms high school students to work independently with text, enriches the reading experience, helps to form evaluative positions, and make their professional choice.

Literary criticism examines a text from the perspective of its content, theme, idea, etc. Literary analysis determines what literary genus a work belongs to, what literary tradition it belongs to, what genre it belongs to, etc.

Within the framework of the literary approach, the means of artistic expression. Their absence can also be a means of expression.

Structure analysis literary work lies in what determines its composition - that is, the plot structure, the arrangement of parts, their relationship, etc. In addition to the plot, external aspects are also analyzed plot elements: lyrical digressions, inserted episodes.

When analyzing plot construction should be addressed Special attention on the use of time and place in the story. The space in which the action takes place can be large, or it can narrow down to the tight confines of one room. Space can be real (as in a chronicle or historical novel) or imaginary. The writer also creates the time in which the action of the work takes place. It may span centuries or just hours. Time in a work can pass quickly or slowly, intermittently or continuously. It can be intensively filled with events or based on “empty”, eventless. It is symbolic if time in the work moves from spring and summer heyday to autumn sadness. This passage of time is characteristic, for example, of the world of Turgenev’s prose.

In literary analysis, the role of dialogues and monologues, portraits, landscapes, interiors, etc. is considered.

Analysis of characters, from this point of view, involves systematization and grouping. The simplest case is the division of all characters into friends and enemies of the main character. In more complex works There may be several such groups.

Lesson plan on literature in 7th grade.

Lesson topic: “Analysis of the poem by M.Yu. Lermontov "Prayer".

Goals:

• Educational:

• Develop skills in literary analysis of poetic text
• Through the analysis of poems, discover new features in the character of M.Yu. Lermontov - a poet and a person

• Educational:

• continue the formation of monologue speech;
• realize mental activity, the ability to compare, generalize, analyze;
• develop cognitive activity.

• Educational:

• developing the ability to navigate additional literature;
• cultivating the skills of respectful attitude towards classmates, the opinions of others, an objective approach to assessing other people's knowledge, and compliance with disciplinary guidelines.

Equipment : portrait of M.Yu. Lermontov, handout Toolkit, copied for the lesson, (attached), prayer book.

During the classes.

1. Organizing time.

Let's write down the topic of the lesson in a notebook, the epigraph of which is taken from the lines of M.Yu. Lermontov: “My soul, I remember, from childhood I was looking for the miraculous...”

In addition to the textbook and notebook, we will need for our work today teaching aids, which lie in front of everyone on the table.

1. Updating.

We start the conversation with the topic of the lesson, where there are two key words that are familiar to us: Lermontov and poem.

• Let us remember what a poem is as a genre of literature? (children's answers) Now let's turn to the literary dictionary (2 pages of methodological manual) and read what a poem is

To understand and then read a lyrical work expressively, you need to examine it: analyze its form and content. Let's turn to the poem analysis diagram on page 2 of the manual.

• What should we analyze to understand the author's feelings and thoughts?

(Artistic media)

• Which artistic media help the author convey his feelings and thoughts? The literary dictionary on page 2 of the manual will help you answer this question.

So, by exploring artistic means, you and I will understand the feelings and thoughts of the author, in other words, the author’s intention.

• Whose plan should we understand today? (M.Yu. Lermontova)
• What can you say about the poet’s personality? (lonely, sad, pensive, conflicted...)

Task for the guys: Let's continue to paint a portrait of Lermontov for ourselves. Let's see what made the poet say: “My soul, I remember from childhood

I was looking for something wonderful...”

To do this, let’s examine the poem “Prayer.”

1. Analysis of the poem.

• What theme is stated in the title of the poem?
• What will the poem be about? (about prayer, about God, about faith...)
• What is prayer? (a person’s appeal to God, see manual)

On the desk : According to the Bible (Christian book) there is

• Why does a person turn to God? (To find goodness, light, peace of mind, to cleanse the soul...)

• Why do you need to cleanse your soul? (see manual) According to the Bible, a person has

To get to heaven, you need to cleanse your soul of sins!

Write down in your notebook:Prayer is an appeal to God to cleanse the soul.

Here is one of these cleansing prayers that children used to memorize in the gymnasium.

(prayer “Our Father”, see training manual) Draw the children’s attention to the prayer book, which is at the exhibition. Read the prayer out loud.

• What does a person ask for in this prayer? (bread today, forgiveness of sins, not to lead into temptation (into sin, into unclean deeds)
• Who is he asking to be delivered from? (from the evil one, i.e. the devil)

On the board: So, From darkness to light

(pursuit)

Prayer is a talisman that protects a person from misfortunes.

Listen to “Prayer” by M.Yu. Lermontov (p. 93 of the textbook) and think:

• With what intonation is the poem read?
• What feelings does it make us feel?

On the desk:

• What are the “main” words in this poem? (which express the theme of faith)

Write down the quotes in your notebook:

• What mood do these words convey? (light, joyful, tenderness)
• Do you understand the word “gracious”? (bearing good, good)

See the manual: Grace (according to the Bible).

The power of grace is the power that brings a person hope for the salvation of his soul.

1. Analysis by stanzas.

• What state of a person’s soul is reflected in it? Which feelings are more? (sadness, sadness, difficult moment)
• What artistic means convey these feelings? (metaphor: " sadness is crowding ", epithet: "in a minute of life difficult")

But there is a silver lining - “wonderful prayer.”

• When does Lermontov's lyrical hero turn to God? (V Hard time when the soul is dark)

b) Let's reread the second stanza of the poem.

• What mood are we seeing here? ( more light, joy)
• What artistic means of expression does the author use? (epithets: gracious, consonance of living words, incomprehensible holy charm)
• What is described by these epithets? (the power and beauty of the “living word” - prayer) Or maybe a poem?

