Composition of literary artwork. Element of the composition in the artwork: examples

1. Types of proposals in the text.

2. Paragraph and its structure.

Keywords: Chain connection, parallel communications, subject, rema, paragraph, microthem, microtext, paragraph zinch, commenting part.

Literature: 4,7,13,19,20,28,31.

Any text is a connection of proposals for certain rules. First of all, there is a meaningful connection between proposals. Moreover, the proposals located nearby may be connected and separated by other proposals. Semantic relations between them are different:

There are a chain and parallel connection of proposals.

For parallel communication Suggestions are not connected one with others, but are compared, while due to parallelism of structures, comparisons / opposition are possible. Features of this type of communication: the same order of words; members of the sentence are expressed by the same grammatical forms, sometimes repetition of the first word; The means of communication can be rhetorical figures (rhetorical question, exclamation, appeal); Parallel relationship can intensify with introductory words ( first, secondly, finally); Frequently used adverbs ( right, behind, there) and time ( first, then), follow-up turns, put supply offers. Parallel communication is very often found in poetry. In many texts with parallel bond, this (theme) is the first sentence, and the new (Rem) is all subsequent, they all specify, develop the thought expressed in the first sentence. Suggestions in texts with such a connection typically have the same structure, i.e. Syntax is the same type, parallel.

IN chain bond The main thing is to repeat the keyword, replacing it synonymous with synonymous turnover, pronouncing, repeating a particular member of the sentence. Communications can be carried out by semantic correspondences / associations.

A parallel connection between text parts can be combined with chain elements that are not basic in such cases. In addition to parallel and chain, there are other types of communication, less common.

Large texts consist of paragraphs, chapters, sections. But the text is both a small passage from the work, if it has signs of text (semantic and grammatical connectivity, integrity and relative completion).

Parts of the text have their own constructions. The rules for building a sentence examines the syntax. According to certain rules, paragraph is built.

Paragraph: 1) indent at the beginning of the line, red row; 2) part of the text between two retreats.

Proposals that make up the paragraph are grouped around the microthem (the smallest component general theme). A part of the text in which the microthem is revealed is called a microtext. The paragraph serves to highlight the microthema. Proposals in paragraph are closely related to each other logically and graphically. Each new paragraph reflects any stage in the development of action, feature of the description, reasoning.

Paragraph structure:

1.Abzatny zinch is the main part of the paragraph, reflecting its most important content. Usually this is the first sentence of paragraph.

2. The commenting part is the subsequent paragraph proposals. They disclose, explain, comment on what is in the first sentence.

Paragraph zinch text must be logically homogeneous, interrelated, to constitute a single whole. If there is no such unity, it means that errors are allowed in the construction of paragraphs or in determining their boundaries. A proposal that has a secondary value in the subsequent text or a little connected with it in content, can also be the beginning of paragraph. According to the expression of Academician L. Shcherba, paragraph "deepens the previous point and opens up completely new move Thoughts. "

Questions for self-control:

What is the structure of paragraph?

How to determine the correctness of the division of text on paragraphs?

List the features of the chain and parallel communication of proposals in the text.

Composition, plot.

1. The effect of the composition. The outer and inner side of the composition. Plot. Fabul.

2. Sudeurous and outworking elements.

3. Wides and methods of composition.

Keywords: Exposure, tie, development, climax, omission, outwork elements, plot, plot, types of composition.

Literature: 4,7,13,19,20,28,31

Composition (from lat. Composition - an essay, compilation, compilation) - an external and internal ideological and artistic connection of all elements of the text. The outer side of the composition is the division of text on the chapters, parts, plot and extrapty elements. The inner side of the composition is a grouping of the images of the artwork and the structure of a separate image (methods of creation).

The following elements are allocated in the composition:

1. Exposion (from lat. Exposition - the presentation, explanation) - the image of the life of the characters during the period directly preceding the string.

2. The tie is the moment of the development of events, the beginning of the emergence of the conflict.

3. Development of action is the main part of the plot (nature development in action), in which the conflict movement occurs, its exploration.

4. Culmination (lat. Culmen - Top) - the moment of maximum voltage, limiting exacerbation of contradictions.

5. Delivery is the moment that the end of the events putting them.

There are also empty elements - elements of the plot that do not show the character in the main action.

