Literature preparation for the exam. major literary genres. Genres of fiction
The questions brought to your attention in the GIA format will allow the teacher to prepare students for task 1.2.2. These questions will also be helpful in self-training to the exam.
1. What role do epithets play in the poem? (A.S. Pushkin “I remember a wonderful moment ...”)
2. What is the role of epithets in F.I. Tyutchev? (“There is in the lordship of autumn evenings ...”)
3. Describe the epithets found by the poet to recreate the central image of the poem. (F.I. Tyutchev "Fountain")
4. What epithets are most important in characterizing Lensky and why? (A.S. Pushkin "Eugene Onegin")
5. Why does the lyrical hero of the poem often resort to rhetorical questions? (V.A. Zhukovsky "The Unspeakable")
6. How does the reception of antithesis help to realize the author's intention? (F.I. Tyutchev “The kite rose from the clearing ...”)
7. For what purpose does the poet use an extended comparison in this poem? (F.I. Tyutchev "Fountain")
8. What figurative and expressive means did I.A. Krylov to create the fabled images of "Pigs under the Oak"?
9. What is the role in the poem by A.A. Feta "In the haze - invisible ..." plays the impersonation technique?
10. With the help of what figurative and expressive means is the image of spring nature created? (A.A. Fet “I came to you with greetings ...”)
Completing tasks 1.1.3 or 1.2.3 involves not only thinking about the proposed text, but also comparing it with another work or fragment, the text of which is also given in the examination paper (the approximate length of the answer is 5-8 sentences). These tasks expand the boundaries of the material being tested and determine the level of formation of the most important subject competencies.
But their implementation causes difficulties for students, because they do a poor job of identifying the grounds for comparing works of art, they find it difficult to find elements of similarity or difference between them.
The difficulties of schoolchildren are also related to the fact that they cannot correctly construct a written statement, arrange it compositionally, observe logic and consistency, and often replace analysis with a retelling of texts.
What to do in this situation? Let's try to give a "recipe" for ready-made happiness. I bring to your attention typical constructions, clichés, which will help students competently and correctly build an answer to an examination question, arrange logical transitions from one thought to another. The main thing is to follow a few rules:
1. Remember: the main fragment and the proposed passage or work for comparison are united, as a rule, by a common theme, but it is revealed in different ways depending on the author's intention, the creative method of the poet or writer. That is why it is first necessary to identify similarities, and then differences(if they are).
2. Correctly include source text information in finished speech formulas. This will help avoid retelling.
3. Choose from the list of proposed designs those that most accurately convey your idea or the idea of the author.
CLICHE
1. Works (poems, fragments, excerpts) are united by a motive (theme) ...
2. The same theme in two works (poems, fragments, excerpts) is revealed in completely different ways and develops in opposite aspects.
3. For both works (poems, fragments, excerpts) one more feature is characteristic.
4. One more significant dissimilarity should be noted...
5. Differences in poems are expressed not only in emotional coloring, in pathos, but also in the structure and form of works.
6. The rhythmic sound of the poems is also contrasting. The poetic dimensions chosen by the poets convey ... ( dynamism, movement; fluency, fluency)
7. Unlike the first, the second poem has ...
8. The poems are largely contrasting, and the author put the opposite of feelings as the basis of the contrast (Ex: love and infatuation). The differences of these feelings are due to the differences of lyrical characters.
9. Poems ..., it would seem about the same thing, but how differently the position of the lyrical hero and completely different moods are presented in them.
10. It seems to me that from a comparison of both works (poems, fragments, excerpts), the following conclusion can be drawn.
Analysis of the poem
It is especially difficult for modern schoolchildren to analyze a lyrical work. I offer you a cliche, the use of which, I think, in some cases may be appropriate and appropriate.
Cliche
Analysis of the poem
Determining the type of lyrics(love, philosophical, civil, landscape, symbolist lyrics) The poem "..." belongs to ... lyrics
The poem is a prime example of .. lyrics
The poem can be attributed to ... lyrics
Identification of the lyrical plot, the experience of the lyrical hero. The content of the poem is based on the experiences of the lyrical hero ...
We can say that the lyrical hero ...
The poem clearly captures the mood(joy, sadness, delight, hope)
... the motive of sadness sounds ...
Selection of compositional parts(if any) - climax, digressions, opposition of parts, ring composition The poem consists of ... stanzas ...
The product was built…
It has a clear structure.
The climax of the poem is...
Name interpretation The poem is so named because...
Characteristics of images(nouns-images) - In the first stanza, images (nouns) appear ...
Artistic and expressive means. The author, characterizing the images, uses artistic and expressive means ... Here the use helps the author ... An important role is played by ...
Actions and States(problem verbs). The author uses verbs, the content of which reflects the problems raised in the text
Notes (what?) ... describes (what?) ... concerns (what?) ... draws attention to (what?) ... recalls (what?)
Space, time. The space is presented in a very interesting way... (description of the room and everything in it, from the general to the particular, from the particular to the general, the description is presented from top to bottom, the description of the space is wide, access to the level of the sky, space...)
Stylistic level(vocabulary, rhyme, syntax). The author uses (high, low) vocabulary in the work
The poem is written using ... rhyming ... The stanzas have ... rhyming ...
The following syntactic means are used in the poem, like ... (repetitions: anaphora, epiphora, inversion, parallelism, rhetorical questions, exclamations, defaults)
The sentences used are built…
Phonic level(verse size, sound writing: alliteration, assonance) ... At the heart of the rhythmic pattern is a five-foot trochee ...
At the heart of the rhythm of the poem is a five-foot trochee ... The size of the poem is
A special selection of consonant vowels (consonants) enhances the impression ...
ESSAY (tasks 2.1-2.4)
Introductory and concluding parts of the essay.
When starting to compose, remember that what is best appreciated and perceived is what and how it is said at the very beginning and end. Therefore, it is necessary to attract some original thought that will give originality to the introduction. This may be information about the era, facts from the biography of the writer, or some general reasoning about the topic.