So, " living word“, according to Lermontov, cleanses, leads to God, to the light.

On the board: from darkness to light

V) Let's reread the third stanza.

• What is she telling us? What kind of mood does it bring? (joy, easy, light) Melancholy and languor go away, they are replaced by faith, hope, tears of relief.
• What artistic means convey this state?

Like a burden will roll off the soul - metaphor

Doubt is far away - an epithet

Easy, easy - epithet

I believe and cry – impersonal reflexive verbs

• So, what is the poet talking about in these three stanzas? (about the cleansing of the soul by prayer, about the movement of the human soul from Darkness to Light (to God), from Evil to Good)

And in addition to these thoughts conveyed to our mind, Lermontov also addresses our feelings, he wants us to empathize with the lyrical hero - this movement.

• How do feelings change? (from sadness and melancholy to faith and joy)
• How does this movement of the soul convey the structure of sentences? (each stanza is one complicated difficult sentence. The comma moves forward - from darkness to light. The same opposition between darkness and light is conveyed by antonyms (in stanzas 1 and 3: difficult - easy, sadness is pressing - the burden will roll away)
• What's the name of this one? artistic technique? (antithesis)
• So, what feelings and thoughts does the author convey to us through form?

1. Now let’s read the poem expressively, trying to convey the thoughts and feelings of the lyrical hero.
2. What new have we learned about the personality of M.Yu. Lermontov? What features can we add to his portrait? (Believing in God, in Good, in Light)

Why does he turn to God? (does not find faith in himself, in those around him, in life - “acutely lonely.” It is not without reason that Lermontov wrote in 1831:

My soul, I remember from childhood

I was looking for something wonderful...)

And he finds the “wonderful” in the “living” word of prayer and poetry!

They still talk about the “living” word of Lermontov’s poems. Here are the words of D.S. Merezhkovsky (see manual)

Anyone interested in the portrait of Lermontov, a poet and a person, can read books about him (Lermontov Encyclopedic Dictionary).

1. Homework assignment: read the poem “Prayer” by heart expressively.

Copyright Competition -K2
Table of contents:

1. Techniques for analyzing literary text
2. Criteria for the artistry of a work (general and specific)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narration, description, reasoning as methods of presentation
7. Evaluation of language and style. Speech errors.
8. Character Evaluation
9. Appreciation of artistic details
10. Features of the analysis of the story as a form work of art

A literary text is the author’s way of perceiving and recreating the reality around him.

The author reflects the world in a special artistic and figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, and allows one to understand the development of human characters, connections and relationships.

A literary work must be considered as a systemic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When evaluating, the main thing is to grasp the uniqueness of the structure of a particular work and show where the solution to images and situations does not correspond to the plan, in a creative manner the writer, the general structure of the work.

TECHNIQUES FOR ANALYSIS OF LITERARY TEXT

When analyzing a text, it is always necessary to correlate the whole with the particular - that is, how the general concept of the work, its theme, structure, genre are realized through the plot, composition, language, style, and images of characters.
The task is not easy.
To solve it, you need to know some techniques.
Let's talk about them.

The first technique is DRAFTING A PLAN for the work, at least mentally.

I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If we describe his actions with clever words, then Alex identifies key semantic points in the text and reveals their subordination. This helps to see and correct the actual and logical errors, contradictions, unsubstantiated judgments, etc.
“Translating” text into “your” language works very well. This is the criterion for understanding the text.

There is also a technique of ANTICIPATION - anticipation, anticipation of the subsequent presentation.

When the reader understands the text, he seems to assume. Anticipates the direction of development, anticipates the author’s thoughts.
We understand that everything is good in moderation. If the plot and actions of the characters are easily visible, reading such a work is not interesting. However, if the reader is completely unable to follow the author’s thought and guess at least the general direction of its movement, then this is also a signal of trouble. The process of anticipation is disrupted when the logic of presentation is disrupted.

There is one more technique - this is posing PRELIMINARY QUESTIONS, which our dear Boa constrictor loves so much.

What happened to this minor character? Why did the other character do this? What is hidden behind the heroine’s mysterious phrase?
It is necessary that the required majority of these questions find answers in the text. All storylines must be completed, interconnected or logically terminated.

It is curious that the reader and the author seem to be moving in opposite directions. The author goes from concept to structure, and the reader, on the contrary, assessing the structure, must get to the bottom of the concept.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "A Kitten Named Woof"? When did a kitten and a puppy eat a sausage and meet exactly in the middle? You will laugh, but in literature everything is exactly the same.

What dangers await the authors = the most vulnerable link in the process. Reader - what? He snorted, closed the book and moved on, while the author suffered.
Oddly enough, there are two dangers. The first is that the reader did not understand the author’s intention at all. The second is that the reader contributed his own idea (instead of the author’s, which turned out to be on the side). In any case, there was no communication, no emotional transfer either.

What to do? Analyze the text! (back to the beginning of the article). Look where the miscoordination occurred, and the idea (theme\structure\genre) diverged from the implementation (plot\composition\style\character images).

CRITERIA FOR THE ARTISTICITY OF A WORK

They are divided into general and private.

GENERAL CRITERIA

1. Unity of content and form of the work.

The artistic image does not exist outside a certain shape. An unsuccessful form discredits the idea and may raise doubts about the fairness of what was said.

2. The criterion of artistic truth = undistorted recreation of reality.

The truth of art is not just the truth of fact. We often see how an author, defending his work (usually unsuccessful), puts forward an iron-clad (in his opinion) argument - I described everything as it actually happened.
But a work of art is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince with their aesthetic power. The critic does not evaluate the authenticity of realities - he evaluates whether the author was able to achieve the necessary emotional impact with the facts and images presented.