Each type of text has its own composite features:

1. Narration It can begin immediately from the tissue or junction, there may be other retreats from chronology. However, for all narrative texts, the tie, climax, junction are common.

2 .. The most characteristic elements descriptions: general ideas About the subject, individual signs of the subject, the author's assessment, conclusion, conclusion.

3. Reasoning Includes the thesis (thoughts expressed by anyone), proof / refutation (arguments / counters), accompanied by examples, withdrawal (conclusion).

Narration, description, reasoning is often associated with certain types of literature. The text of the epic literary work (except direct speech characters), description is used in different types literature, reasoning prevails in scientific texts. However, this division is very conditional.

All listed features of the composition are primarily in appearance to the texts epic. As for lyrics, here we rarely find a detailed plot, a description of the event of events. Circumstances often act here in the form of individual facts not constituting a single chain. The composition of each literary work is unique. General trends depend on the belonging of a lyrical product to one of the following types:

1) own lyrical work in which lyrics prevail, i.e. Emotionally painted reflections and experiences of the lyrical hero. Composite is a flow of verbal statements that replace each other, demonstrating the movement and dynamics of thoughts and moods ("Oh, spring without end and without edge ..." A. Block, "I go along the streets of noisy" A.S. Pushkin).

2) emotional and Picture Type Lyrics. Here there is an alternation of facts, impressions and emotional reactions of the lyrical hero, which can be ordered ("Sail" M. Lermontov) or not. Often, an emotional charge makes itself felt at the end of the text ("October 19" A. Pushkin).

3) from learning, or narrative type of lyrics. Here, the composition can be almost plot ("squeezed his hands under the dark veil ..." A.Akhmatova), or the change of facts and the course of events may not be expressed according to the composite, the main is emotional saturation, the mood expressed with the help of language expression.

Questions for the SRS:

Give the definitions of the external and inside of the composition, plot, fabul.

List the plot elements of the composition.

Name the extrapty elements.

What is the difference between the pregnor from the prologue?

What is the difference between the last story from the epilogue?

Name the compositions known to you.

What kind composite receivers You know?

Comment on the "Composite Unity of the Work" scheme.

Composition of literary and artistic work. Traditional composite techniques. The default / learning, "minus" - and opposition. INSTALLATION.

The composition of the literary work is the mutual correlation and the location of the units of the pictures and artistic and speech funds. The composition performs the unity and integrity of artistic creations. The foundation of the composition is an orderly as a fictional and writer depicted reality.

Elements and levels of composition:

• the plot (in understanding the formalists - artistically processed events);
• character system (their relationship between them);
• narrative composition (change of narratives and point of view);
• composition of parts (related ratio);
• the ratio of the elements of narration and descriptions (portraits, landscapes, interior, etc.)

Traditional composite techniques:

• repeats and variations. Serve the allocation and focusing of the most significant moments and links of the subject-speech tissue of the work. Direct repetitions were not simply dominated in historically early song lyrics, but also made her creature. Variations are modified repeats (description of the protein in the "tale about Tsar Saltan" Pushkin). The reinforcement of the repeat is referred to as gradation (increasing the adheses of the old woman in the "Fairy Tale of Fisherman and Fish" Pushkin). The repetists also include anathematics (unity of) and epifiphs (repeated endings of the structure);
• and opposition. At the origins of this reception - the shaped parallelism developed by Veselovsky. Based on the conjugation of nature phenomena with human reality ("Stelcut and goes / in the meadow Grass Shelkov / kisses, love / Mikhail his wife"). On the comparisons of similar are based, for example, the plays Chekhov, where the overall life drama of the depicted medium is primarily, where there is neither completely right or completely guilty. The opposition takes place in fairy tales (hero - pest), in the "grief from the mind" of Griboyedov between Chatsky and "25 fools", etc.;
• "Mistower / recognition, minus reception. The defaults are beyond the detailed image. Make the text more compact, activate the imagination and strengthen the interest of the reader to the depicted, sometimes its intriguing. In some cases, the defaults follow the clarification and direct detection of Dotola hidden from the reader and / or the hero itself - what else Aristotle is referred to as recognition. The recognition can complete the recreated series of events, such as in the tragedy of Sofokla "Edip-Tsar". But defaults may not be accompanied by recognition, remaining spaces in the tissue of the work, artistic significant non-renewability - minus receptions.
• installation. In literary criticion of installation, it is called fixing co-and oppositions that are not dictated by the logic of depicted, but also directly capturing the copyright and association. The composition with such an active aspect is called the mounting. Spatio-temporary events and the characters themselves are linked weakly or illogical, but all depicted as a whole expresses the energy of the author's thought, its association. The assembly principle somehow exists where there are plug-in stories ("Tale of Captain Kopekin" in the "dead souls"), lyrical deviations ("Eugene Onegin"), chronological permutations ("Hero of our time"). The assembly construction corresponds to the vision of the world, differing in multiplicity and breadth.