Accordingly, the following entry types:
historical (epoch);
analytical (analyzing any concept included in the formulation of the topic);
biographical (facts from the biography of the writer);
comparative (about literary traditions);
picturesque (with a description of the picture);
lyrical (personal perception of the topic);
social science (with the involvement of knowledge in social disciplines).
Conclusion must be original in form, clear and expressive in thought.
it is desirable that a new thesis be put forward in the conclusion, expanding the main part;
it can be an ending - a conclusion, reflection, research, a rhetorical question, an ending - quotes and others;
the original conclusion is remarkable for its suddenness, novelty;
a happy ending can be an aphorism or a biblical saying.
As you work on your conclusion, remember the words of Dale Carnegie: "The ending is the most important strategic element. Don't leave it unfinished and broken."
Characterization of an artistic image or character
Sample Plan
I. The place of the character in the system of images of the work.
II. Characterization of a character as a certain social type
1. Social and financial situation.
2. Appearance.
3. The originality of the worldview and worldview, range of interests, habits, inclinations:
A) the nature of the activity and the main life aspirations;
B) influence on others.
4. Area of feelings:
A) relationships with others
B) features of internal experiences.
5. Author's attitude to the character.
6. Personal traits that are revealed in the work:
A) with the help of a portrait;
B) in the author's description;
C) through the characteristics of other actors;
D) background or biography;
D) through a chain of actions;
E) in speech;
g) environment.
III. What social problem led the author to create such an image?
Analysis of an episode of a work of art
Sample Plan
An episode is a relatively independent unit of the action of a work, an excerpt, a fragment that talks about a completed event, incident.
1. Determining the theme of the episode.
2. Place of the episode in the ideological concept of the writer.
3. Determining the boundaries of the episode.
4. Finding out the reader's perception (reader's perception, thoughts, feelings).
5. The most significant artistic details (landscape, speech, interior).
6. How the hero is revealed in this episode (his thoughts, feelings, experiences).
7. Author's position (whose side is the author on).
comic creation tools
2. Hyperbole.
3. Portrait.
4. Speech characteristic.
5. Subject-household detail.
6. Reception of surprise.
7. Neighborhood of the serious with the insignificant.
8. Selection of visual means.
In general, this, of course, is ridiculous - "answers to literature." Nevertheless, many would like to know before June 1 - the day of the OGE 2017 in literature - at least the topics of essays and texts that will have to be analyzed (the structure and content of the OGE in literature will be discussed below).
Some are not averse to receiving reference answers (such as, as a rule, are developed by the compilers of the tests themselves for a more objective check of detailed answers). But this is completely strange, since literature is still an elective subject, and if the student is so unsure of himself, why, one wonders, did he get involved in this adventure?
OGE 2017 answers on literature on the web
And the most annoying thing is that many swindlers fool naive ninth graders, offering to download either the original 2017 KIMS in literature for money, or directly finished essays and texts of detailed answers. Of course, they don’t have any KIMs, and they don’t have answers either, because we are talking about secret documents.
Download the key to solve all tests right now!
We suggest you do not get involved in these dark affairs with ready-made answers. Even if someone really does have the documents you are looking for, they are unlikely to bring you satisfaction. There is a high risk that Rosobrnadzor will find out about the information leak and the KIM will simply be replaced.
If you are not sure about your knowledge of literature, but still decided to take this particular subject, we recommend that you start by simply believing in yourself. Sometimes ignorance is exaggerated. You were at the lessons, heard something, read something: sometimes diagonally, sometimes conscientiously, but in any case, you have a certain amount of knowledge.
Your task in the remaining time is not to master everything unread - it is impossible in such a short time, but to update everything that you already know. Talk about what you read, write full-fledged essays, publish posts in social network in order to tell friends about any significant character, literary work, writer. When you have an audience, it spurs you on to be accurate, authentic, and beautiful in expressing your thoughts.
The structure and content of the OGE 2017 in literature
All OGE assignments(GIA) in the literature require a detailed answer. In the first part, you first choose one of two test options: tasks for prose works or tasks for fable and poetic works. Next, you proceed to the implementation of the selected option. In the first two tasks, you have to write 3–5 sentences in the answer, and in the third one, give a more detailed answer of 5–8 sentences, comparing the above passage with other works.
In the second part, you will write a full-fledged essay on one of four topics. The volume of the essay is at least 150 words (ideally 200, but more is possible).
In terms of time, the first part takes 120 minutes, and the second - 115 minutes. OGE (GIA) in literature is the longest of the exams in the ninth grade.
Elective subjects at the OGE in 2017
In 2017, graduates of the main general education in addition to literature, they can also pass history, English, Deutsch , Spanish, French, social science, computer science , geography, biology , chemistry , physics. Mathematics and the Russian language are taken by all ninth-graders without fail.
Articles about answers in other subjects:
- Answers to OGE in English(26 and 27 May 2017)
- Answers to the OGE in Spanish (May 26 and 27, 2017)
- Answers to the OGE in French (May 26 and 27, 2017)
- Answers to
Reference materials for preparing for the OGE in literature
Grade 9
(Literary terms and concepts)
Literary genera and genres.
There are three kinds fiction: epic(from the Greek. Epos, narration), lyrical(a lyre was a musical instrument, accompanied by which verses were chanted) and dramatic(from Greek Drama, action).
Presenting a particular subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:
First approach: can be detailed tell about the subject, about the events associated with it, about the circumstances of the existence of this subject, etc.; at the same time, the position of the author will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be precisely the story, the narration about the subject, the leading type of speech will be exactly storytelling, this kind of literature is called epic;
The second approach: you can tell not so much about events, but about impression, which they produced on the author, about those feelings which they called; image inner world, experiences, impressions and will refer to the lyrical genre of literature; exactly experience became the main event of the lyrics;
Third approach: you can portray subject in action, show him on stage; introduce to the reader and viewer of it, surrounded by other phenomena; this kind of literature is dramatic; in the drama itself, the voice of the author will be the least likely to sound - in remarks, that is, the author's explanations for the action and replicas of the characters.
Look at the table and try to remember its contents:
Types of fiction.
