Children's literature. Expressive reading

(for organizing students' independent activities)

Compiled by: Sizykh O.L., teacher of literature

Foreword.

The purpose and objectives of literary analysis artistic text.

Features of the literary analysis of a literary text.

The main parameters of the text as an object of literary analysis of a literary text.

Comments on the performance of literary analysis of a literary text.

Literary analysis of a lyric work on the example of a poem by M.Yu. Lermontov "Goodbye, unwashed Russia ...".

Foreword

A feature of the modern stage of the philological study of the text is the strengthening of its communicative orientation: the text is studied as a form of communication from the position of the dialogue of the author and the reader. The communicative approach to the text significantly expands the idea of ​​it, its properties, units and categories, its structure, semantics, pragmatics.

The object of literary analysis is artistic text.

The problem of understanding and interpreting texts is key in philology.

At the present stage, literary scholars N.S. Bolotnova, A.B. Esin and others distinguish different kinds analysis of literary text: philological, linguistic, stylistic, literary.

Target philological analysis text - to show through the mutual conditionality of the form and content of the text its meaning and cultural status. The peculiarities of the philological analysis of the text include: historicism, anthropocentricity, culturological orientation, complex integral character (attention to the form and content of the text in their mutual conditioning), lexicocentricity. Philological analysis of the text includes linguistic, stylistic and literary analysis, as well as coverage of the cultural and historical context of the era. The philologist considers different aspects of the text as a complex multifaceted phenomenon in the process of linguistic analysis, stylistic and literary studies, which mutually complement each other, expand and deepen the understanding of the content plan of the text and the personality of the author behind it.

The purpose of the linguistic analysis of the text is “to show the means by which the ideological and associated emotional content of the work is expressed” (L.V. Shcherba).

The purpose of stylistic analysis is to consider the text from the point of view of linguistic and extralinguistic factors of style formation as a manifestation of stylistic usus and individual author's style.

The purpose of literary analysis is to identify the content of a literary text as a work of art in the cultural and historical context of the era.

The proposed teaching materials are designed to help master the skills and abilities literary analysis of a literary text.

The purpose and objectives of literary analysis of the text

From the point of view of literary criticism, the text is considered as a work of art, which is formed in the wide literary and cultural-historical context of the era, reflecting a certain natural development of the literary process. The field of literary analysis includes both textual and extra-textual information: the study of the writer's worldview, the process of forming his creative personality, belonging to a certain literary direction, genre specificity of the text, compositional features, imaginative system, subject matter and problems of the work, its main pathos and artistic aesthetic originality.

All this determines the range of tasks facing the literary critic. In an effort to emphasize the originality of the literary analysis in comparison with the linguistic one, V.V. Vinogradov (1954) noted: “The linguist starts from the analysis of the verbal fabric of the work. Literary critic - from the socio-psychological understanding of character. "

Analysis of the whole text is impossible without taking into account the relationship between form and content. Meanwhile, the content plan of the text has long been studied only by literary criticism and (partly) by literary poetics, while the form of a work of art has been the object of attention of linguistics, stylistics, and linguistic poetics. However, it is only in the unity of consideration of the form and content of the text that one can cognize its artistic meaning. Defining it, ultimately, is the overall goal. different types analysis of the text, which, complementing each other, deepen the understanding of it in the mind of the reader. Each type of analysis of a literary text makes a certain contribution to the comprehension of its aesthetic content.

The purpose literary analysis is the consideration of a literary text as a work of art that has cultural and visual significance, capable of performing an aesthetic function.

Features of literary analysis of the text

What path does a literary critic who analyzes the artistic

work? Let us compare the description of this process by A.B. Yesin: the first thing that needs to be done is to read the work, not burdened with dogmas with a glance, to read it as if for the first time, while trying to find out what the writer is talking about to you personally. Then follows the usual path for literary studies: interpretations in the first approximation and purposeful analysis-re-reading, which aims to correct, expand and kill the primary interpretation.

Secondly, and this is the most important and practically necessary, it is necessary to determine the content dominants of the work, those properties artistic content, which unite all the elements, is the problem-semantic core that ensures the systemic-integral unity of the content.

And, finally, thirdly, to check the correctness of the interpretation, one should turn to the analysis of the poetics of the given work, to the originality of its style, to the search for stylistic dominants ”.

In this case, we are talking about the immanent analysis of the text, according to V.V. Vinogradov. In the proposed by A.B. The essential procedure of literary analysis is attracted, firstly, by the position that is important for the modern educational sphere on the need to interpret the content of the text, entering into a dialogue with it and with other researchers. Secondly, reliance on dominants (substantive and formal) is justified.

What are dominants? "... They can become not individual artistic techniques, but only those most general properties of the work, which are, as it were, the artistic principles of constructing the whole, those organizing parameters that" permeate "all meaningful elements." The researcher classifies the types of artistic problems, varieties of pathos and the idea of ​​the work as meaningful dominants. Following this path, the literary critic rationally organizes impressions, “translates” them into a conceptual language and then complements and expands the interpretation within the framework of the direction set by the dominants.