The role and importance of the artistic part in the literary work. Suitable specificity as a composite reception.

Artistic detail - expressive detail in the work that bears a significant semantic and ideological-emotional load. The figurative form of the literary work concludes three sides: the system of details of the subject image, the system of composite receptions and speech system. The artistic details usually include objective details - life, landscape, portrait.

The detailing of the objective world in the literature is inevitable, since only with the help of parts the author can recreate the subject in all its features, causing the necessary associations from the reader with details. Detailing is not a decoration, but the essence of the image. Adding a reader mentally missing elements is referred to as concretization (for example, the imagination of some kind of person's appearance, the appearance, which is not given by the author with an exhaustive certainty).

According to Andrei Borisovich, Esina there are three large groups of details:

• plot;
• descriptive;
• psychological.

The predominance of one or another type gives rise to the corresponding dominant style property: the story ("Taras and Bulba"), the descriptions ("dead souls"), psychologism ("Crime and Punishment).

Details can both "agree with each other", and oppose each other, "argue" with each other. Efim Semenovich Dyzov proposed the typology of parts, based on the criterion: unit / set. It determined the ratio of details and details like this: the item to singleness, the detail affects the set.

Kychov believes that, repeating and gaining additional senses, the part grows into the symbol, and the detail closer to the sign.

Descriptive elements of the composition. PORTRAIT. SCENERY. INTERIOR.

The descriptive elements of the composition are customary to include landscape, interior, portrait, as well as characteristics of heroes, a story about multiple, regularly repeating their actions, habits (for example, a description of the usual routine of the Heroes Day in "Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" Gogol ). The main criterion of the descriptive element of the composition is its static.

Portrait. Character portrait - a description of its outfit: bodily, natural, and in particular age properties (features of the face and figure, hair color), as well as all that in the guise of a person, which is formed by the social environment, cultural tradition, individual initiative (clothes and decorations, hairstyle and cosmetics).

For traditional high genres, idealizing portraits are characterized (for example, Pole in Taras Bouvube). A portrait painting in the works of a laughing, comedian-farce character, where the portrait center is a grotesque (transforming, leading to some udilism, inconsistency) feeding the human body.

The role of portrait in the work will be divided depending on the kind, the genre of literature. In drama, the author is limited by an indication of age and general characteristics data in remarks. In the lyrics, the maximum use of replacing the description of the appearance of the appearance of it is used. Such a replacement is often accompanied by the use of epithets "beautiful", "adorable", "charming", "captivating", "incomparable." Here are very actively used by comparisons and metaphors based on abundance of nature (slender mill - cypress, girl - birch, buggy lan). Gems And metals are used to transfer shine and color of the eyes, lips, hair. Characterized by comparisons with the sun, the moon, gods. In Epos, the appearance and behavior of the character are related to its character. Early epic genres, such as heroic fairy tales, are saturated with hyperbolized examples of character and appearance - perfect courage, extraordinary physical strength. The behavior is also the corresponding - majesty of poses and gestures, solemnity of a leisurely speech.

In creating a portrait right up to end of XVIII in. The leading trend remained its conditional form, the predominance of the total over private. IN xIX literature in. You can select two main types of portrait: exposure (static) and dynamic (passing to all narration).

An exposure portrait is based on a detailed list of details of the face, shapes, clothes, separate gestures and other will take appearance. It is given on behalf of the narrator interested in the character appearance representatives of some social generality. A more complex modification of such a portrait is psychological picturewhere the features of appearance are dominant indicating the properties of character and inner world (non-laughing eyes of Pechorin).

Dynamic portrait Instead of detailed listing, the features of the outside implies a brief, expressive detail arising in the course of the narrative (the images of the heroes in the "peak lady").