EPOS | DRAMA | LYRICS |
(Greek - narration) a story about the events, the fate of the heroes, their actions and adventures; image of the outside of what is happening (even feelings are shown from the side of their external manifestation). Author can directly express their attitude to what is happening. | (Greek - action) depiction of events and relationships between the characters on the stage (a special way of writing text). The direct expression of the author's point of view in the text is contained in the remarks. | (from the name of a musical instrument) experiencing events; depiction of feelings, inner world, emotional state; feeling becomes dominant event. |
Each type of literature in turn includes a number of genres.
GENRE- this is a historically established group of works, united by common features of content and form, such groups include novels, novellas, poems, elegies, short stories, feuilletons, comedies, etc. In literary criticism, the concept of a literary type is often introduced; this is a broader concept than a genre. In this case, the novel will be considered a type of fiction, and genres - various varieties of the novel, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.
Examples of genus-species relations in the literature:
Genus: dramatic; view: comedy; genre: sitcom.
Genus: epic; in id: story; genre: fantasy story, etc.
historical era: ancient lyricists did not know the sonnet; in our time, an ode born in antiquity and popular in the 17th-18th centuries has become an archaic genre; nineteenth-century romanticism gave rise to detective literature, and so on.
Major literary genres
Lyrics |
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A poem of an enthusiastic nature in honor of a significant person or event. |
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Poem | A small work created according to the laws of poetic speech. |
The poem is a philosophical meditation on life, love, nature, the passage of time. |
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A poem meant to be sung. |
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Message | A lyrical work written as an appeal to a person or persons. |
Epigram | A short poem that makes fun of a person. |
epic |
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A small work dedicated to a single event in a person's life. In such a brief episode from a person's life, the author reveals the essential typical features of life. |
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Events that actually took place in life are depicted, the participants of which actually existed. |
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It is distinguished by the clarity of the image of events, the unexpectedness of their development and denouement. |
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The story depicts a series of events that illuminate a whole period of a person's life. In ancient Russian literature, any narrative about the events of historical or private life was called a story. |
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It reflects a complex life process, a wide range of life phenomena shown in development. In the events depicted in the novel, many characters usually take part, whose fates and interests are intertwined. |
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epic novel | A novel that illuminates a particularly complex and rich life material, covering an entire era. |
Drama |
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Tragedy | In this work, the character of the hero is revealed in a hopeless situation, in an unequal, tense struggle, dooming him to death. |
Any work written in the form of a conversation of characters, without the author's speech. A work that depicts a complex and serious conflict, a tense struggle between the characters. |
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A work that reflects the funny and incongruous in life, ridicules any unhealthy social or everyday phenomenon, funny traits of a human character. |
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Mystery | Medieval drama performed on Latin initially in Catholic churches, and later as a folk spectacle. Its content was the staging of some church legend with interludes. |
Melodrama | A drama whose characters are sharply divided into virtuous heroes and notorious villains. They have an unusual fate, endowed with exceptional feelings, get into implausible acute situations that end happily. According to the laws of the genre, virtuous heroes always win after many vicissitudes of fate. |
A hilarious domestic comedy. |
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Vaudeville | A small playful theatrical play with verses and dances, a one-act merry comedy. |
Tragicomedy | Combines the features of tragedy and comedy. |
Correspondence of literary genres and muses-patrons of the arts
The patron muses of the arts | Literary genres |
Polygamy | Solemn chants - hymns. |
Love poetry - elegy |
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Lyric poetry - messages |
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calliope | Lyric-epic works - a fable, a story, a story. |
Melpomene | Tragedy. |
Genres of epic works
Genres of lyrical works
(praise) | (glorification of a person or event) | Epitaph (gravestone inscription, sometimes comic) | (poems about a serene shepherd's life) | Epigram (satire on a person) | Dithyramb (sympathy for one person) | Message (address to a person in the form of a letter) | lyric poem | Madrigal (a laudatory poem dedicated to a lady) | (poem of 14 lines) |
Literary directions
Literary direction (method) - the basic principles that guide the writer, selecting, summarizing, evaluating and depicting in artistic images life facts.
Signs of a literary direction:
unites writers of a certain historical era;
common understanding of life values and aesthetic ideal;
general type of hero;
style of artistic speech;
characteristic stories;
favorite genres;
the choice of artistic techniques for depicting life;
way of thinking of writers;
the personality of the writer;
worldview and worldview of writers.
Classification literary trends
classicism sentimentalism romanticism realism
Classicism:
Classicism (from Latin classicus first-class) is a trend that arose in the art and literature of Western Europe and Russia in the 17th-18th centuries as an expression of the ideology of absolute monarchy. It reflects the idea of rationalistic harmony, the strict orderliness of the world, faith in the human mind. Received its development at the beginning of the 20th century as neoclassicism.
Representatives | Western European literature | Russian literature |
Corneille, Boileau, Moliere, Racine | A.P. Sumarokov, M.M. Kheraskov, M.V. Lomonosov, G.D. Derzhavin, D.I. Fonvizin, Ya.B. Knyazhnin |
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Distinctive features | Inherits the traditions of the art of antiquity |
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Actions and deeds of heroes are determined from the point of view of the mind |
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A work of art is a logically constructed whole |
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Strict division of heroes into positive and negative (schematization of characters). Heroes are idealized. |
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The plot and composition obey the accepted rules (the rule of three unities) |
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Narration must be objective |
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Significance of civic issues of content |
Division of genres
High | Low |
Tragedy, poem, ode | Comedy, fable, satire |
Heroes act in them, it is told about public life, stories | Ordinary people act in them, it tells about everyday life |
Sentimentalism: representatives, distinctive features, literary forms.
Sentimentalism (from French sentimental - sensitive) - a literary movement that arose in art and literature Western Europe and Russia in the late 17th - early 19th century. Opposes the abstraction and rationality of classicism. It reflects the desire to depict human psychology.