It is quite obvious: in order to objectify his impressions, the researcher must turn to the analysis of the linguistic form and stylistic features of the text, i.e. immanent literary analysis of the text requires supplementation and linguistic substantiation.

It is no coincidence that V.V. Vinogradov spoke about two possible ways of studying a literary work: 1) "... starting from the concepts and categories of the general literary-linguistic system, from its elements and delving into the techniques and methods of their individual-stylistic use ..."; 2) "... from a complex unity to a hundred dismemberment."

In the process of literary analysis of a work, it is necessary to rely on a wide historical and literary context, i.e. immanent analysis should be complemented by projection(terms of V.V. Vinogradov). The competence of a literary critic includes knowledge of the history of the creation of a work and the literary fate of the author, his worldview and creative credo; an idea of ​​the literary process and, in particular, of the corresponding stage in the development of fiction. This important background extra-textual information will allow for a more accurate and deeper interpretation of the aesthetic meaning of the text.

It is known that a literary text allows for multiple interpretations, which depend on both the text itself and the readers' information thesaurus, the level of their spiritual, psychological and speech culture, social experience and other factors.

Sometimes a distinction is made between literary analysis "by images", "by creeps", "by the course of action." Due to the systemic organization of the text, its coherence and integrity, any type of analysis is focused on comprehending the whole artistic content of the text and does not exclude the coverage of its other aspects.

One way or another, the objective way to study the essence of the work lies through the analysis of its form, i.e. through linguistic analysis. In this regard, the method of analysis of the well-known literary critic M. Gasparov (2001) is interesting, which is based on the identification of three levels of analysis.

M. Gasparov stand out: 1) the upper level of analysis - ideological(it includes ideas and emotions, images and motives); 2) middle level - stylistic(it includes vocabulary and syntax analysis); bottom - phonic(metric, rhythm, rhyme, stanza). According to the author, analysis of the artistic world of the work refers to the highest level, the most important and "the most undeveloped level of the structure of a poetic work."

Let's summarize:

From the point of view of literary criticism, a literary text is considered as a work of art, studied in the cultural and historical context of the era.

The literary critic is interested in the belonging of the text to a certain literary direction, genre specificity, composition, figurative system, subject matter and problems of the work, its main pathos and artistic originality. Along with this, the extra-textual background is investigated: the worldview of the writer, aesthetic credo, cultural and historical era and the circumstances of the creation of the text.

The tasks of literary analysis include the study of the artistic content of a literary work.

Copyright Contest -K2
Table of contents:

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

A literary text is a way of perception and reconstruction by the author of the surrounding reality.

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

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

METHODS OF ANALYSIS OF ARTISTIC TEXT

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

The first method is to MAKE A PLAN of the work, at least mentally.

I refer you to the reviews of Alex Petrovsky, who always uses this technique. ALEX SPRAYS the text. If you describe his actions in smart words, then Alex highlights pivotal semantic points in the text and reveals their subordination. It helps to see and correct the actual and logical errors, contradictions, unsubstantiated judgments, etc.
The "translation" of the text into "own" language works very well. This is the criterion for understanding the text.

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

When the reader understands the text, he kind of presupposes. Foresees the direction of development, anticipates the thoughts of the author.
We understand that everything is good in moderation. If the plot and actions of the heroes are easily seen, it is not interesting to read such a work. However, if the reader cannot follow the author's thought at all and guess at least the general direction of its movement, then this is also a signal of trouble. The process of anticipation is violated when the logic of presentation is violated.

There is one more method - this is the STATEMENT OF THE PRELIMINARY QUESTIONS, which our esteemed Boa loves so much.

What became of it minor hero? Why did the other character do this? What is hidden behind the heroine's mysterious phrase?
It is necessary that the necessary majority of such questions be answered in the text. All storylines must be complete, mutually linked or logically cut off.

It is curious that the reader and the author move in opposite directions, as it were. The author goes from concept to structure, and the reader, on the contrary, evaluating the structure must get to the bottom of the idea.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "Kitten named Woof"? When a kitten and a puppy ate a sausage and met exactly in the middle? You will laugh, but in literature everything is exactly the same.

What dangers lie in wait for the authors = the most vulnerable link in the process. Reader - what? He snorted, closed the book and went on to himself, and the author suffers.
Strange as it may seem, there are two dangers. First, the reader did not understand the author's intention at all. The second - the reader has put in his own idea (instead of the author's, which turned out to be a side). In any case, there was no communication, no emotional transmission.

What to do? Analyze text! (back to the beginning of the article). See where the uncoordination took place, and the idea (theme \ structure \ genre) diverged from the embodiment (plot \ composition \ style \ images of characters).

CRITERIA FOR ARTISTIC WORK

They are divided into general and private.

GENERAL CRITERIA

1. The unity of the content and form of the work.

An artistic image does not exist outside a certain form. An unsuccessful form discredits the idea, may raise doubts about the truth of what was said.

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

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

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

4. Emotional capacity, associative richness of the text.

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

5. The integrity of the perception of the story.

The image appears in consciousness not as a sum of separate elements, but as an integral, unified poetic picture. M. Gorky believed that the reader should perceive the images of the author immediately, as a blow, and not ponder over them. A.P. Chekhov added that fiction should fit in a second.