Scenery. Under the landscape it is more correct to understand the description of any unlocked space. external world. The landscape is not a mandatory foundation of the artistic world, which emphasizes the conventionality of the latter, as in the surrounding reality of the landscapes everywhere. The landscape carries several essential functions:

• designation of the place and time of action. It is with the help of the landscape reader can clearly imagine where events occur. In this case, the landscape is not a dry indication of the space-time parameters of the work, and artistic description using a figurative, poetic language;
• scene motivation. Natural, and, in particular, meteorological processes can send the plot in one direction or another, mainly if this plot is chronic (with the championship of events that do not depend on the will characters). A lot of place landscape is in animal literature (for example, the works of Bianki);
• form of psychologist. The landscape creates a psychological attitude of the text perception, helps to reveal the internally state of heroes (for example, the role of the landscape in the sentimental "poor Lisa");
• the form of the author's presence. The author may exercise his patriotic feelings, giving a landscape a national originality (for example, Esenin's poetry).

The landscape has its own characteristics in different kinds of literature. In drama, it is represented very scoop. In the lyrics, it is emphasized expressive, often symbolized: impersonation, metaphors and other trails are widely used. The epic is much more opportunities for the introduction of the landscape.

The literary landscape has a very branched typology. There are a rustic and urban, steppe, marine, forest, mountainous, northern and southern, exotic - opposed flora and the fauna of the author's native edge.

Interior. The interior, unlike the landscape, is an image of interior premises, a description of the closed space. It is used mainly for the social and psychological characteristics of the characters, demonstrates the conditions of their lives (Room Skolnikov).

"Narrative" composition. Narrator, narrator and their correlation with the author. "Point of view" as a category of a narrative composition.

The narrator is the one that reports to the reader about the events and actions of the characters, fixes the course of time, depicts the appearance of the acting persons and the situation of action, analyzes the inner state of the hero and the motives of his behavior, characterizes it human typewithout being a member of events, nor an image object for any of the characters. The narrator is not a face, but a function. Or, as Thomas Mann spoke, "anonymous, disembodied and omnipresent spirit of the narrative." But the narrator function can be attached to the character, provided that the character will not coincide as a narrator as a narrator, as with the actual person. So, for example, the narrative Grineal in the "Captain Daughter" is by no means a certain person, as opposed to the Grinevo to the acting person. The Green House view of what is happening is limited by the terms of the place and time, including the features of age and development; It is much deeper by his point of view as a narrator.

In contrast to the narrator, the narrator is entirely inside the depicted reality. If no one sees the narrator inside the pictured world and does not imply the possibility of its existence, the narrator necessarily enters the horizons or the narrator, or the characters - the listeners of the story. The narrator is a subject of an image associated with a specific socio-cultural environment, from the position of which he depicts other characters. The narrator, on the contrary, is close to the author of the Creator.

In the broad sense, the narrative is a combination of those statements of speech subjects (narrator, narrator, the image of the author), which carry out the functions of "mediation" between the world and reader - the addressee of the entire work as a single artistic statement.

In a narrow and more accurate, as well as a more traditional meaning, the narration is a set of all speech fragments of the work containing a variety of messages: about events and actions of the characters; about spatial and time conditions in which the plot is deployed; On the relationships of the acting persons and their motives of their behavior, etc.

Despite the popularity of the term "point of view", its definition caused and raises a lot of questions. Consider two approaches to the classification of this concept - at B. A. Uspensky and B. O. Kaman.

Uspensky speaks about:

• an ideological point of view, understanding the vision of the subject in the light of a certain worldview, which is transmitted in different ways, indicating its individual and social position;
• a phraseological point of view, understanding under it use by the author to describe different heroes of various languages \u200b\u200bor in general elements of someone else's or substituted speech when describing;
• a spatial-time point of view, understanding the location of the story of a narrator, which can coincide with the place of the character, which can coincide with the place of the character, which is fixed and defined in the space-time coordinates;
• the point of view in terms of psychology, understanding the distinction between two possibilities for the author under it: referring to this or that individual perception or strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Assumption and is psychological.

Korman is closest with Assumption about a phraseological point of view, but he:

• distinguishes the spatial (physical) and temporary (time position) point of view;
• the ideological and emotional point of view on the straight-estimated (open, liable for the text of the text, the relationship of the subject of consciousness and the object of consciousness) and indirectly estimated (author's assessment, not expressed in words that have an obvious assessment value).

The lack of the approach of Korman is the absence of a "Plan of Psychology" in its system.