Representatives | Russian literature |
N.M. Karamzin, A.N. Radishchev, V.V. Kapnist, N.A. Lviv |
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Distinctive features | Image of human psychology |
The actions and deeds of the characters are determined from the point of view of feelings, the sensitivity of the characters is exaggerated |
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Idealization of reality, subjective image of the world |
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In the center of the image - feelings, nature |
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Representatives of the lower classes are endowed with a rich spiritual world |
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The ideal is moral purity, incorruptibility. |
literary forms
epic | Lyrics | Drama |
Sentimental story, message, travel notes | Elegy, folk songs | Petty-bourgeois drama |
Romanticism: representatives, distinctive features, literary forms.
Romanticism is a trend in the art and literature of Western Europe and Russia of the 18th-19th centuries, consisting in the desire of the authors to oppose the reality that does not satisfy them with unusual images and plots prompted by life phenomena. A romantic artist seeks to express in his images what he wants to see in life, which, in his opinion, should be the main, defining one. It emerged as a reaction to rationalism.
Representatives | Russian literature |
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J.G. Byron, I. Goethe, I. Schiller, E. Hoffmann, P. Shelley, Ch. Nodier | V.A. Zhukovsky, K.N. Batyushkov, K.F. Ryleev, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol |
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Distinctive features | Singularity of characters, exceptional circumstances |
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Tragic duel of personality and fate |
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Freedom, power, indomitability, eternal disagreement with others - these are the main characteristics of a romantic hero |
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Interest in everything exotic (landscape, events, people), strong, bright, sublime |
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A mixture of high and low, tragic and comic, ordinary and unusual |
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The cult of freedom: the desire of the individual for absolute freedom, for the ideal, for perfection |
literary forms
epic | Lyrics | Drama |
Novel, story, ballads and thoughts, poems | Elegiac lyrics, landscape lyrics, philosophical lyrics | Problem-historical drama |
Realism: representatives, distinctive features, literary forms.
Realism (from Latin realis) is a trend in art and literature, the main principle of which is the most complete and correct reflection of reality through typification. Appeared in Russia in the XIX century.
Representatives | Russian literature |
A.S. Griboyedov, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy F.M. Dostoevsky and others. |
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Distinctive features | Depiction of characters in interaction with the outside world |
The details of the interior, portrait, landscape are important for the writer. |
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Character typing |
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Depiction of characters and events in development |
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Historically specific society, events, era |
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Conflict in the spotlight: hero - society |
literary forms
epic | Lyrics | Drama |
novel, short story, poem, short story | Song, elegy, satire | Tragedy, comedy, historical chronicles |
Piece of art- a literary work, the distinguishing feature of which is the image of life, the creation of an artistic image with the help of a word.
The course of events in the work is determined by: |
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composition | conflict | plot | plot |
The construction of the work, its location constituent parts, the order of events. | Disagreement, collision, underlying the struggle of the characters in a work of art. | A series of interconnected and successively developing life events that make up the direct content of an epic work. | Sequential presentation of events or incidents (in chronological order) depicted in a work of art. |
One of the main means by which the writer characterizes the characters. | The conflict can be both external (the hero and circumstances) and internal (the hero struggles with his shortcomings). | The plot reflects the collisions and contradictions characteristic of life, the relationship of people and the assessment, the attitude of the writer towards them. | The plot may coincide with the plot, or it may diverge from it. |
Basic plot elements
Prologue | A kind of introduction to the work, emotionally and eventfully sets the reader to the perception of the content of the work. |
exposition | The introductory, initial part of the plot, the image of external conditions, living conditions, historical events. Does not affect the course of subsequent events in the work. |
tie | The event with which the action begins, entailing all subsequent significant events in it. |
Action Development | Description of what is happening, the course of events. |
climax | The moment of greatest tension in the development of the action of a work of art. |
denouement | The position of the characters, which has developed in the work as a result of the development of the events depicted in it, are the final scenes. |
Epilogue | The final part of the work, in which the further fate characters and developments. It could be short story about what happened after the conclusion of the main storyline. |
Extraplot Elements
Opening episodes | "Insert" episodes that are not directly related to the plot of the work, but are given as memories in connection with the events described. |
Lyrical digressions | They can be actually lyrical, philosophical and journalistic. With their help, the author conveys his feelings and thoughts about the depicted. These can be author's assessments of heroes and events or general reasoning on any occasion, an explanation of one's goal, position. |
Artistic framing | Scenes that begin and end an event or work, complementing it with a special meaning. |
TOPIC - The subject, the main content of reasoning, presentation, creativity. (S. Ozhegov. Dictionary of the Russian language, 1990.)
TOPIC (Greek Thema) - 1). Subject of presentation, images, research, discussion; 2). Statement of the problem, which predetermines the selection of life material and the nature of the artistic narrative; 3). The subject of a linguistic statement (...). (Dictionary of foreign words, 1984.)
Already these two definitions can confuse the reader: in the first, the word "theme" is equated in meaning with the term "content", while the content of a work of art is immeasurably wider than the theme, the theme is one of the aspects of the content; the second makes no distinction between the concepts of topic and problem, and although topic and problem are philosophically related, they are not the same thing, and you will soon understand the difference.
The following definition of the topic, accepted in literary criticism, is preferable:
TOPIC - this is a vital phenomenon that has become the subject of artistic consideration in the work. The range of such life phenomena is THEME literary work. All phenomena of the world and human life make up the artist's sphere of interests: love, friendship, hatred, betrayal, beauty, ugliness, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent and mediocrity, the joys of life, money , relations in society, death and birth, secrets and mysteries of the world, etc. etc. - these are the words that call life phenomena that become themes in art.
The task of the artist is to creatively study the life phenomenon from the sides interesting to the author, that is artistically reveal the theme. Naturally, this can only be done asking a question(or several questions) to the phenomenon under consideration. This very question, which the artist asks, using the figurative means available to him, is problem literary work.
So, PROBLEM is a question that does not have a unique solution or involves a set of equivalent solutions. ambiguity possible solutions problem is different from tasks. The collection of such questions is called PROBLEMS.
The more complex the phenomenon of interest to the author (that is, the more topic), topics more questions (problems) it will cause, and the more difficult these questions will be to solve, that is, the deeper and more serious it will be issues literary work.
