Literature project 7. Project activities in literature lessons

In this section, students are offered topics for research papers on literature for grade 7, distributed by writers and poets studied in this school class.

Belyaev Alexander Romanovich
Geographical knowledge in A. Belyaev’s novel “The Island of Lost Ships.”
Cinematographic techniques in A. Belyaev’s novel “The Island of Lost Ships.”

Bulat Okudzhava
Poeticization of everyday life in the works of B. Okudzhava.
Songs by B. Okudzhava about the Great Patriotic War.

Gogol Nikolay Vasilievich
The life of the Zaporozhye Cossacks as depicted by Gogol (based on the story “Taras Bulba”).
The free world of the Zaporozhye Sich in Gogol’s work “Taras Bulba”.
Gogol is a verbal cook.
The image of St. Petersburg in “Petersburg Tales” by N.V. Gogol.
The story "Taras Bulba" in cinema.

Jules Verne
Biological knowledge of the heroes of J. Verne’s novel “The Fifteen-Year-Old Captain” and modern science.
Latin "catchphrases" in J. Verne's novel "The Fifteen-Year-Old Captain".
Terminological vocabulary in J. Verne's novel "The Fifteen-Year-Old Captain".

Pushkin, Alexander Sergeyevich
Ancient images in the poetry of A.S. Pushkin.
The biblical legend of the prodigal son and its transformation in the story by A.S. Pushkin "Station Warden".
The motive of the game in the story by A.S. Pushkin’s “The Young Lady-Peasant Woman” and in the film adaptation of the same name by A. Sakharov.
“The Parable of the Prodigal Son” in “The Station Agent” by A.S. Pushkin.
Family theme in the works of A.S. Pushkin on the example of the novel “Dubrovsky” and the story “The Young Lady-Peasant Woman”.
Servants and gentlemen (based on the works of A.S. Pushkin and N.V. Gogol).
From the comic poems of A.S. Pushkin ("Count Nulin", "House in Kolomna") to the comic poems of M.Yu. Lermontov (“Sashka”, Treasurer”, “Fairy Tale for Children”).

Saltykov-Shchedrin Mikhail Evgrafovich
Fables by Krylov and fairy tales by Saltykov-Shchedrin.
Biblical quotes in fairy tales by M.E. Saltykov-Shchedrin (any work).
The comic and its forms in fairy tales by M.E. Saltykov-Shchedrin.
Problematics and poetics of Saltykov-Shchedrin's fairy tale (any work).

Tolstoy Lev Nikolaevich
The image of shame in the presentation of the Russian language and on the pages of the trilogy by L.N. Tolstoy “Childhood. Adolescence. Youth".
L. Tolstoy's story "Alyosha the Pot" and Platonov's story "Yushka".

Turgenev Ivan Sergeevich
“Mumu” ​​and “Biryuk” by I.S. Turgenev.
Themes and motives of "Poems in Prose" by I.S. Turgenev.
Themes of prose poems by I.S. Turgenev.

Chekhov Anton Pavlovich
The names of the heroes of Greek mythology in the early stories of A.P. Chekhov.
Techniques for creating the comic in the early stories of A.P. Chekhov.
Stories “for children” in the early works of A.P. Chekhov.
Laconism of prose: functions of verbal vocabulary in a literary text (using the example of A.P. Chekhov’s story “The Death of an Official”).