So, the point of view in the literary work is the position of the observer (narrator, narrator, character) in the world shown (in time, space, in the socio-ideological and language medium), which, on the one hand, determines its horizons - as in relation to volume ( field of view, degree of awareness, level of understanding) and in terms of evaluation of perceived; On the other hand, expresses the author's assessment of this subject and its horizons.

Literature and library studies

The structure of the literary work is a kind of structure of the work of verbal art of its internal and external organization. A method of communication of the components of its elements. The presence of a certain structure ensures the integrity of the work its ability to embody and transmit content expressed in it. Basically the structure of the artwork is such: the idea is the main idea The works in which is expressed by the attitude of the writer to the depicted phenomena.

The structure of the artwork.

Artwork is an object with aestheticvalue, material product of artistic creativity, conscious human activity.

The artwork is a complex integer. It is necessary to know its internal structure, and that is, to allocate its individual components.

Structure of RA Literature it's some kind oftrojery of the work of verbal art, its internal and external organization, a method of communication of the components of its elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and transmit content expressed in it. And that is, it is very important in the work.

Basically the structure of the artwork is as follows:

Idea - This is the main idea of \u200b\u200bthe work, which expresses the attitude of the writer to the depicted phenomena.General, emotional, figurative thought underlying the artwork. For what this work is written.

Plot - This is a combination of events and relations between the actors of the work, developing in the work in time and space. Simply put, this is what the work is written about.

Composition - Internal organization of the artistic work, the construction of episodes, main parts, system of events and patterns of characters.

The composition has its own major components:

Exposition - Information about the life of the characters before the development of events. This is an image of those circumstances that make up the background of action.

Tie - An event that aggravates or creates contradictions leading to conflict.

Development of action - This is the identification of relationships and contradictions between characters, further deepening conflict.

Culmination - the moment of maximum voltage of action, aggravation of the conflict to the limit. In the climax, the goals and characters of heroes are best.

Junction - a part in which the conflict comes up to its logical permission.

Epilogue - Image of events after a certain time interval after the junction.

Conclusion - Part of the final work that reports additional information about the heroes of the work, drawing a landscape.

With the usual reading of the work, this structure is not traced, and we do not notice any sequence, but when detailed Analysis Text can be easily identified.

Thus, it can be said that it is impossible to write a work and interest the reader to them without a certain structure. Although we read it do not notice any building, but, nevertheless it plays very important, or even one of the most important roles in writing a artistic work.

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The composition is a peculiar program of the process of perception by the reader. The composition makes an integer from individual parts, the arrangement itself and the ratio of artistic images expresses the artistic meaning. What is the composition , Composite analysis of the artwork?

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Composition of an artistic work

The composition is a peculiar program of the process of perception by the reader. The composition makes an integer from individual parts, the arrangement itself and the ratio of artistic images expresses the artistic meaning.

« What is the composition? This is primarily the establishment of the center, the center of the artist, "- so wroteA.N. Tolstoy . (Russian writers about literary work. - L., 1956, Th.IV, p.491) The composition of the artwork is understood differently.

B. Shrensky States that " central problem Compositions of artwork "is"the problem of point of view" "It is assumed that the structure artistic text It can be described if you enjoy a different point of view, that is, the copyright positions with which the story is maintained (description), and explore the relationship between them. " (Uspensky B. Poetics composition. - SPb, 2000, p.16)Point of view in the literary work- "The position of the" observer "(narrator, narrator, character) in the port of the world (in time, in space, in the socio-ideological and language medium), which, on the one hand, determines its horizons - as in relation to" volume "(degree awareness) and in terms of evaluation of perceived; On the other hand, expresses the author's assessment of this subject and its horizons. " (Tamarchenko N.D., Tyu V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, T.1, p.221)

"Composition - The system of fragments of the text of the work related to the points of view of the subjects of speech and image, this system organizes, in turn, change the point of view of the reader and on the text, and on the image. " . (Tamarchhenko N.D., TUAD VI, Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, T.1, p.223) these authors allocatethree composite forms of prosaic speech

V. Kolinov believes that unit composition "It is a segment of the work, within the framework or boundaries of which one defined form (or one method, an a) of the literary image is preserved." "From this point of view, in the literary work, it is possible to distinguish elements of dynamic narrative, static description or characteristics, character dialogue, monologue and the so-called internal monologue, a letter of character, author's remark, lyrical retreat ...Composition - Communication and ratio of individual forms of images and scenes. " (Kolinov V.V. Plot, Fabul, Composition. - In the book: Theory of Literature. - M., 1964, p.434)Large unit composition - Portrait (complied with separate elements of narration, descriptions), landscape, conversation.