The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and reflected in the content, which the author reveals in an original form that is inherent to him. This is the author’s worldview, his special vision, which is expressed in special stylistic devices letters.

4. Emotional capacity, associative richness of the text.

The reader wants to empathize with the events along with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creativity are the main purpose artistic image in literature.
The reader's emotions should be evoked by the image itself, and not imposed by the author's statements and exclamations.

5. Integrity of perception of the narrative.

The image appears in the mind not as a sum of individual elements, but as a whole, unified poetic picture. M. Gorky believed that the reader should perceive the author’s images immediately, like a blow, and not think about them. A.P. Chekhov added that fiction should be written in a second.

The criterion of integrity applies not only to elements designed for immediate perception - comparisons, metaphors - but also to those components that can be located in the text at a considerable distance from each other (for example, portrait strokes).
This matters when analyzing the characters' characters. There are often cases among beginning authors when descriptions of a character’s actions and thoughts do not create a picture of his spiritual world in the reader’s imagination. Facts dazzle in the eyes and imagination, and the whole picture does not work.

PARTICULAR CRITERIA

They concern individual components of the work - themes, plot, speech of characters, etc.

EVALUATION OF THE PLOT OF THE WORK

The plot is the main means of recreating the movement of events. The optimal option can be considered when the intensity of the action is determined not only unexpected events and other external techniques, but also internal complexity, deep revelation of human relationships, and the significance of the problems posed.

It is necessary to understand the relationship between the plot and the images of the characters, to determine the significance of the situations created by the author for revealing the characters.

One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes schematic and far-fetched. The author freely constructs the narrative, but he must achieve persuasiveness so that the reader believes him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the former hero in the new adult.

The plot is a concept of reality (E.S. Dobin)

Plots arise, exist, are borrowed, translated from the language of one type of art to another (dramatization, film adaptation) - and thereby reflect the norms of human behavior characteristic of a particular type of culture. But this is only the first side of the relationship between life and art: plots not only reflect the cultural state of society, they form it: “By creating plot texts, a person has learned to distinguish plots in life and, thus, interpret this life for himself” (c)

Plot is an integral quality of a work of art; it is a chain of events that are inevitably present in this type works. Events, in turn, consist of the actions and deeds of the heroes. The concept of an act includes both externally tangible actions (came, sat down, met, headed, etc.), and internal intentions, thoughts, experiences, sometimes resulting in internal monologues, and all kinds of meetings that take the form of a dialogue of one or more characters .

Evaluation of the plot is very subjective, however, there are certain criteria for it:

- integrity of the plot;
- complexity, tension of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.

Types of plots

There are two types of plots - dynamic and adynamic.

Signs of a dynamic plot:
- the development of the action occurs intensely and rapidly,
- the events of the plot contain the main meaning and interest for the reader,
- plot elements are clearly expressed, and the denouement carries a huge meaningful load.

Signs of an adynamic plot:

The development of the action is slow and does not strive for resolution,
- the events of the plot do not contain any particular interest (the reader does not have a specific tense expectation: “What will happen next?”),
- elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the outcome is either completely absent or purely formal,
- V general composition the work has many extra-plot elements that shift the center of gravity of the reader's attention to itself.

Examples of adynamic plots - “ Dead Souls"Gogol, "Adventures good soldier Seamstress" Hasek, etc.

There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be re-read from any place, works with a dynamic plot - only from beginning to end.

Naturally, with an adynamic plot, analysis of plot elements is not required, and sometimes is completely impossible.

COMPOSITION EVALUATION

Composition is the construction of a work that unites all its elements into a single whole, it is a way of revealing content, a way of systematically organizing elements of content.

The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, and a certain type of text.

Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- the parts must be proportionate;
- compositional techniques should be determined by the content and nature of the work.

Depending on the relationship between plot and plot in a particular work, they talk about different types and techniques of plot composition.

The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called a DIRECT or FABUL SEQUENCE.

A more complex technique is in which we learn about the event that happened earlier than the others at the very end of the work - this technique is called DEFAULT.
This technique is very effective because it allows you to keep the reader in the dark and in suspense until the very end, and at the end surprise him with surprise. plot twist. Due to these properties, the technique of default is almost always used in works detective genre.

Another method of violating the chronology or plot sequence is the so-called RETROSPECTIVENESS, when, as the plot develops, the author makes retreats into the past, as a rule, to the time preceding the beginning and beginning of this work.
For example, in “Fathers and Sons” by Turgenev, during the course of the plot we are faced with two significant flashbacks - the background to the lives of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev’s intention to begin the novel with their youth, because this would have cluttered the composition of the novel, and it seemed necessary to the author to give an idea of ​​the past of these heroes - therefore, the method of retrospection was used.

The plot sequence can be disrupted in such a way that events at different times are given intermixed; the narrative constantly returns from the moment of the action to various previous time layers, then again turns to the present in order to immediately return to the past. This plot composition is often motivated by the memories of the characters. It's called FREE COMPOSITION.

When analyzing a literary text, one should consider the motivation for using each technique from the point of view of composition, which must be supported by the content and figurative structure of the text.

Many shortcomings of composition are explained by violation of the requirements of the basic laws of logic.

The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- going beyond the topic;
- incomplete disclosure of the topic;
- disproportionality of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- unsuccessful division of text into paragraphs.

It must be remembered that in fiction, following a step-by-step logical plan is not at all necessary; sometimes a violation of the logic of plot development should be seen not as a compositional flaw, but special welcome compositional structure of the work, designed to increase its emotional impact. Therefore, when assessing the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.

