Literary analysis of the story. Work of Art Analysis Plan

Plan comprehensive analysis text

(grades 9-11)

7. Determine the topic of the text.





14. Observe the vocabulary of the text:
Find strangers or unclear words and set their meanings using the dictionary. Pay attention to the spelling of these words.
Find keywords in every part of the text. Are people determined by their choice?
Observe various repetitions (anaphors, epiphoras, lexical repetitions, repetitions of cognate words). What are they due to?
Find lexical and contextual synonyms and/or antonyms in the text.
Find paraphrases. For what purposes are they used? K Find polysemantic words and words used in the text in a figurative meaning.
Pay attention to the style of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, vernacular or, conversely, the elephant of a sublime style. Why did the author use them? V Select phraseological units. Why are they used?
Pay attention to the means artistic expression and figures of speech, if they are used by the author (epithets, metaphors). (9-11 CL.)
1. Read the text. When reading, use intonation underlining, highlighting both individual words and semantic segments.
2. Remember what you know about its author. (When did he live, in what era? What literary movement did he belong to? What was he famous for?) If you don’t know, try to find out from reference books.
3. What functional style of speech does the text belong to? (For artistic, journalistic, scientific/popular science.)
4. What type of speech is the text? (Description, narration, reasoning.)
5. What genre does the text belong to (an episode of a work of fiction, an essay, a memoir, a parable, a legend, a prose poem, etc.)?
6. What mood prevails in the text?
7. Determine the topic of the text.
8. If the text does not have a title, title it. If there is already a title, think about its meaning (why the author chose this title).
9. Divide the text into semantic parts, make a text plan for yourself.
10. How are parts of the text connected? Pay attention to lexical and syntactic means of communication (repeated words, syntactic parallels or, conversely, a sharp change in syntactic structures and intonation, word order in sentences).
11. How do the beginning and end of the text relate?
12. What technique/techniques is the text based on (comparison, contrast; gradual intensification of feelings, gradual development of thoughts; rapid change of events, dynamism; leisurely contemplation, etc.)?
13. Mark the main images of the text (don’t forget about the image of the author).
14. Observe the vocabulary of the text:

• Find unfamiliar or unclear words and find out their meanings using a dictionary. Pay attention to the spelling of these words.
• Find keywords in each part of the text. Are people determined by their choice?
• Observe various repetitions (anaphors, epiphoras, lexical repetitions, repetitions of cognate words). What are they due to?
• Find lexical and contextual synonyms and/or antonyms in the text.
• Find paraphrases. For what purposes are they used?
• Find polysemantic words and words used in the text in a figurative sense.
• Pay attention to the style of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, vernacular or, conversely, the elephant of a sublime style. Why did the author use them?
• Highlight phraseological units. Why are they used?
• Pay attention to the means of artistic expression and figures of speech, if they are used by the author (epithets, metaphors).

Algorithm benchmarking poetic text.
1.
- plot or motive
- figurative system
- vocabulary
- visual media
- syntactic constructions
- other parameters specified by the texts themselves.
2.
3. Explain the differences identified:
a) in works by the same author;
-
-
-
- other reasons.
b)
-
- if they lived at different times, - by the difference in historical conditions and features of literary development;
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4. Clarify the interpretation of each analyzed text in accordance with the comparative analysis performed.

Approximate scheme for analyzing a poem

1. The place of the poem in the poet’s work. The history of the creation of the poem.

2. Genre features of the poem.

3.Themes and main motives.

4. Features of composition or construction lyrical work.

5. The figurative series of the poem. His lyrical hero.

6. The mood that prevails in the poem.

7. Lexical structure of the text.

8. Features poetic language. Visual means (tropes and figures)

9. Sound recording techniques.

10. Features of stanza and rhyme.

11. The meaning of the title of the work.

Preview:

1. Find similarities between two texts at the level:

• plot or motive;
• figurative system;
• vocabulary;
• visual media;
• syntactic constructions;

2. Find differences at the same levels.

• the difference in the time of writing, which determined the change in views;
• difference in artistic tasks;
• contradictions of worldview and attitude;
• other reasons;

b) in the works of different authors:

• differences in artistic worlds;
• if they belong to different national cultures, there is a difference not only in individual, but also in national artistic worlds.