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

PRIVATE CRITERIA

They relate to individual components of the work - subject matter, plot, speech of characters, etc.

EVALUATION OF THE PLOT OF THE WORK

Plot is the main vehicle that recreates the movement of events. The optimal variant can be considered when the intensity of action is determined not only by unexpected events and other external methods, but also by internal complexity, deep disclosure of human relationships, the significance of the problems posed.

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

One of the important requirements of artistry is the persuasiveness of the motivations of actions. Without this, the plot becomes sketchy and far-fetched. The author freely builds the story, but he must strive for persuasiveness so that the reader would believe him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the old hero in the new adult person.

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

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

Plot is an inherent quality of a work of art; it is a chain of events that are inevitably present in a given type of work. Events, in turn, consist of the actions and deeds of the heroes. The concept of an act includes both outwardly tangible actions (came, sat down, met, went, etc.), and internal intentions, thoughts, experiences, sometimes pouring out into internal monologues, and all kinds of meetings that take the form of a dialogue of one or several characters ...

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

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

Types of plots

There are two types of plots - dynamic and adynamic.

Signs of a dynamic plot:
- the development of the action is intense and rapid,
- the events of the plot contain the main meaning and interest for the reader,
- the plot elements are clearly expressed, and the denouement carries a huge content load.

Signs of an adynamic plot:

The development of the action is slowed down and does not strive for a denouement,
- the events of the plot do not contain any particular interest (the reader does not have a specific tense expectation: "What will happen next?"),
- the elements of the plot are expressed indistinctly or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the denouement is either completely absent, or is purely formal,
- in the overall composition of the work there are many non-plot elements that shift the center of gravity of the reader's attention to themselves.

Examples of adynamic plots are "Dead Souls" by Gogol, "The Adventures of the Gallant Soldier Schweik" by Hasek, etc.

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

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

COMPOSITION EVALUATION

Composition is the construction of a work, uniting all its elements into a single whole, it is a way of revealing content, a way of systematic organization of content elements.

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

The rules for constructing a composition of a work:
- the sequence of parts must be motivated;
- the parts must be proportionate;
- the methods of composition should be determined by the content and nature of the work.

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

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

More complicated is the technique in which we learn about an event that happened before the others at the very end of the work - this technique is called DEFAULT.
This technique is very effective, since it allows you to keep the reader in the dark and in suspense until the very end, and at the end to amaze him with the unexpectedness of the plot twist. Thanks to these properties, the default technique is almost always used in works. detective genre.

Another technique for breaking chronology or plot sequence is the so-called RETROSPECTION, when, in the course of the development of the plot, the author makes retreats into the past, as a rule, at the time preceding the beginning and beginning of the given work.
For example, in "Fathers and Children" by Turgenev, in the course of the plot, we are faced with two significant retrospections - the prehistories of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev's intention to start a novel from their youth, because it would clutter up the composition of the novel, and it seemed necessary to the author to give an idea of ​​the past of these heroes - therefore, the method of retrospection was applied.

The story sequence can be broken in such a way that events of different times are mixed; the narrative all the time returns from the moment of the performed action to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the heroes. It's called FREE COMPOSITION.

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

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

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

It must be remembered that in fiction adherence to a phased logical plan is not at all necessary, sometimes in violation of the logic of plot development one should see not a compositional flaw, but special welcome compositional construction works designed to enhance its emotional impact. Therefore, when evaluating the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.

OUTSIDE ELEMENTS

In addition to the plot, in the composition of the work there are also so-called extra-plot elements, which are often no less, if not more important, than the plot itself.

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

There are three main types of off-plot elements:
- description,
- lyrical (or author's) digressions,
- plug-in episodes (otherwise they are called plug-in novellas or plug-in plots).

DESCRIPTION is a literary image outside world(landscape, portrait, world of things, etc.) or a stable way of life, that is, those events and actions that take place regularly, from day to day and, therefore, also have no relation to the movement of the plot.
Descriptions are the most common type of off-plot elements, they are present in almost every epic work.

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

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

ASSESSMENT OF SPEECH STRUCTURES

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

When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the prevailing type.
It is necessary to analyze the fragments in terms of their correspondence to the characteristics of the type, that is, to check whether the narrative, description or reasoning is structured correctly.

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

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

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

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

There are two ways of storytelling: epic and scenic.

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

The scenic method, on the contrary, requires that events are presented clearly, the meaning of what is happening in front of the reader's eyes is revealed through gestures, movements, words actors... At the same time, the attention of readers is drawn to the details, in particular (for example, the narration of A.S. Pushkin about a winter blizzard: "Clouds rush, clouds curl ... Invisibly, the moon illuminates the flying snow ...").

The most common flaw in the construction of the story: its overload with little meaningful facts and details. It is important to remember that the significance of an event is determined not by its duration, but by its importance in terms of meaning or for the sequence in which events are presented.