The theme and the problem are historically dependent phenomena. different eras dictate different themes and problems to artists. For example, the author of the ancient Russian poem of the XII century "The Tale of Igor's Campaign" was worried about the topic of princely strife, and he asked himself questions: how to make Russian princes stop caring only about personal gain and quarrel with each other, how to unite the disparate forces of a weakening Kyiv state? The 18th century invited Trediakovsky, Lomonosov and Derzhavin to think about scientific and cultural transformations in the state, about what the ideal
ruler, raised in literature the problems of civic duty and equality of all
citizens without exception before the law. Romantic writers were interested in the mysteries of life and death, penetrated into the dark recesses of the human soul, solved the problems of a person's dependence on fate and the unsolved demonic forces of the interaction of a talented and extraordinary person with a soulless and mundane society of inhabitants.
The 19th century, with its focus on the literature of critical realism, drew artists to new themes and forced them to reflect on new problems:
Through the efforts of Pushkin and Gogol, the “small” man entered literature, and the question arose about his place in society and his relationship with “big” people;
the women's theme became the most important, and with it the so-called public "women's question"; A. Ostrovsky and L. Tolstoy paid much attention to this topic;
the theme of home and family acquired a new meaning, and L. Tolstoy studied the nature of the connection between upbringing and a person’s ability to be happy;
the unsuccessful peasant reform and further social upheavals aroused a close interest in the peasantry, and the theme of peasant life and fate, discovered by Nekrasov, became the leading one in literature, and with it the question: what will be the fate of the Russian peasantry and all of great Russia?
tragic events in history and public moods brought to life the theme of nihilism and opened up new facets in the theme of individualism, which were further developed by Dostoevsky, Turgenev and Tolstoy in an attempt to resolve the questions: how to warn the younger generation against the tragic mistakes of radicalism and aggressive hatred? How to reconcile the generations of "fathers" and "children" in a troubled and bloody world? How is the relationship between good and evil to be understood today, and what is meant by both? How, in an effort to be different from others, do not lose yourself? Chernyshevsky addresses the topic of the public good and asks: "What should be done?" so that a person in Russian society can honestly earn a comfortable life and thereby increase public wealth? How to "equip" Russia for a prosperous life? Etc .
note! A problem is a question, and it should be formulated mainly in an interrogative form, especially if the formulation of problems is the task of your essay or other work in literature.
Sometimes in art, it is the question posed by the author that becomes a real breakthrough - a new one, previously unknown to society, but now burning, vital. Many works are created in order to pose a problem.
So, IDEA (Greek Idea, concept, representation) - in literature: the main idea of a work of art, the method proposed by the author for solving the problems posed by him. The totality of ideas, the system of author's thoughts about the world and man, embodied in artistic images is called IDEA CONTENT artistic work.
Thus, the scheme of semantic relations between the topic, problem and idea can be represented as follows:
life phenomenon → | A question that allows you to study a life phenomenon with the help of figurative language → | |
Topic → | Problem → |
Figurative and expressive means in a work of art |
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concept | Definition | Examples |
A trope is a figure of speech built on the use of words or expressions in a figurative sense, meaning (from the Greek tropos-turn). |
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Allegory | An allegorical image of an abstract concept or phenomenon of reality with the help of a specific life image. Allegory is often used in fables. | Cunning allegorically depicted in the form of a fox, greed- in the form of a wolf, cunning in the form of a snake. |
Hyperbola | A figurative expression, consisting in an exorbitant exaggeration of the strength, significance, size of the depicted phenomenon. | ... a rare bird will fly to the middle of the Dnieper. (N.V. Gogol, "Terrible Revenge"). |
Irony | Subtle hidden mockery, one of the types of humor. Irony can be good-natured, sad, angry, caustic, angry, etc. | Did you all sing? This is the case ... (I.A. Krylov, "Dragonfly and Ant"). |
Litotes | This is an underestimation of the magnitude, strength, significance of the depicted object. | For example, in the works of oral folk art - a boy with a finger, a hut on chicken legs. Steel knife - steel nerves. bee from cells wax Flies for field tribute. |
Metonymy | Transfer of meaning (name) based on the adjacency of phenomena. | So eat some more plate, my dear! (I.A. Krylov, "Demyanova's ear") - in this example I mean not the plate itself as an object of dishes, but its contents, i.e. ear. All flags will visit us. |
personification (prosopea) | One of the techniques of artistic representation, which consists in the fact that animals, inanimate objects, natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts. | be comforted silent sadness And frisky will think joy… (A.S. Pushkin, “To the portrait of Zhukovsky”). |
Sarcasm | Evil and sarcastic mockery, the highest degree of irony, one of the strongest means of satire. | Helps to detect the unseemly essence of a person’s behavior or motives, shows a contrast between subtext and external meaning. |
Synecdoche | Replacing the name of a vital phenomenon with the name of its part instead of the whole. | As a girl, she did not stand out in a crowd of brown dresses. (I.A. Bunin, "Easy breathing"). |
Comparison | Definition of a phenomenon or concept in artistic speech by comparing it with another phenomenon that has common features with the first. The comparison either simply indicates similarity (he looked like ...), or is expressed through similar words. like, exactly, like etc. | He was looks like evening clear ... (M.Yu. Lermontov, "Demon"). |
paraphrase | Replacing the name of an object or phenomenon with a description of its essential, defining features and characteristics, creating in our mind a vivid picture of life. | Sad time! Oh charm! (about autumn). (A.S. Pushkin, "Autumn"). |
Epithet | A figurative definition that characterizes the property, quality of a person, phenomenon, object. | The cloud spent the night golden On the chest giant cliff. (M.Yu. Lermontov, "Cliff"). |
Antithesis | The stylistic figure of contrast in artistic or oratory speech, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning. | They agreed. Wave and stone Poetry and prose, ice and fire Not so different from each other. (A.S. Pushkin, "Eugene Onegin"). |