COMPARATIVE ANALYSIS ALGORITHM

1. Find similarities between two texts at the level:

• plot or motive;
• figurative system;
• vocabulary;
• visual media;
• syntactic constructions;
• other parameters suggested by the texts themselves.

2. Find differences at the same levels.

3. Explain the differences identified

A) in works by the same author:

• the difference in the time of writing, which determined the change in views;
• difference in artistic tasks;
• contradictions of worldview and attitude;
• other reasons;

b) in the works of different authors:

• differences in artistic worlds;
• if they lived at different times, by differences in historical conditions and features of literary development;
• if they belong to different national cultures, there is a difference not only in individual, but also in national artistic worlds.

4. Clarify the interpretation of each of the analyzed texts in accordance with the comparative analysis performed.

Preview:

Analysis of prose literary work

When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. It is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case we mean

Literary trends of the era;
the place of this work among the works of other authors written during this period;
creative history works;
evaluation of the work in criticism;
the originality of the perception of this work by the writer’s contemporaries;
evaluation of the work in context modern reading;
Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (at the same time, the plan of content is considered - what the author wanted to say and the plan of expression - how he managed to do it).

Poem Analysis Plan
1. Elements of a commentary on the poem:
- Time (place) of writing, history of creation;
- Genre originality;
- Place this poem in the work of a poet or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
- Explanation of unclear passages, complex metaphors and other transcripts.
2. Feelings expressed by the lyrical hero of the poem; the feelings that a poem evokes in the reader.
3. The movement of the author’s thoughts and feelings from the beginning to the end of the poem.
4. Interdependence of the content of the poem and its artistic form:

Composition solutions;
- Features of self-expression of the lyrical hero and the nature of the narrative;
- The sound of the poem, the use of sound recording, assonance, alliteration;

Rhythm, stanza, graphics, their semantic role;
- Motivation and accuracy of use expressive means.
4. Associations evoked by this poem (literary, life, musical, picturesque - any).
5. The typicality and originality of this poem in the poet’s work, the deep moral or philosophical meaning of the work, revealed as a result of the analysis; the degree of “eternity” of the problems raised or their interpretation. Riddles and secrets of the poem.
6. Additional (free) thoughts.

Analysis poetic work
(scheme)

When starting to analyze a poetic work, it is necessary to determine the immediate content of the lyrical work - experience, feeling;
Determine the “ownership” of feelings and thoughts expressed in a lyrical work: lyrical hero (the image in which these feelings are expressed);
- determine the subject of the description and its connection with the poetic idea (direct - indirect);
- determine the organization (composition) of a lyrical work;
- determine the originality of the use of visual means by the author (active - stingy); determine the lexical pattern (colloquial - book and literary vocabulary...);
- determine rhythm (homogeneous - heterogeneous; rhythmic movement);
- determine the sound pattern;
- determine intonation (the speaker’s attitude to the subject of speech and the interlocutor).

Poetic vocabulary
It is necessary to find out the activity of using certain groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms;
- find out the degree of closeness of poetic language to colloquial language;
- determine the originality and activity of using tropes
EPITHET – artistic definition;
COMPARISON – comparison of two objects or phenomena with the aim of explaining one of them with the help of the other;
ALLEGORY (allegory) – depiction of an abstract concept or phenomenon through specific objects and images;
IRONY - hidden mockery;
HYPERBOLE – artistic exaggeration, used to enhance an impression;
LITOTE - artistic understatement;
PERSONIFICATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel;
METAPHOR is a hidden comparison built on the similarity or contrast of phenomena, in which the words “as”, “as if”, “as if” are absent, but are implied.