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

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

The purpose of the reasoning is to deepen our knowledge about the subject, about the world around us, since the judgment reveals the internal signs of objects, the relationship of signs with each other, proves certain provisions, reveals the reasons.
A feature of the reasoning is that it is the most complex type of text.

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

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

By characterizing different ways presentation, specialists emphasize that the main part of the author's monologue speech is narration. “Narration, storytelling is the essence, soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell interesting and exciting stories "
The author's appeal to other speech structures that increase the tension of the storyline depends on the individual style, genre and subject of the image.

LANGUAGE AND STYLE ASSESSMENT
There are different styles of different types of literature: journalistic, scientific, fiction, official business, industrial, etc. At the same time, the boundaries between the styles are rather unstable, the styles of the language themselves are constantly evolving. Within the same type of literature, you can see some differences in the use of linguistic means, depending on the purpose of the text and its genre features.

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

1. MORPHOLOGICAL ERRORS:

Incorrect use of pronouns
For instance. “You have to be really lucky to win a large art canvas for a few rubles. It turned out to be a technician Alexei Stroyev. " In this case, the incorrect use of the pronoun "im" creates a second anecdotal meaning of the phrase, since it means that Alexei Stroyev turned out to be an artistic canvas.

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

Endings errors.
For instance. “A school, a bathhouse and a kindergarten will be built here next year.

2. LEXICAL ERRORS:

Inaccuracy in the choice of the word, the use of words that cause unwanted associations. For instance. "Classes are held without warning, in a family atmosphere" - Instead of "no invitation", "relaxed".

Inappropriate use of phraseological phrases.
For instance. "Our troops have crossed the line" - Instead: "Our troops have reached the line / Our troops have crossed the line."

The use of expressions in relation to animals, usually characterizing the actions of people or human relationships.
For instance. "At the same time, the rest of the bulls gave excellent daughters."

3. SYNTAX ERRORS:

Wrong word order in a sentence.
For instance. "With joy Avdeev felt his heart beat faster."

Improper control and abutment.
For instance. "More attention should be paid to the safety of young people."

The use of syntactically unformed sentences.
For instance. "Her whole little FIGURE is more like a student than a teacher."

Punctuation errors that distort the meaning of the text.
For instance. "Sasha ran around the gardens with the children, played grandmother sitting at his desk, listened to the stories of the teachers."

4. STYLISTIC ERRORS:

- "stationery" style
For instance. “As a result of the work of the commission, it was established that there are significant reserves in the further use of materials and, in this regard, their reduction in consumption per unit of production” - Instead of “The Commission found that materials can be used better and, therefore, reduce their consumption”

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

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

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

Through a well-found part, you can transfer specific traits a person's appearance, speech, demeanor, etc .; convexly and visibly describe the situation, place of action, any object, and finally, a whole phenomenon.

Artistic detail may be necessary or, on the contrary, excessive. Excessive attention to detail, typical of aspiring writers, can lead to a heap of details that interfere with the perception of the main and therefore tire the reader.

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

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

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

Black Stick

SOME THOUGHTS OF AN ORDINARY READER ABOUT ARTISTIC DETAILS

FEATURES OF ANALYSIS OF STORY AS A FORM OF ARTISTIC WORK

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

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

The story is a one-sided work, it contains one storyline. One incident from the life of the heroes, one vivid, significant scene can become the content of the story, or a juxtaposition of several episodes covering a more or less long period of time.
Too slow development of the plot, prolonged exposure, excessive details harm the perception of the story.
Although there is also the opposite case. Sometimes, with an excessive laconic presentation, new shortcomings arise: the lack of psychological motivation for the actions of the heroes, unjustified failures in the development of the action, schematic character, devoid of memorable features.

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

In a story usually does not happen a large number characters and many storylines. Overloading with characters, scenes, dialogues are the most common shortcomings of stories by novice authors.

Evaluation of a work is carried out in order to clarify the originality of a particular work.

The analysis is carried out in several aspects:

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

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

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

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

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

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

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

Information for thought.

Before you two versions of the text of the beginning of L. Tolstoy's story "Hadji Murad".

FIRST OPTION

I was returning home in the fields. It was the very middle of summer. The meadows were cleared away and they were just about to mow the rye. There is an adorable selection of colors of this season: fragrant cereals, red, white, pink, love-not-love. pink fluff plantain and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wildflowers with their subtlety of decoration and slightly noticeable, not for everyone, their delicate and healthy scent. I picked up a large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, the sort that we call a Tatar and which the mowers diligently mow or throw out of the hay so as not to prick their hands on it. I took it into my head to rip this burr, put it in the middle of the bouquet. I climbed down into the ditch and drove the bumblebee that had climbed into the flower, and since I had no knife, I began to tear off the flower. Not only did he prick from all sides, even through the handkerchief with which I wrapped my hand, his stem was so terribly strong that I fought with him for about 5 minutes, tearing the fibers one by one. When I tore it off, I crumpled the flower, then it was lurid and did not go to the delicate delicate flowers of the bouquet. I regretted that I ruined this beauty, and threw the flower. “What energy and strength of life,” I thought, approaching him ...