Oxymoron | A stylistic figure or a stylistic mistake, a combination of words with the opposite meaning (that is, a combination of incongruous). Oxymoron is characterized by the intentional use of contradiction to create a stylistic effect. From a psychological point of view, an oxymoron is a way to resolve an inexplicable situation. An oxymoron is often found in poetry. | And the day has come. Gets up from the bed Mazepa, this frail sufferer, This dead body, just yesterday Moaning weakly over the grave. (A.S. Pushkin, "Poltava"). |
Stylistic figures are syntactic constructions built in a special way, they are necessary to create a certain artistic expressiveness. |
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Anaphora (unity) | A turn of poetic speech, consisting in the repetition of consonances of individual words. Sound unity consists in the repetition of individual consonances. | black eyed girl, Black-eyed horse! (M.Yu. Lermontov, "Desire"). |
Antithesis | A turn of poetic speech, in which, in order to enhance expressiveness, directly opposite concepts, thoughts, character traits of the characters are sharply contrasted. | They agreed. Water and stone. Poetry and prose, ice and fire Not so different... (A.S. Pushkin, "Eugene Onegin"). |
gradation | Gradual strengthening or aggravation - one of the stylistic figures, consists in grouping definitions with increasing or decreasing meaning. | Don't think to run! It's me Called. I will find. I'll drive it. I'll finish it. I'll torture you! (V.V. Mayakovsky, “About it”). |
Inversion | Violation of the direct order of words, rearrangement of parts of the phrase, giving it a special expressiveness, an unusual sequence of words in a sentence. | And the maiden's song is barely audible Valleys in deep silence. (A.S. Pushkin, "Ruslan and Lyudmila"). |
Oxymoron | Turnover, consisting in a combination of sharply contrasting, internally contradictory in meaning signs in the definition of phenomena. | Ringing silence, sweet pain etc. |
Rhetorical address | (from the Greek rhetor - speaker) rhetorical appeals are very characteristic of poetic speech and are often used in journalistic style texts. Their use makes the reader or listener an interlocutor, a participant in a conversation, conversation. |
Has the Russian lost the habit of victories? |
Default | It consists in the fact that the thought remains not fully expressed, but the reader guesses about the unsaid. Such a statement is also called interrupted. | |
Ellipsis | The omission in the speech of some easily implied word, a member of a sentence, most often a predicate. |
Phonetic means of expression |
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Euphony | It consists in the beauty and naturalness of sound. | |
Alliteration | The repetition of identical, consonant consonant sounds to enhance the expressiveness of artistic speech. | The Neva swelled and roared, Cauldron bubbling and swirling ... (A.S. Pushkin, "The Bronze Horseman"). |
Assonance | Repetition in a line, phrase, stanza of homogeneous vowel sounds. | It's time! It's time! The horns sound... (A.S. Pushkin, "Count Nulin"). |
sound recording | The use of the sound composition of the word, its sound to enhance the expressiveness of poetic speech. | For example, onomatopoeia, which can be used to convey the singing of birds, the clatter of hooves, the noise of a forest and a river, etc. |
Pictorial Syntax Tools |
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Syntax parallelism(from Greek parallelos - walking beside) | One of the methods of poetic speech. It consists in comparing two phenomena by depicting them in parallel in order to emphasize the similarity or difference of the phenomena. For syntactic parallelism feature is the homogeneity of the construction of the phrase. | curly birch, There is no wind, but you are making noise: My heart is zealous There is no grief, but you hurt. (1) For ten years he selected option after option. (2) It's not about school diligence and patience - he knew how to invent new combinations, come up with new questions. (3) So Johanni Bach erected his fugues, extracting inexhaustible variations from one theme. In this example, syntactic parallelism and lexical repetition are used to link sentences 2 and 3. |
Rhetorical question | A turn of poetic speech, consisting in making a statement in an interrogative form. Their use makes the reader or listener an interlocutor, a participant in the conversation. | Is it new for us to argue with Europe? Has the Russian lost the habit of victories? (A.S. Pushkin, "Slanderers of Russia"). |
Exclamation, exclamatory sentence. | This is the type of sentence that contains emotional relationship, expressed in a syntactic way (particles what, for, how, what, like this, well and etc.). By these means, the utterance is given the meaning of a positive or negative assessment, feelings of joy, sadness, fear, surprise, etc. are conveyed. | Oh, how bitter you are, to the point, later, youth is needed! (A. Tvardovsky, “Far beyond the distance”). Do you love me? Yes? Yes? Oh what a night! Wonderful night! (A.P. Chekhov, "The Jumper"). |
Appeal | A turn of poetic speech, consisting in an underlined, sometimes repeated appeal of the writer to the hero of his work, to natural phenomena, to the reader, in the hero's appeal to other characters. | Do not sing beauty with me. (A.S. Pushkin, "Don't sing ..."). And you, Arrogant descendants! (M.Yu. Lermontov, "The Death of a Poet"). |
Unionlessness (asindeton) | A turn of poetic speech, which consists in a gap between words and sentences of connecting unions. Their absence gives speech impetuousness, expressiveness, conveys accelerated intonation. | Swede, Russian - stabs, cuts, cuts. Drum beat, clicks, rattle. The thunder of cannons, clatter, neighing, groaning... (A.S. Pushkin, "Poltava"). |
Polyunion (recurring alliances) | A turn of poetic speech, consisting in the repetition of the same unions. | And the spruce turns green through the frost, And the river under the ice glitters ... (A.S. Pushkin, "Winter Morning"). |
Fundamentals of versification.
Rhythm.
Word rhythm in the Greek language, from which it came to us, it means "slenderness, proportionality." How does this balance come about? What condition is necessary for the emergence of rhythm? What is there in common between the beating of our heart and the moving pendulum of a clock; measured by the sound of the surf and the sound of the wheels of a moving train?
Rhythm - is the repetition of something at regular intervals. It is this repetition that creates randomness and proportionality.
Rhyme.
The harmony of the verse is created by the coincidence of the endings of the lines, by rhymes. The lines seem to echo each other, repeating each other, sometimes slightly changing the sound. Reread the poem aloud again by A.A. Fet "Summer evening is quiet and clear ...". Find rhyming lines.
Rhyme is the repetition of sounds that link the end of two or more lines.
idle - varied
harsh - pine
Stanza.