Additional interesting topics

General topics for research papers on grade 7 literature:
Analysis of Cossack proverbs and sayings of the 19th – 20th centuries. – beginning of the XXI century (comparative analysis by category)
Analysis of the poem by A.T. Tvardovsky "I was killed near Rzhev..."
Ancient images in the poetry of F.M. Tyutcheva.
Life and customs of the Zaporozhye Sich.
The educational process in the fairy tales of G.Kh. Andersen.
Speaking surnames in the works of writers.
Old Russian "The Tale of Peter and Fevronia" and its cinematic interpretations.
Is the writer deservedly forgotten...
The names of ancient heroes in the everyday life of a modern schoolchild.
What riddles do modern schoolchildren know?
What literary prizes exist today?
Lyrical intonations in the works of O. Henry.
Literary places of St. Petersburg.
Literary communities on the Internet.
The image of rain in the works of modern poets
The image of a mermaid in romantic literature of the 19th century.
The image of the Snow Maiden in Russian folklore and literature.
Images of plants and flowers in literature.
Experience in interpreting a ballad (a work not from the school curriculum).
Monuments to literary heroes.
Patriotic sound of works of Russian folklore.
Letters of heroes and their role in the plots of Pushkin’s works.
Richard the Lionheart in A. Lindgren's story and historical legend.
Russian writers - Nobel Prize laureates
The symbolism of the apple in Russian literature as the beautiful past of the native country.
Words-symbols in Japanese poetry.
Film script
The plot of the epic "Volga and Mikula Selyaninovich" in works of painting.
The plot of the epic "Sadko" in works of art.
Lyrics of modern songs - poetry and anti-poetry
The theme of the Caucasus in Pushkin's lyrics.
Traditions of the Christmas (Yuletide) story in the work of F.M. Dostoevsky's "The Boy at Christ's Christmas Tree."
A reading portrait of my peer.
The language of heroes in the stories of M.M. Zoshchenko.
Linguistic means of creating humor in works...

Film by 8I grade students "Yesenin and Lydia Kashina"

On the eve of the 120th anniversary of the birth of S. A. Yesenin, the guys and I visited the village of Konstantinovo in the Ryazan region, visited the poet’s house, the house of Lydia Kashina, the literary museum, and looked around the surrounding area. Of course, we shot a video and decided to use it to create a short biographical note on the topic: “Yesenin and Lydia Kashina.” You can get acquainted with the result of our work

Film by 10th grade students "Karabikha"

Project of 10th grade students in the form of a correspondence excursion "Karabikha"

One summer I visited Karabikha, filmed a video and took photos there, but the guys wrote the excursion script and edited the film. The disadvantage of children's work is that they cannot recite. There is something to work on.

Work of 11th grade student Karina Galynskaya

This is a collective work of guys from different years

Below is an example of the design of a linguistic fairy tale in the form of a clip. The guys composed a fairy tale, then Dasha Stepanova drew the frames, scanned them, then recorded the sound and superimposed pictures on the sound. The film is ready! Of course, the topic is already simple, we need something more difficult.

Not with verbs. Linguistic tale

Vladimir Krasno Solnyshko. Design work by K. Shesternenkova and A. Litvinenko.

"The Fate of Priest Konstantin Golubev"

Documentary film "Fyodor Nedosekin"

This design work participated in the city competition "Step into the future. Elektrostal - 2010". We wanted to talk about a man we learned about from his grandson, Konstantin Vasilyevich Vladychensky. Our film tells about the priest of the Bogorodsk region, Father Sergius Vladychensky. He was repressed, like many clergy in the 30s. We told about his fate, told to us by his grandson, in this film. The authors of the project are Ekaterina Simagina, Nina Korenkova, Ksenia Klinshova. Students from grade 11M and K.V. Vladychensky helped in dubbing the film.

Documentary film from the cycle "Priests of the Bogorodsk Region" "Father Sergius Vladychensky"

In 2009, we celebrated the 210th anniversary of the birth of A.S. Pushkin. The city hosted a competition of mini-projects “As long as Pushkin lasts in Russia, snowstorms will not blow out the candle.” I invite you to get acquainted with the winning project - the video clip “In Memory of Pushkin”. 7M class students Tatyana Krasotenko, Kira Sudakova and Ekaterina Kuznetsova worked on the project.

Municipal Educational Institution

Gymnasium No. 1

Research work

« Morphemic means of expression in lyrics

N. A. Nekrasova."

Work completed

7B grade student

Ukhanova Varvara.

Scientific adviser:

Egailova N.E.,

teacher of Russian language

and literature.

Kuznetsk, 2013.

Introduction.

I dedicated the lyre to my people...

N.A. Nekrasov.