Poetic syntax
(syntactic devices or figures of poetic speech)
- rhetorical questions, appeals, exclamations - they increase the reader’s attention without requiring him to answer;
- repetitions – repeated repetition of the same words or expressions;
- antitheses - oppositions;

Poetic phonetics
The use of onomatopoeia, sound recording - sound repetitions that create a unique sound “pattern” of speech.
- Alliteration – repetition of consonant sounds;
- Assonance – repetition of vowel sounds;
- Anaphora – unity of command;

Composition of a lyrical work
Necessary:
- determine the leading experience, feeling, mood reflected in the poetic work;
- find out slimness compositional construction, its subordination to the expression of a certain thought;
- determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s internal lack of freedom, etc.)
- define life situation, which presumably could have caused this experience;
- highlight the main parts of a poetic work: show their connection (define the emotional “drawing”).

Analysis of a dramatic work

Diagram of analysis of a dramatic work
1. general characteristics: History of creation, life basis, plan, literary criticism.
2. Plot, composition:
- the main conflict, stages of its development;
- character of the denouement /comic, tragic, dramatic/
3. Analysis of individual actions, scenes, phenomena.

4. Collecting material about the characters:
- the appearance of the hero,
- behavior,
- speech characteristic
- content of speech /about what?/
- manner /how?/
- style, vocabulary
- self-characteristics, mutual characteristics of heroes, author's remarks;
- the role of scenery and interior in the development of the image.

5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality.

Dramatic work

The generic specificity, the “borderline” position of drama (Between literature and theater) obliges us to analyze it as it develops dramatic action(this is the fundamental difference between the analysis of a dramatic work and an epic or lyrical one). Therefore, the proposed scheme is of a conditional nature; it only takes into account the conglomerate of the main generic categories of drama, the peculiarity of which can manifest itself differently in each individual case precisely in the development of the action (according to the principle of an unwinding spring).

1. General characteristics of dramatic action (character, plan and vector of movement, tempo, rhythm, etc.). “Through” action and “underwater” currents.

2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), “vertical” and “horizontal” plan of the drama.

3. The system of characters, their place and role in the development of dramatic action and conflict resolution. Main and secondary characters. Extra-plot and extra-scene characters.

4. The system of motives and motivational development of the plot and microplots of the drama. Text and subtext.

5. Compositional and structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Installation principle.

6. Features of poetics (the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the ending). Signs of theatricality: costume, mask, play and post-situational analysis, role-playing situations, etc.

7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author.

9. Contexts of drama (historical-cultural, creative, actual dramatic).

10. The problem of interpretation and stage history.

Nikolai Chernyshevsky’s novel “What to do?” contemporaries perceived it ambiguously. Some considered him an “abomination,” others considered him a “charm.” This is due to the complex composition, attempts to hide the main idea behind the dreams of the main character and love triangle and, finally, with the peculiarities of linguistic design. Nevertheless, the novel had a serious influence on Russian society in the 19th century. Schoolchildren study it in 10th grade. We offer brief analysis the work “What to do?”, which will help you prepare qualitatively for lessons and for the Unified State Exam.

Brief Analysis

History of creation- N. Chernyshevsky created the novel while he was in the Peter and Paul Fortress. The writer was arrested for radical ideas. The work was conceived as a response to Turgenev’s “Fathers and Sons,” so there is a certain similarity between the images of Evgeny Bazarov and Rakhmetov.

Subject– In the work, two main themes can be distinguished - love and life in a new society built on the basis of the laws of labor and equality.

Composition- The structure of the work has its own peculiarities. The through lines of the novel are the life of Vera Pavlovna, the fates of Lopukhov and Kirsanov. The main role in these storylines is played by love twists and turns. Vera Pavlovna’s dreams are closely intertwined with reality. With the help of them, the author encrypted socio-political motives.

Genre– A novel in which you can notice the features of several genre varieties- utopian novel, socio-political, love and philosophical novels.

Direction– Realism.