EXTRA-PLOT ELEMENTS

In addition to the plot, in the composition of the work there are also so-called extra-plot elements, which are often no less, or even more important, than the plot itself.

Non-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions.
If the plot of a work is the dynamic side of its composition, then the extra-plot elements are the static side.

There are three main types of extra-plot elements:
- description,
- lyrical (or author’s) digressions,
- inserted episodes (otherwise they are called inserted novels or inserted plots).

DESCRIPTION is literary image the external world (landscape, portrait, world of things, etc.) or a stable way of life, that is, those events and actions that occur regularly, day after day and, therefore, are also not related to the movement of the plot.
Descriptions are the most common type of extra-plot elements; they are present in almost every epic work.

LYRICAL (or AUTHOR'S) DISTRACTIONS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; however, these statements do not characterize individual characters or the relationship between them.
Author's digressions are an optional element in the composition of a work, but when they do appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play a very important role and are subject to mandatory analysis.

INSERT EPISODES are relatively complete fragments of action in which other characters act, the action is transferred to another time and place, etc.
Sometimes inserted episodes begin to play an even greater role in the work than the main plot: for example, in “ Dead souls"Gogol or "The Adventures of the Good Soldier Schweik" by Hasek.

ASSESSMENT OF SPEECH STRUCTURES

Fragments are distinguished in the work according to their belonging to any type of text - narrative, descriptive or explanatory (discourse texts).
Each type of text is characterized by its own type of presentation of the material, its internal logic, the sequence of arrangement of elements and composition as a whole.

When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the predominant type.
It is necessary to analyze the fragments in terms of their compliance with the characteristics of the type, i.e., check whether the narrative, description or reasoning is constructed correctly.

NARRATION - a story about events in chronological (time) sequence.

Narration is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how the transition from one state to another took place).
In addition, almost every story has its own rhythm and intonation.

When evaluating, it is necessary to check how correctly the author has chosen the key points so that they correctly reflect the events; how consistent the author is in presenting them; whether the connection of these main points with each other has been thought out.

The syntactic structure of the narrative is a chain of verbs, so the center of gravity in the narrative is transferred from words related to quality to words that convey movements, actions, that is, to the verb.

There are two types of storytelling: epic and stage.

The epic method is a complete story about events and actions that have already taken place, and about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a narrative about the events of the Great Patriotic War in a history textbook).

The stage method, on the contrary, requires that events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through gestures, movements, and words of the characters. At the same time, the readers’ attention is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are curling... The invisible moon illuminates the flying snow...").

The most common flaw in the construction of a narrative is its overload with insignificant facts and details. It is important to remember that the significance of an event is determined not by its duration, but by its importance in meaning or for the sequence of presentation of events.

When analyzing descriptions in a work of art, there is no rigid scheme. It is in the descriptions that the author's individuality is most clearly manifested.

REASONING is a series of judgments that relate to a specific subject and follow each other in such a way that others follow from the previous judgment and as a result, an answer to the question posed is obtained.

The purpose of reasoning is to deepen our knowledge about an object, about the world around us, since judgment reveals the internal characteristics of objects, the relationship of signs with each other, proves certain provisions, and reveals reasons.
The peculiarity of the argument is that this is the most complex look text.

There are two ways of reasoning: deductive and inductive. Deductive is reasoning from the general to the particular, and inductive is reasoning from the particular to the general. Inductive or synthetic type reasoning is considered simpler and more accessible to the general reader. Meet and mixed types reasoning.

Analysis of reasoning involves checking the logical correctness of the reasoning structure.

Characterizing various ways presentation, experts emphasize that the main part of the author’s monologue speech is narration. “Narrative, story is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell an interesting, exciting story.”
The author’s use of other speech structures that enhance the tension of the storyline depends on the individual style, genre and subject of the image.

EVALUATION OF LANGUAGE AND STYLE
Exist different styles different types literature: journalistic, scientific, fiction, official business, industrial, etc. At the same time, the boundaries between styles are quite fluid; the styles of the language themselves are constantly evolving. Within the same type of literature, one can see some differences in the use of linguistic means depending on the purpose of the text and its genre features.

Linguistic and stylistic errors come in many varieties. We list only the most common and most common of them.

1. MORPHOLOGICAL ERRORS:

Incorrect use of pronouns
For example. “You have to be truly lucky to win a large artistic canvas for a few rubles. It turned out to be technician Alexey Stroev.” In this case, the incorrect use of the pronoun “im” creates a second anecdotal meaning of the phrase, since it means that Alexey Stroev turned out to be an artistic canvas.

Use plural nouns instead of singular. For example. "They carry baskets on their heads."

Errors in endings.
For example. “A school, a bathhouse, and a kindergarten will be built here next year.

2. LEXICAL ERRORS:

Inaccurate choice of words, use of words that cause unwanted associations. For example. “Classes are held without warning, in a family atmosphere” - Instead of “uninvited”, “relaxed”.

Inept use of phraseological phrases.
For example. “Our troops have crossed the line” - Instead of: “Our troops have reached the line / Our troops have crossed the line.”

The use of expressions in relation to animals that usually characterize the actions of people or human relationships.
For example. “At the same time, the rest of the bulls gave excellent daughters.”

3. SYNTAX ERRORS:

Incorrect word order in a sentence.
For example. “Avdeev felt his heart beat faster with joy.”

Incorrect control and adjacency.
For example. “More attention needs to be paid to the safety of young people.”

The use of syntactically unformed sentences.
For example. “Her whole small FIGURE LOOKS more like a student than a teacher.”

Punctuation errors that distort the meaning of the text.
For example. “Sasha ran around the gardens with the children, played knucklebones while sitting at his desk, and listened to the teachers’ stories.”