FINAL OPTION

I was returning home in the fields. It was the very middle of summer. The meadows were cleared away and they were just about to mow the rye. There is an adorable selection of colors for this season: red, white, pink, fragrant, fluffy porridge; insolent daisies; milky white with a bright yellow "love or dislike" center with its rotten spicy stench; yellow rape with its honey smell; high standing purple and white tulip bells; creeping peas; yellow, red, pink, purple, neat scabiosa; with a slightly pink fluff and a barely audible pleasant smell of plantain; cornflowers, bright blue in the sun and in "youth, and blue, and turning red in the evening and in old age; and tender, with an almond scent, immediately fading, dodder flowers. I collected a large bouquet different colors and was walking home when I noticed in the ditch a wonderful crimson, in full bloom, burdock of the sort that we call "Tatar" and which is carefully mowed, and when it is accidentally mowed, the mowers are thrown out of the hay so as not to prick their hands on it. I took it into my head to rip this burr and put it in the middle of the bouquet. I climbed down into the ditch and, having driven the furry bumblebee that had sunk into the middle of the flower and sweetly and languidly asleep there, I began to pluck the flower. But it was very difficult: not only did the stem prick from all sides, even through the handkerchief with which I wrapped my hand — it was so terribly strong; that I fought with him. about five minutes, breaking the fibers one at a time. When I finally tore off the flower, the stem was already covered in rags, and the flower no longer seemed so fresh and beautiful. In addition, due to his rudeness and luridness, he did not match the delicate flowers of the bouquet. I regretted that I had in vain destroyed the flower, which was good in its place, and abandoned it. “What, however, is the energy and strength of life,” I thought, Remembering the efforts with which I tore off the flower. "How he strenuously defended and sold his life dearly."

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

Reviews

Analysis - Criticism third, positive

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

Subject elements are stages of development literary conflict(exposition, setting, development of action, culmination and denouement). The selection of these elements is possible only in connection with a conflict.

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

Literary analysis is the study of the parts and elements of the work, as well as the connections between them. There are many techniques for analyzing a piece., sometimes diametrically opposite (representatives of the "formal method" and most structuralists practically ignore the substantive aspects of the work, while scientists of the sociological and cultural studies schools, on the contrary, often neglect the analysis of the form). In addition, different literary scholars structure the literary text in different ways, which directly determines the differences in the methodology and methodology of analysis. The most theoretically substantiated and universal is the analysis that comes from the category of "content form" and reveals the functionality of the form in relation to the content. Such analysis is aimed at understanding how the content feature is expressed in certain features of the form, and vice versa - what content is hidden behind this or that formal device. This approach does not destroy the artistic integrity of the work, on the contrary, it helps to comprehend the laws of its construction, the internal essential connections in it. An important question is the question of the composition and structure of a literary work, as well as the attribution of an element (plot, collision, image of the author) to form or content. The following set of analysis elements can be proposed. Within the framework of the content: topics, problems, which contain some kind of conflict; emotionally value orientations of the entire work (in the terminology of GN Pospelov and his followers - pathos) and individual characters (tragic, romantic, satire, irony, etc.). Within the form: the depicted world, including the details of the landscape, portrait, objective world, organization features artistic speech(monologue, polyphony, specificity of the narration and the image of the narrator). A composition that includes a plot, outside plot elements, the correlation of individual images, the organization of artistic time and space (in the terminology of M.M. Bakhtin and his followers - a chronotope), such techniques as repeating antithesis, gradation, etc. The composition organizes the entire art world and reveals its subordination to a single ideological and aesthetic principle.

Analysis of the elements of the work for all its relative importance, nevertheless is an to a certain extent subsidiary... You can conduct a detailed analysis of all the elements and result in only a register, a faceless characteristic that does not bring us closer to understanding the whole. For a lively and deep analysis, it should pay primary attention not so much to the elements as to the properties of the artistic whole, to the principles of organizing the artistic text. Especially it concerns art form, in which such properties (otherwise, style dominants) are easier to find and from which, as a rule, one should begin the analysis. The typological properties of an art form include plot, descriptiveness, psychologism; fiction lifelike. Monologism and inconsistency (polyphony), verse and prose, nominative and rhetorical; simple and complex composition. The dominant properties of the content are most often the typological variety of problems and emotional value orientations. Depending on the specific case, they should be analyzed first. The synthesis is based on the results of the analysis, i.e. the most complete and correct understanding of both content and formally artistic originality and their unity. Literary synthesis in the field of content is described by the term "interpretation", in the field of form - by the term "style". Their interaction gives the maximum possible in depth understanding and experience of the work as an aesthetic phenomenon.

Literary criticism- the science of fiction, its essence and historical evolution.

In literary criticism, three main branches are distinguished - literary theory, literary history and literary criticism, and the belonging of literary criticism to literary criticism is debatable. All branches of literary criticism are interconnected. The system literary disciplines poetics is also included. The auxiliary historical disciplines include literary archival studies, paleography, textual criticism, and text commenting. Literary criticism has strong ties with other humanities: philosophy, aesthetics, folklore, art theory, psychology and sociology. The generality of the material, first of all, brings literary studies closer to linguistics.