At the beginning of the school year, having received a new reading list for literature, I read some of the poetic works of Nikolai Alekseevich Nekrasov: the poem “Russian Women”, the poems “Peasant Children”, “The Uncompressed Strip”, “In full swing of the village suffering ...”, “Troika” ...The poet, who spent his childhood in a landowner's estate, survived a hungry youth, and did not immediately find his way in literature, is known for his compassion for the tormented peasantry, anxious thoughts about contemporary life, a close look into the future - as a result, a special attitude towards his homeland - Mother Russia, towards to its people, living in eternal anticipation of a happy fate, to Russian nature, shining with discreet beauty...

Reading the poet’s poems, you discover an exceptional wealth of word-formation resources with a bright stylistic coloring - this is one of the features of the Russian language, which is determined by the developed system of Russian word formation.

This is how the topic of the research work was preliminarily determined:

« Morphemic means of expression in the lyrics of N.A. Nekrasov.” Our research is devoted to the study of morphemic means of expression in the poet’s poetic works included in the school curriculum.

Object of study are prefixes and suffixes in the lyrical works of N.A. Nekrasov (“On the Road”, “Troika”,

“Lullaby Song”, “Song to Eremushka”, “Schoolboy”, “The village suffering is in full swing...”, “Railway” and others.)

Subject of research in our work are the expressive possibilities of affixes - prefixes and suffixes - in the lyrical texts of the poet N.A. Nekrasov.

The final stimulus for scientific research was words

literary critic Dmitry Shevarov: “... today our people are incomplete without Nekrasov. Without his conscientious and courageous poetry." This point of view was also accepted by us after reading the poetic works of N.A. Nekrasov.

Moreover, the functioning of individual affixes in poetry has been little studied. This means that a comprehensive analysis of the use of affixes in the text and a description of their capabilities in literary texts has not been carried out, which determines

the relevance of our research.

Scientific novelty is that we comprehensively studied the morphemic level in the lyrics of N.A. Nekrasov for the first time, identifying the dominant means of expression.

Theoretical significance of the work consists in developing and describing the basic means of expressiveness at the morphemic level, and we also show how the motifs and themes of works are expressed in affixes and their meanings.

Practical significance of the work is that the results of our research can find application in the linguistic analysis of poetic texts.

The purpose of the study is to describe the methods of using prefixes and suffixes as expressive means.

The purpose of the study identified specific research objectives:

- compare the use of prefixes and suffixes as means of expression in poetic texts of one author;

- highlight the main linguistic techniques in which affixes become a means of expressiveness;

- determine the dominant meanings of the most common prefixes and suffixes;

- highlight the main motives associated with the use of expressive means at the morphemic level.

In this regard, the focus of our attention is on the poems that are most familiar to the mass reader. Why? The theme of the people's bitter fate is key for N.A. Nekrasov. In a peculiarly angry and fiery way, the author makes us think about the greatness of labor, the courage of the working people, their centuries-old patience, exposes the relations of domination and subordination in the contemporary state. It was these motives that determined the poet’s place in Russian literature.

Next, we put forward the hypothesis of our work: affixes are one of the brightest individual means of expressiveness in the poetry of N.A. Nekrasov; a suffix has more potential to be used in a text compared to a prefix, which is due to the very nature of these affixes, their meaning and place in the word.

linguistic analysis of text, work with linguistic and literary terms.

The structure of our work includes:

1. Introduction.

The reasons for our attention to the topic, to the poetry of N.A. Nekrasov, are the need to study the word formation resources of his lyrics.

2. Main part.

A comprehensive analysis of the poetic works of N.A. Nekrasov.

3. Conclusion.

Morphemic means of expressiveness of N.A. Nekrasov’s lyrics as an individual author’s phenomenon, the possibilities of its comprehension.

4.Addition to what has been said.

Further discoveries are ahead!

2. Main part..

The philosophical and lyrical artistic world of N.A. Nekrasov is revealed to us in his poetic works.