4. STYLISTIC ERRORS:

- “office” style
For example. “As a result of the work of the commission, it was established that there are significant reserves for the further use of materials and, in connection with this, reducing their consumption per unit of production” - Instead of “The commission found that materials can be used better and, therefore, their consumption can be reduced.”

Speech cliches are a rather complex phenomenon that is widespread due to the stereotyped nature of thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- paired words or satellite words (initiation-response),
- stamps – style decorations (blue screen, black gold),
- stencil formations (keep an honor watch),
- stamps - compound words (giant stove, miracle tree).
The main feature of a stamp is its lack of content. A stamp must be distinguished from a linguistic cliche, which is a special type of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.

EVALUATION OF ARTISTIC DETAILS
An artistic detail is a detail that the author has endowed with significant semantic and emotional load.

Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.

By means of a successfully found part you can convey character traits a person’s appearance, speech, behavior, etc.; to concisely and visibly describe the situation, the scene of action, an object, and finally, an entire phenomenon.

Artistic detailing may be necessary or, on the contrary, excessive. Excessive attention to detail, characteristic of beginning writers, can lead to a pile-up of details, which will interfere with the perception of the main thing and therefore tire the reader.

There are two characteristic miscalculations in the use of artistic detail:

It is necessary to distinguish artistic detail from simple details that are also necessary in the work.

The writer must be able to select exactly those details that will give a complete, vivid, vivid picture. By creating a text that is “visible” and “audible” for the reader, the writer uses real details, which in the work can be considered as detail.
Excessive attention to detail makes the picture motley and deprives the story of integrity.

Black Stick

SOME THOUGHTS OF AN ORDINARY READER ABOUT ARTISTIC DETAILS

FEATURES OF ANALYSIS OF A STORY AS A FORM OF A WORK OF ART

A story is the most concise form fiction. The story is difficult precisely because of its small volume. “There is a lot in small things” - this is the main requirement for small forms.

The story requires especially serious, in-depth work on the content, plot, composition, language, because... in small forms the defects are more clearly visible than in large ones.
A story is not a simple description of an incident from life, not a sketch from life.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. Significant and author's position, significance of the topic.

A story is a one-dimensional work, it has one plot line. One incident from the life of the characters, one bright, significant scene can become the content of a story, or a comparison of several episodes covering a more or less long period of time.
Too slow plot development, prolonged exposition, and unnecessary details harm the perception of the story.
Although the opposite case also happens. Sometimes, when the presentation is too laconic, new shortcomings arise: the lack of psychological motivation for the actions of the heroes, unjustified failures in the development of action, the sketchiness of characters devoid of memorable features.

N. M. Sikorsky believes that there is thoughtful and unjustified brevity, that is, omissions in the presentation of events that are easily restored by the reader’s imagination, and unfilled voids that violate the integrity of the narrative. It is important to notice when figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have truly artistic brevity. And here special role artistic detail plays in the story

Doesn't usually happen in a story large number characters and many storylines. Overload with characters, scenes, and dialogues are the most common shortcomings of stories by novice authors.

The evaluation of a work is carried out in order to determine the uniqueness of a particular work.

The analysis is carried out in several aspects:

1. Correlation between execution and design (image as an expression of the author’s thoughts and feelings);

2. Visual accuracy (image as a reflection of reality);

3. Emotional accuracy of the text’s impact on the reader’s imagination, emotions, and associations (image as a means of aesthetic empathy and co-creation).

The result of the assessment is the creation of certain recommendations that will improve the unsuccessful components of the text that do not correspond to the concept, the general structure of the work and the creative style of the author.

A skillfully carried out transformation should not disrupt the integrity of the text. On the contrary, freeing its structure from elements introduced by side influences will clarify the idea of ​​the work.

During stylistic editing, inaccuracies, speech errors in the manuscript, and roughness in style are eliminated;
when shortening the text, all unnecessary things that do not correspond to the genre or functional affiliation of the work are removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted, which are necessary for coherence and logical sequence of presentation.

“You carefully remove the excess, as if you were removing film from a transfer, and gradually the bright drawing. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation” (c)

Food for thought.

Here are two editions of the text of the beginning of L. Tolstoy’s story “Hadji Murad”.

FIRST OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a delightful selection of flowers this time of year: fragrant porridges, red, white, pink, love it or not, with their spicy sweet smell, yellow, honey and sharp-shaped - lilac, tulip-shaped peas, multi-colored scabioses, delicate with a slightly pink plantain fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wildflowers with their subtlety of decoration and slightly noticeable, not for everyone, their delicate and healthy scent. I dialed large bouquet and already on the way back I noticed a wonderful crimson in the ditch in full bloom burdock, of the variety that we call Tatar and which people carefully mow or throw out of the hay so as not to prick their hands on it. I decided to pick this burdock and put it in the middle of the bouquet. I got down into the ditch and chased away the bumblebee that had climbed into the flower and, since I didn’t have a knife, I began to tear off the flower. Not only did it prick from all sides, even through the scarf with which I wrapped my hand, its stem was so terribly strong that I fought with it for about 5 minutes, tearing the fibers one by one. When I tore it off, I crushed the flower, then it was clumsy and did not suit the delicate delicate flowers of the bouquet. I regretted that I had destroyed this beauty and threw the flower. “What energy and strength of life,” I thought, approaching him...