History of creation

The writer worked on the analyzed work for several months: from December 1862 to April 1863. At that time he was under arrest in the Peter and Paul Fortress. He was imprisoned for his radical views. The novel was conceived as a response to Turgenev’s “Fathers and Sons,” so there is a certain similarity between the images of Yevgeny Bazarov and Rakhmetov.

While working on the novel, N. Chernyshevsky understood that censorship would not allow it to be published if it noticed an acute political subtext. To deceive the regulatory authorities, the writer resorted to artistic techniques: he framed social motives with a love context and introduced dreams into the plot. He managed to publish his work in Sovremennik, but soon the authorities prohibited not only distributing the novel, but even imitating it. Permission was granted to publish Chernyshevsky’s work “What is to be done?” only in 1905

Subject

The novel displays motifs characteristic of Russian literature of the 19th century century. The writer realized them in an extraordinary way, confusing plot. He presented situations that should push the reader to independent conclusions.

N. Chernyshevsky revealed several topics, among which the following stand out: love, which is nourished by common interests and mutual respect; dreams of a new life. Specified topics are closely intertwined and determine Problems“What to do?”: marriage without love, friendship, equality of men and women, the role of work in human life.

A significant part of the novel is devoted to the life of Vera Pavlovna. The heroine's mother wanted to marry her to a rich man. She considered the owner's son to be a profitable match. The mother did not even think that he was a womanizer with whom her daughter would not find happiness. Verochka was saved from an unsuccessful marriage by medical student Dmitry Lopukhov. It arose between the young people tender feeling, and they got married. Vera became the owner of a sewing workshop. However, she did not use hired labor. The heroine made the girls who worked for her co-owners, and they shared the income equally. In the story about Vera Pavlovna’s workshop, the author embodied the idea of ​​equal labor.

The marriage with Lopukhov soon broke up: Verochka fell in love with her husband’s friend, Kirsanov. To untie the love knot, Lopukhov decided to shoot himself. It turns out that he left the note discussed at the beginning of the novel. In the message, he stated that no one was to blame for his death, and Vera Pavlovna calmly married Kirsanov.

The married couple lived happily. Vera Pavlovna was passionate about her favorite activity - sewing workshops; she began to study medicine, and her husband helped her in every possible way. In the descriptions family life These people manifest the idea of ​​equality between men and women. At the end of the novel we learn that Lopukhov is alive. Now he took the surname Beaumont and married Ekaterina Vasilievna Polozova. The Kirsanov and Beaumont families begin to become friends and spread the ideas of a “new” life.

Composition

In “What to do?” the analysis should be supplemented with a characterization of the composition. Features of the formal and semantic organization of the text allow the author to reveal several topics and veil forbidden motives. At first sight, main role love twists and turns play in the novel. In fact, they are a mask that hides socio-political problems. To reveal the latter, the author used the description of Vera Pavlovna’s dreams.

The components of the plot are placed inconsistently: the author presents the event from the development of actions before the exposition, and only then the plot elements are arranged in a logical chain. Both at the beginning and at the end of the novel the image of Lopukhov appears. This creates a kind of frame.

Main characters

Genre

The genre of the work is a novel, since it has several plot lines, and central problem remains open. The work is characterized by genre syncretism: it intertwines the features of love, philosophical, socio-political novels and utopia. The direction of the work is realism.