The title of the poems always sounds simple and at the same time succinct:

“Troika”, “Uncompressed Strip”, “On the Road”...Reflected in the title

is distinguished by its exceptional richness of word-formation

resources with a bright stylistic coloring. This

due to the developed system of Russian word formation,

productivity of evaluative suffixes that give words

various stylistic shades, and functional

stylistic fixation of some word formations

Word formation arouses stylistic interest in the following ways:

General cases:

if the motivated word acquires a stylistic connotation that is unusual for the motivating one:

daughter (diminutive - affectionate) - daughter; engineer (simple) - engineer;

if affixation contributes to functional

stylistic fixation of the word: demand (common use) -

claim(official-business); sewing-tailoring (special); buckwheat-

Buckwheat(colloquial);

3) if the peculiarities of word formation limit the scope

using words that are used only in dialects

or get a professional or slangy connotation:

strawberry - wild strawberry (dial); whistle - whistle (all up)

if the peculiarities of word formation become the reason for the archaization of a word, giving way to its place in the active lexicon to a synonym with other affixes: daring (verbal) - daring; Georgian (Armenians, Georgians, Circassians, Persians crowded into the square) - Georgians;

if word formation is used as a source of speech expression when creating occasional words: wide-noise

(oak forests) (P.); pancake eater (Ch.); pro-meeting (M.)

It is important to emphasize that stylistic interest is

only synchronous word formation, since it reflects the correlation of motivated and motivating bases,

and stylistic assessment requires a clear perception of the word-formation structure of the word of interest to us.

Let us dwell in more detail on the stylistic resources of word formation used in the lyrics of N.A. Nekrasov.

In artistic speech, there has been a long tradition of stylistic use of words with affixes of subjective evaluation. The turn of writers to expressive word formation in different eras reflected not only the linguistic taste of the time, but also the conventions of literary styles and methods.

At the dawn of Russian literature, in the 18th century, the words “derogatory”

and “magnifying” were considered a part of the low style

and their use, according to the theory of the three calms of M.V. Lomonosov, was possible only in “mean” genres

(fables, satires, comedies). Moreover, the use of evaluative vocabulary did not reflect the author’s emotional attitude to the subject of the description:

You are imprisoned underground

We wish we could live in a little house;

And you always crawl only on dirt. (N.)

A new step in mastering the stylistic resources of Russian

word formation was the selection of “tender”, “sensitive” words by sentimentalist writers, who created a special aura of “pleasantness” around the evaluative vocabulary: “The rising luminary of the day awakened the entire creation: the groves, bushes came to life, the birds fluttered and sang, the flowers raised their heads.”( N.Kar.)

Linguistic controversy in the early 19th century led to a re-evaluation

diminutive words repeated many times in a syllable. This gave rise to rethinking. Already in the second half of the 19th century, writers reflected the stylistic use of words with suffixes, characteristic of spoken living speech.

N.A. Nekrasov showed the skillful use of words with suffixes of subjective assessment to achieve a folk-poetic sound of speech. Let's look at one of the poet's key poems.

“Troika” is Nekrasov’s first generalized picture of a peasant woman’s “share” and the first sketch of a folk female image. This work became a Russian song and entered folklore, which testifies to its deep nationality. However, with the exception of one ethnographic detail (“scarlet ribbon.... in the hair”) and one phraseological cliche (“damp grave”), the poem does not contain any objective or verbal signs of oral folk poetry. Correspondence to folklore canons is found rather in the plot and compositional drawing of “Troika”, the basis of which was the opposition of girlhood and marriage.

In his search for ways to depict folk life, Nekrasov could not, and especially at first, not rely on folklore images, and in this case he used an oral poetic motif as one of the means of typifying his picture. The folkloric origins of the plot and compositional plan of “Troika” were also emphasized by the traditional folk images of the heroine’s “cheerful friends” (here the heroine had already separated from her circle of girls), and then an unloved husband and an evil mother-in-law.

The theme of the road, the driver, the troika goes back to folk road and coachman songs. Nekrasov was well aware of the stereotypical nature of the poetic image of the troika. Meanwhile, the poet again turned to the seemingly exhausted motif, counting on the national-democratic shades inherent in it, as well as on the possibility of updating it with a social theme: the proximity of traditional poetry contributed to the poetic development of such areas of reality that previously did not lend themselves to poeticization and were lyrics are not available. The figurative and stylistic range of the poem allows us to perceive it as a song-romance work; however, only the first part of the poem, a lyrical episode of the heroine’s meeting with a “passing cornet” and her heartfelt “anxiety,” became a romance. Romantic motifs of folk lyrics were intertwined here with a love theme, also solved by Nekrasov in the traditions of romanticism, but only developed in the later stages of his literary history, in the second half of the 1830s.