FINAL OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a lovely selection of flowers this time of year: red, white, pink, fragrant, fluffy porridges; cheeky daisies; milky white with a bright yellow center “love it or hate it” with its rotten spicy stench; yellow colza with its honey smell; tall purple and white tulip-shaped bells; creeping peas; yellow, red, pink, lilac, neat scabioses; with slightly pink fluff and a slightly audible pleasant smell of plantain; cornflowers, bright blue in the sun and in their youth, and blue and reddening in the evening and in old age; and tender, with an almond scent, immediately withering, dodder flowers. I picked a large bouquet of different flowers and was walking home when I noticed in a ditch a wonderful crimson, in full bloom, burdock of the variety that we call “Tatar” and which is carefully mowed, and when it is accidentally mowed down, they throw out the mows from the hay so as not to prick their hands on it. I decided to pick this burdock and put it in middle of the bouquet. I climbed down into the ditch and, having driven away the shaggy bumblebee that had dug into the middle of the flower and sweetly and sluggishly fallen asleep there, I began to pick the flower. But it was very difficult: not only did the stem prickle from all sides, even through the scarf with which I wrapped hand, - it was so terribly strong that I fought with it for about five minutes, tearing the fibers one by one. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Moreover, due to its rudeness and clumsiness, it did not suit the delicate flowers of the bouquet. I regretted that I had in vain destroyed a flower that was good in its place, and threw it away. “What energy and strength of life, however,” I thought, Remembering the efforts with which I tore off the flower. “How he strenuously defended and sold his life dearly.”

© Copyright: Copyright Competition -K2, 2013
Certificate of publication No. 213052901211
reviews

Reviews

Analysis - Criticism third, positive

Quote - Evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters’ characters;
...

Plot elements are stages of development literary conflict(exposition, plot, development of action, climax and denouement). The identification of these elements is possible only in connection with the conflict.

The daily audience of the Proza.ru portal is about 100 thousand visitors, who in total view more than half a million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.

The purpose of education in the educational development program Sverdlovsk region for 2005-2010, social competence is considered as a general ability based on knowledge, experience, values, which allows establishing connections between knowledge and life situation, find ways to solve a particular problem. So the graduate modern school must have certain personality qualities:

Flexibly navigate changing life situations, be able to independently apply the knowledge he needs in practice to solve emerging problems; work competently with information; be sociable and contactable in various groups; independently work on developing one’s own morality, intelligence, cultural level; think independently critically, clearly understand where and how the knowledge he acquires can be applied, therefore, the Russian school needs to switch to a competency-based approach to education and upbringing. Considering the existing disagreements in the definition of the terms “competence” and “competence” in gymnasium No. 174 in Yekaterinburg, the experience of Samara teachers was taken as a basis, where the concept of transition to a competency-based approach was developed by the Laboratory for the Modernization of Educational Resources

Department of Education and Science of the Administration of the Samara Region.

Competence is the result of education, expressed in the subject’s readiness to effectively organize internal and external resources to achieve the set goal. In the process of mastering new technologies and roles, mastery occurs new activity. Thus, competence is manifested in the development of a subjectively new activity, when it is necessary to perform non-algorithmized (new for humans) actions. In this form, competence absorbs all other competencies identified at a lower level (competence).

Competence is a direct result of education, expressed in students’ mastery of a certain set of methods of activity. Since it is impossible to master an activity through imitation, the child begins to manage his activity using various educational results (knowledge, abilities, skills), forming his own resource package necessary for the formation of competence. Based on the analysis of theoretical literature (article “Technology for designing key and subject competencies” by A.V. Khutorskoy) and requests from employers, the following key competencies are identified:

1) communicative competence (written communication, public speaking, dialogue, productive group communication);

2) information competence (readiness for self-education, readiness to use information resources, perceive and process various information);

3) problem solving competence (self-management) (problem identification, goal setting and activity planning, application of various technologies, resource planning, performance assessment, performance outcome assessment, assessment of one’s own progress (reflection)).

Qualitatively new strategies and technologies of training are called upon to form and develop the listed competencies, in particular the competency-based approach, which, according to B. Golub and E.Ya. Kogan in the article “The Paradigm of Contemporary Education” includes several directions. One of the areas is monitoring the level of development of key competencies through various types of children’s activities in the classroom, questioning and assessment creative works teenagers according to specially developed criteria.

In our opinion, literary analysis of works of art, used in literature lessons, is a means of developing information and communication competencies.

We bring to your attention the experience of conducting a training session "Analysis of space and time in the subjective organization of A.P. Chekhov's prose 80 - 90 years on the example of the stories "Tosca" (1886) and "Jumping" (1892)

In the process of studying these stories, we explored the techniques of creating space-time relationships and subjective organization in the above-mentioned works of art.

How different consciousnesses interact: the hero and the narrator, how the meaning of the story is revealed through different organizations of the narrative, can be seen in the story of A.P. Chekhov's "Tosca", written in 1886.

At first glance, this is a story with a very obvious plot, from the very first words you are captivated by sympathy for Jonah Potapov and his misfortune. But this is only at first glance. And indeed, the hero of the story is a cab driver, not new to literature of the 19th century: we can find this image in the adventurous and anecdotal works of M. Pogodin, N. Polevoy; in line with the “natural school”, F. Bulgarin and I. Kokorev will write about the cab driver; N. Nekrasov takes a fresh look at this hero in the poem “The Cabbie.” And yet, having touched on a topic that has already been developed more than once, A.P. Chekhov gives his completely new understanding of it.

Reflecting on the fate of Jonah, on the grief of an ordinary little person, Chekhov repeats the situation of “failed communication” four times, thereby depicting the loneliness of an ordinary person among the crowd, the lack of response to someone else’s pain, the inattention to the soul thirsting to pour itself out. He elevates the melancholy and grief of a small person to truly universal melancholy.