Stanza- a group of poetic lines, combined lines, united by rhyme. A stanza can be three lines - tercet, out of four quatrain.
Rhyme
Distinguish the following types rhymes |
|
Name | Definition |
Depending on the place of impact |
|
The stress falls on the last syllable |
|
The last syllable is unstressed |
|
Dactylic | The stress falls on the third syllable from the end of the line. |
Hyperdactylic | The stress falls on the fourth syllable from the end of the line. |
Depending on the order of the rhyming lines |
|
Adjacent, steam room | Lines rhyming one after another (AA) |
Three consecutive lines rhyme (AAA) |
|
cross | Rhyming lines go alternately (ABAB) |
Girdle, ring | Of the four lines, the 1st and 4th, 2nd and 3rd lines rhyme with each other (ABBA) |
Ternary | Complex alternation in six lines (AABAAB) |
Depending on the repetition of the final sounds of rhyming lines |
|
frost roses |
|
Assonance | Broom tables |
Underline the rhyming words in Fet's poem "Butterfly" and connect them. You see that the first line rhymes with the third, the second with the fourth. Arises cross rhyme.
You are right with one air outline
I'm so sweet
All my velvet with its live blinking
Only two wings.
If adjacent lines rhyme, a steam room rhyme, as in Pushkin's poem Prisoner:
I am sitting behind bars in a damp dungeon.
A young eagle bred in captivity,
My sad comrade, waving his wing,
Bloody food pecks under the window ...
Finally, the rhyme can be annular when the first line of the quatrain rhymes with the fourth, and the second with the third, as in Bunin's verses:
The hops on the tyne are already drying up.
Behind the farms, on the melons,
In the soft sunshine
Bronze melons turn red ...
Rhyming in a stanza can be more complex.
Poetic dimensions
Poetic meters in Russian versification are disyllabic and trisyllabic.
disyllabic sizes called a poetic size with a line of two syllables.
There are two disyllabic meters in Russian versification: iambic and trochee.
Yamb- two-syllable poetic size with stress on the second syllable (_ _́).
Let's see how A.S. uses iambic. Pushkin.
iambic trimeter :
Friend of the thought of the idle, _ _́ _ _́ _ _́ _
My inkwell... _ _́ _ _́ _ _́
iambic tetrameter:
There is a green oak near the seashore; _ _́ _ _́ _ _́ _ _́ _
Golden chain on that oak... _ _́ _ _́ _ _́ _ _́
iambic pentameter:
One more last saying - _ _́ _ _́ _ _́ _ _́ _ _́ _
And my chronicle is over _ _́ _ _́ _ _́ _ _́ _ _́
Chorey- two-syllable meter with stress on the first syllable (_́ _).
The word "trochee" in translation from Greek means "dancing" from the word "choir", "dance", "round dance".
Three-footed trochee :
In the haze-invisible _́ _ _́ _ _́ _
The spring month has sailed ... _́ _ _́ _ _́ _
Four foot trochee:
Through wavy mists _́ _ _́ _ _́ _ _́ _
The moon is creeping... _́ _ _́ _ _́ _ _́
(A.S. Pushkin)
Ferret pentameter:
I go out alone on the road _́ _ _́ _ _́ _ _́ _ _́ _
Through the fog, the flinty path shines ... _́ _ _́ _ _́ _ _́ _ _́
(M.Yu. Lermontov)
Iambic and trochee are the most popular sizes in Russian poetry, for example, 80-85% of poems are written in iambic tetrameter.
Trisyllabic meter
Consider the lines of the poem Railway»:
Glorious autumn! Healthy, vigorous
The air invigorates tired forces ...
Let's place the stresses and build a verse scheme:
_́ _ _ _́ _ _ _́ _ _ _́ _
_́ _ _ _́ _ _ _́ _ _ _́
You noticed that groups of three syllables are repeated: the first stressed, second and third unstressed. This is a three-syllable meter with the stress on the first syllable. It is called dactyl: _́ _ _ .
Let's take other lines - from Nekrasov's poem "Peasant Children", place the stresses and build a verse scheme.
Once upon a time in the cold winter time
I came out of the forest; there was severe frost.
_ _́ _ _ _́ _ _ _́ _ _ _́ _
_ _́ _ _ _́ _ _ _́ _ _ _́
Groups of three syllables are repeated here: the first unstressed, the second stressed, the third unstressed. This is a three-syllable meter with the stress on the second syllable. It is called amphibrach: _ _́ _
Algorithm for determining the poetic size.
Break out the accents.
Define unstressed vowels.
Write down the resulting diagram.
Determine the size.
I those be nothing Gabout not ska andat .
I those bI not meet inabout zhu nor hat th.
And about tabout m,what I mabout lcha you hwat ,
Not re wat campingnor on the thuabout name bookat th.
A. Fet.
- three-foot anapaest
Now let's place the stresses in the lines from Nekrasov's poem "Troika" and build a verse scheme.
What are you greedily looking at the road
Away from cheerful girlfriends?
_ _ _́ _ _ _́ _ _ _́ _
_ _ _́ _ _ _́ _ _ _́
Groups of three syllables are repeated: the first and second unstressed, the third stressed. This is a three-syllable meter with the stress on the third syllable. It is called anapaest: _ _ _́.
So, there are three three-syllable meters of the verse: dactyl ( _́ _ _ ), amphibrach
(_ _́ _ ), and anapaest (_ _ _́ )
Verse sizes |
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Disyllabic |
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A storm covers the sky with mist... |
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My first friend, my priceless friend! |
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Trisyllabic |
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Heavenly clouds, eternal wanderers! |
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Amphibrachius | In the sandy steppes of the Arabian land Three proud palm trees grew high. |
|
Don't be sad, dear neighbor... |
Clue: in order to remember the rhythm of three-syllable meters, Nikolai Gumilyov offered the following hint to young poets:
Ann a BUT hmatova - dactyl; M a rin a Color e ta e in a- amphibrachs; H and to about lay G at m and lion - anapaest.
Themes and motifs in lyrics
Topic
From Greek. theme (the basis of the plot of the work).
intimate lyrics
M.Yu. Lermontov "She is not proud beauty ..."