In the center of the first - romance - part of the poem there is a portrait description of the heroine: .... The scarlet ribbon curls playfully

In your hair, black as night;
Through the blush of your dark cheek
Light fluff breaks through,
From under your semicircular eyebrow
The sly little eye looks smartly.
One glance of a black-browed savage,
Full of enchantment that ignites the blood. ,.

This fragment fully reproduces the stylistic atmosphere of late romantic lyrics. The exoticism of the image, its bright” “burning” color picturesqueness, the peculiar maximalism of verbal techniques - all these artistic features identified the author of “Troika” as a poet who had gone through the school of romanticism of the 1830s. ; later they were alien to the main tendencies of his poetics and even already alien to the poetics of the second part of “Troika” itself.

The poem "Troika" is monological, and all the romantic elements of its style belong to one voice of the author. Having decided to create a female folk image, Nekrasov did not yet know of any other possibilities for its poetic design, except for the techniques of love lyrics, and this entailed all of her newest poetics. The poetics of the lines of the poem we have cited is a romantic legacy perceived by Nekrasov during the years of his entry into literature, on the one hand, pathetic - “One look of a black-browed savage, / Full of spells that ignite the blood”; on the other hand, it’s almost “haberdashery”: “The scarlet ribbon curls playfully” and “The sly eye looks smartly.”

Romantic literature created a stable and repeated typology of female characters and appearances among different authors: two types of ideal beauty were distinguished: an oriental woman with black eyes and a beautiful Christian woman, blue-eyed and fair-haired. Both of these images realized a vision of unconditional beauty and femininity. In the high literary culture of early romanticism, Eastern and European female types often acted on an equal footing, reflecting the tragic intractability of the romantic philosophical conflict, retaining within themselves, like Zarema and Maria in Pushkin’s “The Fountain of Bakhchisarai,” all the great content of this conflict.

The female image of the “Troika” owed its poetic design precisely to this late romantic orientalism. Black, “like night” hair, black eyebrows, a darker face - all these are characteristic features of a romantic portrait of an oriental beauty, and the addition of a “scarlet ribbon” to this exotic look also does not contradict the literary customs of romanticism: poetry of the 1820-1830s. more than once she used external signs of the eastern female type as portrait characteristics of Russian or Ukrainian heroines (Maria in Pushkin’s “Poltava”). In the poetic description of Nekrasov’s peasant woman, there even flashed an echo of the philosophical context that once surrounded the image of an oriental woman among the romantics and was lost over time: “savage.”

The formation of Nekrasov poetics in the 1840s. was accompanied, like the formation of the creative method of many other writers of this era, by a sharp rejection of romanticism.

After “Troika” we will not find a romantic female image in Nekrasov, acting as a folk image. The fate of the romantic female type in Nekrasov’s poetry reflects one of the significant processes of its evolution: from a universal system of means for the artistic development of life, Nekrasov’s romantic poetics gradually turns into a private technique with a limited scope of application. This evolutionary line, traced throughout the poet’s entire creative path, was to a certain extent already set by his lyrics, created in the 1840s. , and the poem “Troika,” in addition to giving an idea of ​​the latest outbreaks of Nekrasov’s romanticism, also predicted the ways of its transformation in Nekrasov’s later poetic work. Already here the poet’s idea did not fit into the framework of the romantic image, and this latter was continued, as if built on top of the image of another literary relationship: But that’s not what befell you:

You'll marry a man for a slob.
Having tied an apron under the arms,
You will tighten your ugly breasts,
Your picky husband will beat you
And my mother-in-law will die to death.
From work both menial and difficult
You will fade before you have time to bloom,
You will fall into a deep sleep,
You will babysit, work and eat....