Next, we invite students to analyze in more detail the subjective organization of this story by A.P. Chekhov and his space-time structure and reveal that already in the first lines of the story it is shown how a state of melancholy captures Jonah. Finding himself alone with his grief, he went into his melancholy and outwardly resembles a small dot that people rushing by do not notice. The space around Jonah closed into one point - in his grief, and even time at that moment seemed to have stopped: “The wet snow is lazily spinning,” “Jonah and his little horse have not moved from their place for a long time” (I, 134). “Point” space corresponds to “point” time. External action here is determined by internal action. But Jonah, in need of an interlocutor, sets out on a journey, space begins to unfold from a “point” into a line - a path whose purpose is uncertain - this is Jonah’s desire to pour out his grief to someone.

Describing Jonah's condition, A.P. Chekhov conveys the thoughts of his hero, but the attentive reader feels the presence of another, higher consciousness belonging to the narrator, which helps determine the presence of “alien speech” in Jonah’s internal monologue. This “alien speech” was highlighted by V.B. Kataev in his work "Chekhov's Literary Connections". He discovered three quotations in the text of Tosca, two of them hidden. One of the quotes, highlighted graphically and compositionally, with the epigraph: “To whom shall we tell my sorrow?”, taken, according to Kataev, from Joseph’s cry, sets the entire tone of the story, which expands the scope of the story, leading it to universality, to eternity. So this phrase not only indicates the dual subjectivity of the narrative, but also unfolds the “insignificant shell” of point space, takes it to another level: pan-human and historical space. The external objective sign of the “expansion” of space is precisely the movement of Jonah in order to pour out his melancholy to someone - to relieve the tension of grief, compressed inside and stubbornly demanding “unfolding”.

Thanks to the appearance of a second voice and quotes that make up “someone else’s speech,” it is possible to determine the distance between the hero and the narrator from the story “Tosca.” The simple consciousness of the hero is conveyed from the outside, from the position of a developed consciousness. And the narrator’s slight smile at the hero, who does not know how to correctly explain and tell his melancholy (“And the oats didn’t leave. That’s why there is melancholy”), does not separate, but, on the contrary, raises the hero to another level. The consciousness of the narrator complements the consciousness of the character, giving him the opportunity to step out of the framework of his narrow, everyday consciousness.

The ending of the story speaks about this - the longing is finally told, the soul is open. Jonah told his grief to the little horse. Communication took place, although not quite what was initially expected. The goal of Jonah’s path has been achieved in a certain sense, although V.B. Kataev believes that “the communication took place in an extremely absurd form.”

When analyzing the story “Tosca,” students can conclude that the spatial organization of the text plays a significant role in identifying the author’s intention in Chekhov’s prose and, along with the subjective organization, determines the construction of the writer’s artistic world.

In the works of the 90s A.P. Chekhov seeks truth not in the monologue of the narrator or hero, but in their dialogue. In his stories, indirect speech is activated, when the narrator’s speech is saturated with individual words or entire expressions of the hero, “scattered” throughout it, which is a means of indirectly characterizing the heroes.

How these narrative features manifest themselves in a specific story and how the interaction of narrative types with the spatio-temporal organization of the text occurs, students are invited to consider using the example of the analysis of the story “The Jumper” (1892).

The narrative structure and language of this story were examined in detail by A.P. Chudakov, L.G. Barlas, A.V. Kubasov, whose works the students were invited to get acquainted with while collecting material on this story. All these scientists say that from the very first pages of the story, the heroine’s voice flows into the narrator’s speech, which immediately sharply contrasts Olga Ivanovna and her friends with Dymov, about whom all visitors to Olga Ivanovna’s salon say that he is “ordinary.” In the narrator’s words, Dymov is ironically contrasted with the heroine’s friends, who “were not entirely ordinary people. Each of them was remarkable in some way and a little famous:” (II, 178). That the speech belongs different characters, and not the narrator can be determined by vocabulary alien to the narrator: this is how a picture of “absent-minded heteroglossia” (M. M. Bakhtin’s term) arises, where the reader feels two opposite intonations: serious - for the heroes and ironic, revealing - for the narrator.

Subsequently, the influence of the heroine’s voice on the narrative intensifies, because the narrative is increasingly saturated with her vocabulary, words that are not characteristic of the narrator. This influence is also reflected in the spatio-temporal organization of the text, which Kubasov A.V. called "the chronotope of the "team day".

From the first chapter, the reader learns about Dymov’s daily routine: “Every day from nine o’clock in the morning until noon, he received patients and studied in his room, and in the afternoon he rode a horse-drawn horse to another hospital, where he opened up dead patients. His private practice was insignificant, rubles five hundred a year" (II, 179). Outwardly, the day looks meager, it can be arranged in the following chain: home - work - home, and work is not shown, it is only mentioned, revealing the hidden meaning of the question: “What else can be said?” This question, according to A.V. Kubasova stands on the border of two consciousnesses: the impersonal narrator and the heroine, and two assessments of Dymov and his activities are hidden in him: Olga Ivanovna’s categorical assessment and the narrator’s assessment, hidden for the time being, opposing her.

The second chapter gives a description of Olga Ivanovna’s day. Unlike Dymov's day, it is extremely filled with activities and scheduled by the hour: music or painting classes, a visit to the dressmaker, lunch with her husband, trips to friends, theater or concerts: And so every day. Thanks to the external fullness of the day, the impression of time duration and significance of each moment is created. But the “gathering day” of Dymov and Olga Ivanovna embodies two different ways of life, running in parallel, touching only at certain points in the space-time system: during the spouses’ home dinner at 5 o’clock and on Wednesdays, when Olga Ivanovna hosted parties where Dymov played a role majordomo. So the chronotope of the “team day” of Dymov and his wife always follows in pairs, being compared either explicitly or in context. All this creates the impression of emptiness and artificiality in Olga Ivanovna’s life. Despite the fact that outwardly Olga Ivanovna is constantly on the move, constantly changing her “places: city - home - dressmaker - theater - guests - village - dacha - city, her time and space are fragmented into fragments, deprived of their completeness and integrity. the idea is also confirmed by the decoration of the house, which is overloaded with things from the external space, which once again emphasizes the spiritual emptiness of the heroine, the surface of her personality.