The emergence and development of literary criticism

The origins of literary criticism date back to antiquity. In the aesthetic views of philosophers Ancient Greece and Ancient Rome, you can find the foundations of scientific ideas about literature. The works of Aristotle and Plato, who laid the foundations of idealistic aesthetics, already contained the fundamental concepts of the theory of literature. The work of Aristotle "On the Art of Poetry" was a systematic presentation of the foundations of poetics.

In the Middle Ages, the study of literature was carried out mainly in the bibliographic and commentary aspect. In the Renaissance, the works of the ancient world return from oblivion, special attention is paid to the problem folk language, which is referred to, in particular, Dante (treatise "On the speech of the people", 1304-1307), J. Du Bellay ("Protection and glorification French", 1549).

Until the middle of the nineteenth century. literary criticism developed mainly in line with philosophical and aesthetic concepts. The founder of literary criticism as historical science is considered Johann Herder (1744-1803), who “first began to consider the originality fiction different nations from the point of view of its conditioning by the circumstances of national-historical life. "

In Russia in the 1820-1830s. declared itself "philosophical criticism" ( D.V. Venevitinov , N.I. Nadezhdin), influenced by German classical philosophy. In the 1840s. Belinsky combined philosophical and aesthetic ideas with the concepts of civil service of art and social history. The literary critic, explaining the phenomena of the past, worked out the theoretical problems of realism and the nationality of literature. By the middle of the nineteenth century. v European countries a culturological approach to the study of the literature of a particular ethnic group is developing (this is connected, for example, with the emergence of such a discipline as Slavic studies). Russian science shows interest in ancient Russian literature (in 1846 the book "History of Russian Literature, Mainly Ancient" was published S.P. Shevyreva).

Academic schools in literary studies

By the nineteenth century. the emergence of pan-European methodological schools, primarily the mythological school (its leading representatives - the brothers J. and V. Grimm). The mythological school arose on the wave of interest in mythology and folklore awakened by romanticism and relied on the aesthetics of F. Schelling and the brothers A. and F. Schlegel as a philosophical basis. In Russia, in the mainstream of the mythological school, they worked F.I.Buslaev and A. N. Afanasiev who belonged to the "younger mythologists".

Supporters of the biographical method first applied French critic Sh.O. Sainte-Beuve (author of "Literary-critical portraits", vols. 1-5, 1836-1839; in Russian translation - "Literary portraits. Critical essays", 1970), considered the biography and personality of the writer as a defining moment of creativity ... This method is applied to one degree or another in modern literary criticism.

In the middle of the nineteenth century. a cultural-historical school was formed, which methodologically relied on historicism and considered a work of art as an organic imprinting of the so-called "spirit" of the people at various historical moments of its existence. The cultural-historical school was philosophically based on positivism (O. Comte, G. Spencer). The leading representative of the cultural-historical school in literary criticism is Ippolit Teng (author of “History English literature", 1863-1864). De Sanctis, V. Scherer, M. Menendez-y-Pelayo also worked in the mainstream of this school, in Russia - N.S. Tikhonravov, A.N. Pypin, N.I. Storozhenko and others. The cultural-historical school contributed in the creation of histories of national literatures (in the context of the history of social psychology and material culture peoples).

Oral research folk art and the literature of antiquity contributed to the formation of comparative historical literary criticism. Comparativists Explained the Similarity literary facts similarities in the social history and cultural history of certain peoples, as well as cultural and literary contacts between them. In Russia since the 1880s. almost all universities had departments of "general literature". In St. Petersburg, this department was headed by A.N. Veselovsky- the founder of the comparative historical method in domestic science, the author of "Historical Poetics", (1870-1906, separate edition - 1940).

V last third XIX century. emerged psychological school, which reflected the general turn of humanitarian knowledge (primarily sociology, philosophy and aesthetics) towards psychologism and the main subject of study for which was the psychological side of the creative process.The attention of this school was directed to the author's mental life, since art reflects both external and internal impressions of the creator artwork. V Western Europe the psychological school was represented primarily by the works of W. Wundt. In Russia, the ideas of the psychological direction were followed by A. Potebnya ("Thought and Language", 1862), later - by his students (D.N. Ovsyaniko-Kulikovsky, A.G. Gornfeldt, etc.).

On the the turn of the nineteenth- XX centuries. the psychological school gave way to schools of psychoanalysis. The sphere of the unconscious made it possible to explain many phenomena in art. A little later, K. Jung, who formulated the theory of the collective unconscious (archetypes), applied the principles of psychoanalysis to art in a new way. Under the influence of the ideas of K. Jung, as well as J. Fraser, the so-called ritual-mythological criticism has developed, whose representatives are busy searching in works not only mythological metaphors and assimilation, but also the reproduction of certain ritual schemes. The most fruitful ritual and mythological criticism has explored literary genres associated with their origins with ritual, folklore and mythological traditions.