This second plot of the poem, which unfolds the perspective of the life of a peasant girl, contrasts sharply with the first, which immediately affects the style. Speaking about the clash of romantic and naturalistic poetics in the poem “Troika”, it should, however, be emphasized that by this we do not at all question the integrity and unity of the folk image created in it. Composed of artistic elements of different natures, the image of Nekrasov’s heroine is one, and this unity is determined by the nature of the author’s view of her, a view that has already seen in the people the fundamental basis of national existence, but is still external, not imbued with the organics of the people’s worldview, which in a certain sense measures people's life with the values ​​of a consciousness socially alien to it.

The naturalistic characteristic of the Troika’s social plan is revealed by such a stylistic feature as prosaism. Being a vocabulary with a weakened, and in some cases, excluded aesthetic meaning, prosaisms did not determine the entire stylistic quality of the Troika, but formed a naturalistic segment in its text, distinguished primarily by its non-differentiation, non-mediation, and primacy of life material. What was evident here, of course, was not the poet’s intention to paint repulsive images of people’s life; rather, one can hear echoes of concepts that have long lingered in literature, according to which folk life did not have aesthetic potential. Nekrasov struggled with these ideas, and already in Troika the task of overcoming them was set, but a practically creative solution was not given suddenly.

Having approached the enormous problem of poetic depiction of folk life in its entirety, which was only initially touched upon by his predecessors, Nekrasov immediately began to look for possibilities for aesthetic illumination of his subject. The poet had at his disposal the aesthetic funds of folklore, on the one hand, and romantic literature, on the other. And he used them. At the same time, he could not help but realize the impossibility of extending these methods to all new material; there still remained real reality, through which the light of ready-made traditions did not break through and the artistic development of which was at first possible only by means of direct naturalistic casting. The poem “Troika” reflected the drama of this creative situation of the poet, who had already found his content, but had not yet created a unified method for the artistic embodiment of its various aspects. The aesthetic transformation of folk life appeared in Troika as a combination of naked “nature” with the aesthetics that could be drawn from the stock of artistic traditions, however, in this connection a noticeable junction was preserved, prose and poetry stood side by side, but had not yet assimilated each other, they were neighbors , but did not produce synthesis. Nekrasov’s entire further poetic path became the path to the organic unity of these facets of the image of the people’s world found in Troika. The mature Nekrasov no longer depicts the poetry and prose of people's life, but the poetry of its prose, revealing the high in what before him seemed low.

All that has been said least of all means that “Troika” is an experiment of a poet who was beginning his creative path that did not achieve its goal. Without the Troika, the appearance of Nekrasov's epic would have been impossible. The romantic aspects of the female image of the “Troika”, having become isolated, went to the poet’s noble heroines; the principle of combining ideal and everyday characteristics, first applied by Nekrasov in the “Troika”, formed the basis of his future female folk images, images of peasant women with the “look of queens”. There is no longer a visible boundary between the ideal and everyday appearance of a peasant woman, the ideal naturally grows from everyday life and is not opposed to it, but in order for this poetic discovery to take place, the initial antithesis of the “Troika” was necessary, which, however, fit into the volume of one image.

More can be said about the heroine of Troika. Neither her romantic portrait nor the naturalistic description of her fate in themselves carried poetry with a pronounced national significance. But Nekrasov surrounded this early image of his with such lyrical motifs, in which the immediate substantive content was almost obscured by the symbolism of national existence. It was in this sense that road motifs and the image of the troika were included in Nekrasov’s poem. The light of this symbolism gave the heroine of “Troika” a poetry immeasurably higher than that which could be contained in romance lyricism or in social and everyday drama. In the female image of the poet, a national personification was born, which was subsequently approved by the entire figurative world of Nekrasov’s poetry.

3. Conclusion

Thus, we are convinced in the course of our research that affixes are one of the brightest individual means of expressiveness in the poetry of N.A. Nekrasov, the most common technique is the use of suffixes with a diminutive meaning, suffixes with a folk colloquial meaning, which connects the parts poems with meaning, structurally. It can be argued that the degree of understanding of the poem depends on the knowledge of the linguistic mastery of a truly bright, original poet, whose speech is not only a way of expressing thoughts, but also a unique product of obtaining information about the value orientations of the people, their spiritual ideals.