B.L. Pasternak "Winter Evening".
A.A. Fet "Wonderful picture ..."
S.A. Yesenin "behind the dark strand of woods ...".
friendship lyrics
B.Sh. Okudzhava "An old student song".
The theme of the poet and poetry
M.I. Tsvetaeva "Roland's Horn".
Patriotic and civil lyrics
ON THE. Nekrasov "Motherland"
A.A. Akhmatova "I am not with those who abandoned the earth ..."
Philosophical lyrics
F.I. Tyutchev " The last cataclysm»
I.A. Bunin "Evening".
The most important character in the lyrics is lyric hero: it is his inner world that is shown in the lyrical work, on his behalf the lyric artist speaks to the reader, and the external world is depicted in the context of the impressions that he makes on the lyrical hero. Note! Do not confuse the lyrical hero with the epic one. Pushkin reproduced in great detail the inner world of Eugene Onegin, but this is an epic hero, a participant in the main events of the novel. The lyrical hero of Pushkin's novel is the Narrator, the one who is familiar with Onegin and tells his story, deeply experiencing it. Onegin only once becomes a lyrical hero in the novel - when he writes a letter to Tatyana, just as she becomes a lyrical heroine when she writes a letter to Onegin.
By creating the image of a lyrical hero, the poet can make him personally very close to himself (poems by Lermontov, Fet, Nekrasov, Mayakovsky, Tsvetaeva, Akhmatova, etc.). But sometimes the poet seems to be "hiding" behind the mask of a lyrical hero, completely far from the personality of the poet himself; so, for example, A Blok makes Ophelia a lyrical heroine (2 poems called "Ophelia's Song") or a street actor Harlequin ("I was all in colorful rags ..."), M. Tsvetaeva - Hamlet ("At the bottom she, where silt ... "), V. Bryusov - Cleopatra ("Cleopatra"), S. Yesenin - a peasant boy from a folk song or fairy tale ("Mother went to the bathing suit through the forest ..."). So it’s more literate, when discussing a lyrical work, to talk about the expression in it of the feelings of not the author, but the lyrical hero.
Like other types of literature, poetry includes a number of genres. Some of them arose in ancient times, others - in the Middle Ages, some - quite recently, one and a half to two centuries ago, or even in the last century.
motive
From the French motif - lit. traffic.
Stable formal-meaningful component of the work. Unlike the topic, it has a direct verbal fixation in the text. Identification of the motive helps to understand the subtext of the work.
The motives of struggle, flight, retribution, suffering, disappointment, longing, loneliness are traditional in the lyrics.
keynote
Leading motif in one or many works.
The motif of exile in the poem by M.Yu. Lermontov "Clouds".
The motive of loneliness in the early lyrics of V.V. Mayakovsky.
Literature in tables and diagrams. Theory. Story. Dictionary. M.I. Meshcheryakova. M.: Iris-press, 2005.
Brief dictionary of literary terms. Timofeev L.I. and Turaev S.V. Moscow: Education, 1978.
Internet resources:
http://russlovesnost.
http:// shkola. lv
http:// 4ege. en
http:// thff (Creative Freedom Forum).
http://www. liceum 1.net
This manual is intended to prepare 9th grade students for the state final certification - the main state exam (OGE) in literature. The publication includes typical tasks for all content lines examination work, as well as approximate options in the format of the OGE 2017. The manual will help schoolchildren to test their knowledge and skills in the subject, and teachers to assess the degree of achievement of the requirements educational standards individual students and ensure their targeted preparation for the exam. The publication was developed with scientific and methodological support Federal Institute pedagogical dimensions.
Recommendations for preparing for tasks with a detailed answer of a limited volume.
A written reasoned detailed answer to a problematic question of a small volume is one of the most common forms of control in literature lessons. Often this type of work is used at the stage of summarizing the analysis of a literary work. It is the traditions of the domestic methodology of teaching literature that largely determined the inclusion of a task of this type in the control measuring materials of the GIA. However, an analysis of the work of ninth-graders shows that students often reason superficially, understand the question in a simplified way, replace text analysis with retelling, distort the problematics of the work, and do not know how to argue their statements.
When completing the task, it is necessary to give a coherent answer to the question in the amount of 5-10 sentences, to reveal your own vision of the problem, based on the position of the author of the work, that is, to analyze the text, summarize the results of the observation and use them to reveal the problem. Moreover, sometimes the question in the assignment contains a hidden problem that needs to be identified and formulated independently. When checking the work, experts evaluate whether a direct coherent answer to the question is given based on the author's position; whether the argumentation of the formulated theses is given; whether the arguments are based on text analysis; is there any substitution of analysis by retelling; whether there are factual errors and inaccuracies. In other words, it is required to build the answer as a reasoning text, observing its traditional composition: thesis (direct answer to the question) - evidence (judgments based on text analysis and understanding of the author's position) - conclusion. Consider the sequence of work on the task for specific example. In the demo version, the text of Tatiana's letter to Onegin (a novel in verse by A.S. Pushkin "Eugene Onegin") was presented and the following question was formulated:
At the beginning and at the end of the letter, Tatyana speaks of shame. What is the heroine ashamed of?
I am writing to you - what more?
What else can I say?
Now I know in your will
Punish me with contempt.
Content
Introduction
RECOMMENDATIONS FOR PREPARING FOR THE OGE
Features of control and measuring materials in the literature
Content and structure of the examination paper
Recommendations for preparing for tasks with a detailed answer of a limited volume
Recommendations for preparing for the performance of tasks based on a comparative analysis of works
Tips for preparing to write an essay
TYPICAL TRAINING MATERIALS FOR THE MAIN SECTIONS OF THE COURSE
Examples of tasks with a detailed answer of a limited volume for independent completion
Examples of tasks based on a comparative analysis of works for self-fulfillment
Examples of assignments for writing an essay
EXAMPLE OPTIONS OGE 2017
Option 1
Option 2
Option 3
Option 4
Option 5
Option 6
EVALUATION CRITERIA FOR TASKS WITH A DETAILED ANSWER.
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