Composition- construction of a literary work; combines parts of a work into one whole. Basic means of composition: Plot- what happens in the work; system of main events and conflicts. Conflict- a clash of characters and circumstances, views and principles of life, which forms the basis of action. Conflict can occur between an individual and society, between characters. In the hero's mind it can be obvious and hidden. Plot elements reflect the stages of conflict development; Prologue- a kind of introduction to the work, which tells about the events of the past, it emotionally prepares the reader for perception (rare); Exposition- introduction to action, depiction of the conditions and circumstances preceding the immediate start of actions (can be expanded or not, integral and “broken”; can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the setting, time and circumstances of the action; The beginning- the beginning of the plot; the event from which the conflict begins, subsequent events develop. Development of action- a system of events that follow from the beginning; as the action progresses, as a rule, the conflict intensifies, and the contradictions appear more and more clearly and sharply; Climax- moment highest voltage action, the peak of the conflict, the climax represents the main problem of the work and the characters of the characters very clearly, after which the action weakens. Denouement- a solution to the depicted conflict or an indication of possible ways to resolve it. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental unsolvability. Epilogue- the final part of the work, in which the direction of further development of events and the destinies of the heroes is indicated (sometimes an assessment is given of what is depicted); This short story about what happened to the characters in the work after the end of the main plot action.

The plot can be presented:

Non-plot elements are considered:

Compositional principles and elements:

Additional composition tools:

When a writer’s work is studied at a literature school, it cannot be done without a brief analysis of the work, which the teacher often assigns for homework. It is the analysis that allows the teacher to understand how well you have mastered the author’s work, whether you were able to understand the idea of ​​the work, highlight the theme, plot, and main characters. However, not everyone is able to do this, sometimes hateful, analysis, and to make your life easier, we offer you examples of analyzes of works from the school curriculum to help you.

Analysis of a lyric work

You can always find an example of analysis of a lyrical work, which, by the way, is most difficult for schoolchildren. Despite the fact that poems are easy and quick to read, their analysis for some reason becomes the most difficult task for any student. It is difficult for schoolchildren to identify the artistic means through which the author creates images of his characters; it is difficult for them to decide on a theme, give a description of the work, and highlight the main part. Schoolchildren find it difficult to determine the genre, literary direction works and the like. But, since no one wants to get a bad mark, you have to sit for hours on the work in order to express at least some thoughts. But now everything will be easier, because we will help you with this by sharing our examples.

Analysis of a work of art

Now it’s not difficult to write an analysis of a work of art, because before you are examples of works that will definitely become a Muse for you and you can express your brief thoughts, having already made your own personal analysis of the work.

Analysis of the hero of the work

Studying a work is not complete without analyzing the characters, both main and secondary. Such analyzes allow us to better understand not only the characters of the work and their actions, but also to study the writer himself, his views, emotions, and mood. It’s just that it’s often difficult to give a description and a brief analysis of the hero. But it’s hard if there is no example. With an example, any work will go like clockwork. And with us you will definitely find everything you were looking for and analyzing the heroes will no longer seem like a difficult task. So, go for it.

Copyright Competition -K2
Table of contents:

1. Techniques of analysis 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 of fiction

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 in clever words, then Alex highlights the main semantic points in the text and reveals their subordination. This helps to see and correct factual 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 novice authors when descriptions of a character’s actions and thoughts do not create a picture of him in the reader’s imagination. spiritual world. 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 by unexpected events and other external techniques, but also by internal complexity, a deep disclosure 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;
- composition 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 an 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 silence is almost always used in works of the detective genre.

Another method of violating 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 plot 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 from 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 sustainable 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; Moreover, these statements do not characterize individual characters or the relationships 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 vital 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.

Epic way- a complete story about events and actions that have already taken place, 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, readers’ attention is drawn to details, particulars (for example, A.S. Pushkin’s story about winter blizzard: “The clouds are rushing, the 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. The inductive or synthetic type of reasoning is considered simpler and more accessible to the general reader. There are also mixed types of reasoning.

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

Describing various methods of presentation, experts emphasize that the main part of the author's monologue speech makes up a narrative. “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 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 really lucky to win a big deal for a few rubles.” artistic canvas. It turned out to be technician Alexey Stroev.” IN 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.

Through a successfully found detail, one can convey the characteristic features of a person’s appearance, his speech, demeanor, 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

A story usually doesn't have many characters or many subplots. 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 a bright drawing appears under your hand. 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
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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 the stages of development of a literary conflict (exposition, plot, development of action, climax and denouement). The identification of these elements is possible only in connection with the conflict.

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