The conclusions we made in the study cannot be called exhaustive, but nevertheless, it should be noted that interesting and quite extensive material was obtained that could be useful for others and used by them.

Bibliography.

N.A. Nekrasov. Poems and poems. M., "Soviet Russia", 1984.

2.Newspaper “First of September.” Literature". 2002, No. 85; 2008, No. 8, 2008, No. 9, 2008, No. 17.

3. Ozhegov S.I. Dictionary of the Russian language: Approximately 57000 words / Under the editorship of Corresponding Member of the USSR Academy of Sciences. Yu. Shvedova - 20th ed. - M.: Russian language. 1998.

4. Brusenskaya L, A. Educational dictionary of linguistic terms / L.A. Brusenskaya, G.F. Gavrilova, N.V. Malycheva. - Rostov n/D: Phoenix, 2005.

In the presented section topics for research papers and projects in literature for grade 7 dedicated to the works of Belyaev Alexander Romanovich, Bulat Okudzhava, Gogol Nikolai Vasilyevich, Jules Verne, Pushkin Alexander Sergeevich, Saltykov-Shchedrin Mikhail Evgrafovich, Tolstoy Lev Nikolaevich, Turgenev Ivan Sergeevich, Chekhov Anton Pavlovich and others.

The presented topics for 7th grade literature projects are interesting to students, provide an opportunity for independent research, a more in-depth study of the chosen topic, and develop scientific and creative thinking.

The following topics for project work in the 7th grade Russian language can be modified and expanded, depending on the tasks set for the study.

Literature Project Topics Grade 7

Sample topics for literature research projects for 7th grade students:

Belyaev Alexander Romanovich

Geographical knowledge in A. Belyaev’s novel “The Island of Lost Ships.”
Cinematographic techniques in A. Belyaev’s novel “The Island of Lost Ships.”

Bulat Okudzhava

Poeticization of everyday life in the works of B. Okudzhava.
Songs by B. Okudzhava about the Great Patriotic War.

Gogol Nikolay Vasilievich

The life of the Zaporozhye Cossacks as depicted by Gogol (based on the story “Taras Bulba”).
The free world of the Zaporozhye Sich in Gogol’s work “Taras Bulba”.
Gogol is a verbal cook.
The image of St. Petersburg in “Petersburg Tales” by N.V. Gogol.
The story "Taras Bulba" in cinema.

Image of the steppe in the works of N.V. Gogol "Taras Bulba" and A.P. Chekhov's "Steppe".
The Caucasus in the life and creative destiny of M. Yu. Lermontov.
"Taras Bulba" by N. Gogol and the Russian heroic epic.
A literary journey through Gogol's places.
Film adaptation of Gogol's works in domestic animation.

Jules Verne

Biological knowledge of the heroes of J. Verne’s novel “The Fifteen-Year-Old Captain” and modern science.
Latin "catchphrases" in J. Verne's novel "The Fifteen-Year-Old Captain".
Terminological vocabulary in J. Verne's novel "The Fifteen-Year-Old Captain".

Pushkin, Alexander Sergeyevich

Ancient images in the poetry of A.S. Pushkin.
The biblical legend of the prodigal son and its transformation in the story by A.S. Pushkin "Station Warden".
The motive of the game in the story by A.S. Pushkin’s “The Young Lady-Peasant Woman” and in the film adaptation of the same name by A. Sakharov.
“The Parable of the Prodigal Son” in “The Station Agent” by A.S. Pushkin.
Family theme in the works of A.S. Pushkin on the example of the novel “Dubrovsky” and the story “The Young Lady-Peasant Woman”.
Servants and gentlemen (based on the works of A.S. Pushkin and N.V. Gogol).
The fate of the novel "Dubrovsky" by A. S. Pushkin in illustrations, cinema, music.
From the comic poems of A.S. Pushkin ("Count Nulin", "House in Kolomna") to the comic poems of M.Yu. Lermontov (“Sashka”, Treasurer”, “Fairy Tale for Children”).
Lyceum in the time of A. Pushkin and in our days.
National characteristics reflected in the fairy tales “The Snow Maiden” by the Brothers Grimm and “The Tale of the Dead Princess and the Seven Knights” by A.S. Pushkin.
Poetry of A. S. Pushkin in music.
Images of flowers in the works of A. Pushkin.
Comparative analysis of poems by A.S. Pushkin “Anchar” and “Three Palms” by M.Yu. Lermontov.
The history of the poem by A.S. Pushkin "To Chaadaev".