In the 1910s. a formal school arose in Russian literary criticism. Its representatives contrasted the unity of form and content with the ratio of material (something presented to the artist) and form (organization of the material in the work). The “Formal School,” a Russian version of the formal method in literary criticism, included the Society for the Study of Poetic Language (OPOYAZ), the Moscow Linguistic Circle (MLK), and scholars from the Leningrad State Institute of Art History (GII). Representatives and supporters of the formal school fruitfully investigated some previously unexplored problems, including the relationship between semantics and verse construction ( Y. Tynyanov), rhythm and meter (B. Tomashevsky), plot formation (B. Shklovsky) and others. The formal school, through interaction with the Prague linguistic circle, influenced structuralism and "new criticism" representing foreign philological schools.

From interaction with sociology in literary criticism in the 1910s. a course of vulgar sociologism developed, which simplified the interpretation of historical literary process... It was represented primarily by the works of V.N. Fritsche, V.F. Pereverzev and, later, theorists of Proletkult. Pereverzev understood art only as a reflection of only the artist's class ideas. Representatives of the sociological trend sometimes replaced the analysis of a work of art only with an analysis of its subject matter, but this was the first attempt to build a new concept of the historical and literary process.

During the Soviet period, literary criticism was both a subject of scientific study and a university course, having received a high degree of institutionalization. The histories of national literatures were scientifically developed, monographic studies of the work of domestic and foreign writers were created, literary dictionaries and reference publications were published. However, the ideological attitude associated with the principle of partisanship in literature was very often a methodological obstacle to an objective analysis of one or another literary phenomenon.

Contemporary literary criticism

Modern literary criticism actively interacts with related areas of the humanities, trying to find a universal method in the field of the humanities. Hermeneutics is traditionally referred to as one of these methods. “Hermeneutic“ understanding ”is aimed at reconstructing meaning, decoding historical text in order to realize the continuity of the spiritual and cultural experience of mankind, to familiarize a new generation and new era to the past, to tradition ”. Hermeneutics, like existentialist, phenomenological, mythological criticism and receptive aesthetics and some other trends and schools of foreign literary criticism, are based on the anthropological type of constructing theoretical concepts. In the same time modern literary criticism actively uses the conceptual apparatus of various academic schools of literary criticism, but from new methodological positions. An example is the use of the terms "archetype" and "archetypal image".

Domestic literary criticism, released from the late 1980s. from ideological dogmas, actively masters a large layer of "returned names" and literary works of the so-called Russian Diaspora, trying to recreate the literary process in all its fullness and complexity. In this regard, the creation of new university courses in the history of Russian literature, primarily of the twentieth century, has become an urgent task. The already described literary phenomena are rethought from new methodological positions. Contemporary Russian literary criticism is represented by a number of research institutions, including (IMLI) and the Institute of Russian Literature (Pushkin House).

Literary analysis of the text

Literary analysis of the text involves an exploratory reading of the text of a literary work, as opposed to interpretation, with its moments of subjective assessment. Scientific consideration of a work of art is, first of all, an analysis of its structure: content and form, subject matter of the work, problematics, the ideological world, the depicted world, composition, as well as artistic speech. So, the analysis of the composition of a literary work implies the analysis of the composition figurative system, plot and conflict, isolation of plot and non-plot elements of a literary work. The picture of the depicted world consists of individual artistic details: features of a portrait, landscape, and everyday details.

The types of auxiliary analysis include, for example, the analysis of a work in the aspect of genus and genre. For example, to analyze the form of a lyric work, it is necessary to answer the following questions:

1. What genre variety does it belong to? lyric work(elegy, message, stanzas, sonnet, madrigal, etc.)?
2. What are the features compositional structure works (is it whole or consists of several parts)?
3. What are the features of the verse of a lyric work?
4. How does the lyrical mood develop in a poem?
5. How can you characterize the lyric hero of the poem?
6. What are the features of the vocabulary of the poem?

Nikolaev P.A. and other Academic schools in Russian literary studies

Nikolaev P.A. and other history of Russian literary criticism

Esalnek A.Ya. Introduction to Literary Studies

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

Literary criticism examines the text from the point of view of its content, theme, ideas, etc. Literary criticism determines which literary family the work belongs to the tradition of which literary direction it belongs, to which genre, etc.

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Municipal government educational institution

Toydin Secondary School

Paninsky municipal district

Voronezh region

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

"Literary analysis of a literary text"

Russian language and literature teacher

MKOU Toydinskaya secondary school

T.S.Khrenova

year 2013

The development of society, its spiritual and material spheres make the problem of communication extremely urgent at the present time. The role of communication has also increased in the process of formation and development of personality. Along with this, in modern Russian school great attention began to be paid to the independent cognitive activity of students, which is the basis for self-development, further active work of schoolchildren in higher educational institutions. At the same time, the majority of high school teachers are faced with the inability of students to independently research one or another learning problem, pick up required material, to refer to the works of scientists, to express reasonably their point of view on the issue of interest. Thus, schoolchildren turn out to be incapable of creative and research activities, the skills of which become necessary when studying in universities.

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

The use of the research method in the analysis of a literary text is the leading type of work in the process of studying literature in grades 5-11, as well as in extracurricular activities on the subject.

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

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

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

Literary analysis (analysis of linguistic means);

Linguistic analysis (syntax and morphology analysis).