And if we see that Olga Ivanovna’s day is determined only by the number of things that do not give the heroine qualitative growth, her movement is expressed only by external signs: moving from one constant point in space to another, then changes in Dymov’s daily routine carry a qualitative shift - spiritual growth a hero who is distinguished by defending his dissertation.

Thus, if Olga Ivanovna’s time and space are closed: moving from point to point always returns her to the beginning, thereby reminiscent of a squirrel running in a circle in a wheel, then Dymov’s time moves progressively, his movements are ascension, movement forward and higher.

In the process of working on the stories of A.P. Chekhov's students come to the conclusion that the subtextual connection between the end and the beginning of the work forces them to rethink both the image of the hero and the way of his life, embodied in the seemingly sparse day of events. The capacity of Chekhov's artistic time is created by addition different systems countdown of time, which represents a clash not only of different voices and opinions, but also a clash of temporal forms.

The teacher’s task in the process of preparing and conducting a lesson this kind not only organize independent work students both in class and outside of class, but also to determine the level of development of information and communicative competence of 9th grade students. For this purpose, the following criteria were developed based on the materials of the new standards, which are presented in table form (Appendix).

References:

1. A.P. Chekhov Selected works in 3 volumes, M, 1964.
2. Bakhtin M.M. Questions of literature and aesthetics. M., 1975.
3. Corman B.O. Studying the text of a work of art. M., 1972.
4. Barlas L.G. The language of Chekhov's narrative prose: problems of analysis. Rostov-on-Don, 1991.
5. Kataev V.B. Literary connections Chekhov. M., 1989.
6. Kubasov A.V. Stories by A.P. Chekhov: poetics of the genre. Sverdlovsk, 1990.
7. Chudakov A.P. Chekhov's poetics. M., 1971.

Literary analysis is studying the parts and elements of a work, as well as the connections between them. There are many methods for analyzing a work, sometimes diametrically opposed (representatives of " formal method"and most structuralists practically ignore the substantive aspects of the work, and scientists of sociological and cultural schools, on the contrary, often neglect the analysis of form). Different literary scholars also structure literary texts differently, which directly leads to differences in the methodology and methods of analysis. The most theoretically substantiated and universal analysis seems to be that based on the category of “meaningful form” and identifying the functionality of the form in relation to the content. Such Analysis is aimed at understanding how a meaningful feature is expressed in certain features of the form, and vice versa - what content lies behind this or that formal device. This approach does not destroy artistic integrity a work, on the contrary, helps to comprehend the laws of its construction, the internal essential connections in it. An important issue is the question of the composition and structure of a literary work, as well as the attribution of an element (plot, conflict, image of the author) to form or content. The following set of analysis elements can be proposed. Within the content: topics, issues that contain some conflict; emotional value orientations of the entire work (in the terminology of G.N. Pospelov and his followers - pathos) and individual characters (tragic, romantic, satire, irony, etc.). Within the form: the depicted world, including details of a landscape, portrait, objective world, features of the organization of artistic speech (monologue, polyphony, specifics of narration and the image of the narrator). A composition that includes a plot, extra-plot elements, the correlation of individual images, the organization of artistic time and space (in the terminology of M.M. Bakhtin and his followers - a chronotope), such techniques as re-antithesis, gradation, etc. The composition organizes the whole art world and reveals its subordination to a single ideological and aesthetic principle.

Analysis of the elements of the work for all its relative importance still is to a certain extent auxiliary. We can conduct a detailed analysis of all the elements and end up with only a register, a faceless characteristic that does not bring us closer to understanding the whole. For a living and deep analysis, primary attention should be paid not so much to the elements as to the properties of the artistic whole, to the principles of organization of the literary text. Especially it concerns artistic form, in which such properties (otherwise, style dominants) are easier to find and with which, as a rule, the analysis should begin. Typological properties of an artistic form include plot, descriptiveness, psychologism; fiction lifelikeness. Monologism and heteroglossia (polyphony), verse and prose, nominativity and rhetoric; simple and complex composition. The dominant properties of the content most often become the typological variety of problems and emotional value orientations. Depending on the specific case, they should be analyzed first. The synthesis is based on the results of the analysis, i.e. the most complete and correct understanding of both content and formal artistic originality and their unity. Literary synthesis in the field of content is described by the term “interpretation”, in the field of form - by the term “style”. Their interaction provides the greatest possible depth of understanding and experience of the work as an aesthetic phenomenon.

The performance of a literary work requires
special training. Before you voice
literary text, you need to find answers to the following
questions:
1.
Do I like the literary work that I
going to read to the kids? Why did it attract me?
What's special about it?
2.
Why do I want to read this to my children?
work? What should happen to them after?
reading this work? What feelings do I want from
call them? What do I want to think about with them?
The answers to these questions must be sought in the work itself.
But until you ask yourself specific questions, your
the impressions will not be clear. Only by transferring them to
linguistic form, formulated in a word, you really
you will begin to reflect, and therefore comprehend the subtext. Process
thinking about the work will lead you to the need
its literary analysis, i.e. to more detailed
review of the work.

Questions about the author of the work

Theoretical and literary issues

Features of poetic works

Features of prose works