Saltykov-Shchedrin Mikhail Evgrafovich

Tolstoy Lev Nikolaevich

The image of shame in the presentation of the Russian language and on the pages of the trilogy by L.N. Tolstoy “Childhood. Adolescence. Youth".
L. Tolstoy's story "Alyosha the Pot" and Platonov's story "Yushka".
Images of Nikolenka from “Childhood” by L.N. Tolstoy and Alyosha from “Childhood” by M. Gorky.

Turgenev Ivan Sergeevich

“Mumu” ​​and “Biryuk” by I.S. Turgenev.
Themes and motives of "Poems in Prose" by I.S. Turgenev.
Themes of prose poems by I.S. Turgenev.
I.S. Turgenev in fine arts.

Chekhov Anton Pavlovich

The names of the heroes of Greek mythology in the early stories of A.P. Chekhov.
Techniques for creating the comic in the early stories of A.P. Chekhov.
Stories “for children” in the early works of A.P. Chekhov.
Laconism of prose: functions of verbal vocabulary in a literary text (using the example of A.P. Chekhov’s story “The Death of an Official”).
Image of the steppe in the works of A.P. Chekhov's "Steppe" and N.V. Gogol "Taras Bulba".

Lermontov Mikhail Yurievich

The color scheme in the works of M.Yu. Lermontov.
Lyrics M.Yu. Lermontov.

Yesenin Sergey Alexandrovich

Reading the lyrics of S. Yesenin...
Wreath for Yesenin.
Literary and local history excursion “Yeseninskoye Konstantinovo”.

Topics for research papers on literature grade 7

Additional topics for research papers on literature for 7th grade students:

Patriotic sound of works of Russian folklore.
Letters of heroes and their role in the plots of Pushkin’s works.
The fairy tale story “The Little Prince” by Antoine de Saint-Exupéry and the story “Planet of People”.
Prepare material for the exhibition about M.V. Lomonosov, the epigraph of which can be taken from the words of A.S. Pushkin: “Lomonosov was a great man... He created the first university. It is better to say that it itself was our first university.”
Why did the legend about the city of Kitezh become so popular in Russian literature?
Poetics of color in the spiritual novel by I.S. Shmelev "The Summer of the Lord".
Rules and procedures for conducting a judicial duel in the 16th century. (Based on the novel by A.K. Tolstoy “Prince Silver” and M. Yu. Lermontov “Song about ... the merchant Kalashnikov”
The attractive power of Russian folk costume.
Richard the Lionheart in A. Lindgren's story and historical legend.
Romanticism in Russian literature and fine arts of the early 20th century.
Russian writers are Nobel Prize laureates.
Russian poets about the holiday of Christmas.
The originality of the disclosure of the theme of childhood in the works of Russian and foreign writers (works upon request).
Christmas fortune telling and the ballad of V. A. Zhukovsky “Svetlana”.
The symbolism of color in Garshin’s works.
The symbolism of the apple in Russian literature as the beautiful past of the native country.
Words-symbols in Japanese poetry.
A word about Solzhenitsyn. Tested by the fate of the “Archipelago...”, exile, return
The fate of the work of G.R. Derzhavin "To Rulers and Judges".
Film script
The plot of the epic "Volga and Mikula Selyaninovich" in works of painting.
The plot of the epic "Sadko" in works of art.
Lyrics of modern songs - poetry and anti-poetry
The theme of the Caucasus in Pushkin's lyrics.
The theme of the Motherland, father's home, beloved land in the works of the 20th century.
Traditions of the Christmas (Yuletide) story in the work of F.M. Dostoevsky's "The Boy at Christ's Christmas Tree."
Chronotope in the early lyrics of V. Mayakovsky.
A reading portrait of my peer.
The language of heroes in the stories of M.M. Zoshchenko.
Linguistic means of creating humor in works...