Work on the formation of the primary skills of literary analysis of the text begins from grade 5. Observing the language and plot of fairy tales is the initial stage training in the analysis of literary text. Also in the 5th grade begins research in the lessons devoted to the study of lyric works.

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

In school research activities, the actual discovery does not occur. But this does not mean that the student and the teacher do not discover anything new. The end result is your own interpretation literary material(topics, problems), a new look at works of art... For this interpretation to take place, to be well-grounded, well-reasoned, it is important for the teacher to find a topic, a problem in the solution of which the student can say “his word”, direct the search, suggesting a research methodology. The success of a study is largely determined by the topic. Addressing the topics studied by literary criticism, classical for literary criticism, is undoubtedly cognitively useful and interesting for a schoolchild who is keen on literature.

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

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

The means of artistic expression are analyzed within the framework of the literary approach. Their absence can also be a means of expressiveness.

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

When analyzing plot construction, special attention should be paid to the use of time and place in the narrative. The space in which the action takes place can be large, or it can narrow down to the cramped boundaries of one room. Space can be real (as in a chronicle or historical novel) or imaginary. The writer also creates the time in which the action of the work takes place. It can span centuries or just hours. Time in a work can pass quickly or slowly, intermittently or continuously. It can be intensely filled with events or based on "empty", eventless. It is symbolic if the time in the work moves from spring and summer bloom to autumn sadness. This passage of time is typical, for example, for the world of Turgenev's prose.

At literary analysis the role of dialogues and monologues, portrait, landscape, interior, etc.

The analysis of characters, from this point of view, presupposes systematization, grouping. The simplest case is the division of all the characters into friends and enemies of the protagonist. In more complex works, there may be several such groups.

Outline of a lesson in literature in grade 7.

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

Goals:

• Educational:

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

• Developing:

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

• Educational:

• education of the ability to navigate in additional literature;
• education of skills and abilities of respectful attitude towards classmates, opinions of others, an objective approach to assessing other people's knowledge, adherence to disciplinary guidelines.

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

During the classes.

1. Organizing time.

Let us write down the topic of the lesson in a notebook, the epigraph to which is taken from the lines of M.Yu. Lermontov: "My soul, I remember, has been looking for something wonderful since childhood ..."

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

1. Updating.

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

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

To understand, and then expressively read a lyric work, you need to investigate it: analyze its form and content. Let us turn to the diagram of the analysis of the poem on 2 pages of the manual.

• What should we analyze in order to understand the feelings and thoughts of the author?

(Artistic means)

• What kind artistic means help the author convey their feelings and thoughts? A literary dictionary on 2 pages of manuals will help you answer this question.

So, exploring artistic means, we will understand the feelings and thoughts of the author, in other words, the author's intention.

• Whose plan should we understand today? (M.Yu. Lermontova)
• What can you say about the personality of the poet? (lonely, sad, brooding, contradictory ...)

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

I was looking for a wonderful one ... ".

For this we will examine the poem "Prayer".

1. Analysis of the poem.

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

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

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

• Why is it necessary to purify the soul? (see manual) According to the Bible, a person has

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

Write down in a notebook:Prayer is an appeal to God for the purification of the soul.

Here is one of these cleansing prayers that children used to memorize in high school.

(prayer "Our Father", see the manual) To draw the attention of the children to the prayer book, which is at the exhibition. Read the prayer aloud.

• What does a person ask in this prayer? (Bread today, forgiveness of sins, do not lead into temptation (into sin, into an unclean deed)
• From whom does he ask to get rid of? (from the evil one, i.e. the devil)

On the chalkboard: So From Darkness to Light

(seek)

Prayer is a talisman that protects a person from adversity.

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

• With what intonation is the poem read?
• What feelings does it evoke in us?

On the desk:

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

Write down quotes in a notebook:

• What mood do these words carry? (bright, joyful, affection)
• Do you understand the word "grace-filled"? (Bringing good, good)

See manual: Grace (according to the Bible).

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

1. Analysis by stanzas.

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

But there is a gap - "wonderful prayer."

• When does Lermontov's lyric hero turn to God? (in a difficult moment, when the soul is dark)

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

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

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

On the blackboard: from darkness to light

v) Let's reread the third stanza.

• What does she tell us about? What is the mood? (joy, light, light) Longing and longing are gone, they are replaced by faith, hope, tears of relief.
• What artistic means convey this state?

From the soul as a burden rolls down - a metaphor

Doubt is far away - an epithet

Easy, easy is an epithet

It is believed, it is paid - impersonal reflexive verbs

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

And besides these thoughts transmitted to our mind, Lermontov also addresses our feelings, he wants us to empathize with lyrical hero it is movement.

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

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

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

My soul, I remember from childhood

I was looking for a wonderful ...)

And he finds "miraculous" in the "living" word of prayer and poetry!

They still talk about the "living" word of Lermontov's poems. Before you are the words of D.S. Merezhkovsky (see the manual)

Who is interested in the portrait of Lermontov, poet and man, you can read books about him (Lermontov's Encyclopedic Dictionary).

1. Assignment for home: the poem "Prayer" is expressively recited by heart.