A.Yesin Gives such a definition: "Composition - This is the composition and a certain arrangement of parts, elements and images of the work in some significant time sequence. " (Esin A.B. Principles and receptions of analyzing a literary work. - M., 2000, p.127) He highlightsfour composite receptions: Repeat, strengthening, opposition, installation.

Repeat - roll call between the beginning and end of the text, or a repeating item as a leitmotif of the work, or rhyme. Strengthening - selection of homogeneous images or details. Contrastration - antithesis of images. Installation - two neighboring images give rise to a new meaning.

V. Khalizhev calls such composite techniques and means: repetitions and variations; motives; close-up, general plan, defaults; point of view; co-and opposition; installation; Text temporary organization. (Khalizhev V.E. Theory of literature. - M., 2005, p.276) "Composition The literary work, which makes up the crown of his form, is the mutual correlation and location of the units of the pictured and artistic and speech funds. "

(Khalizhev V.E. Theory of literature. - M., 2005, p.276)

N.Nikolina highlights different aspects of the composition: architectonics, or external text composition; character image patterns; shift points of view in the text structure; System of details; extrapty elements. (Nikolina N.A. Philological Analysis of Text. - M., 2003, p.51)Composition Organizes the entire artistic form of text and operates at all levels: a figurative system, system of characters, artistic speech, plot and conflict, extra warfare.

"Composition - Building a artistic work due to its content, character and appointment and largely determining his perception. The composition is the most important, organizing the component of the artistic form, which gives the work of unity and integrity, coencing its elements to each other and the whole. " (Big Soviet Encyclopedia - M., 1973. T.1.12. Article 1765.-C.293)

The reader perceives the text, first of all, through the features of its construction. Wide view byinstallation as the principle of docking elements of the whole It is based on the understanding of the composition. S. Eisenstein argued: "... The composition of the composition always remains the same. In all cases, its main determinant remains primarily the author's attitude ... The decisive elements of the composite system are taken by the author from the basics of their attitude to the phenomena. It dictates the structure and characteristic that the image itself is deployed. " (Eisenstein S. Selected works. In 6 T. T3. - M., 1956, -c.42)

The composition of the literary work is based on such the most important category Text, asconnectivity. In the same time reints and opposition (Contrastration) Determine the semantic structure of the artistic text and are essential compositional techniques.

Linguistic theory of composition originated at the beginning of the 20th century.V.V. Vinograd wrote about the verbal, language composition. He put forward an understandingcomposition Artistic text "As a system of dynamic deployment of verbal rows in a complex verbal-artistic unity"

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p.49) components of the language composition are verbal ranks. "Sloveny - This is the sequence presented in the text (not necessarily continuous) of the linguistic units of different tiers, a combined composite role and correlation with a certain area of \u200b\u200blanguage use or with a certain application of the construction of the text ". (Gorshkov A.I. Russian Stylistics. - M., 2001, p.160)Language composition - This is a comparison, opposition and alternation of verbal rows in the artistic text.

Types of composition.
1. Logging
2.Sercal
3.Linear
4.Maole
5. Stripping
6.Found
7.Copted, etc.
Types of composition.
1. Forcessed (linear).
2. Subject (transformation).
Scene elements

Culmination

Development of fall

Actions

Exposition Zaguka Epilogue

Empty elements

1. Description:

Scenery

Portrait

3. Last episodes

Strong positions of text

1. Note.

2. Epigraph.

3. And the end of the text, chapter, part (first and last sentence).

4. Slov in the rhyme poem.

Drama composition - Organization dramatic action in time and in space.
E. Cholodov

IPM - 2.

Composite analysis Artistic work

Composite analysis In accordance with the style of the text, the most productive in working on a literary work.L.Kida writes that "all components artistic structure (facts, set of these facts, their location, character and method of description, etc.) are important not by themselves, but as a reflection aesthetic program (Thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and evaluation. " (Kaida L. Composition Analysis of Artistic Text. - M., 2000, p.88)

V.Dintsov argued that "only aware general principle Construction of the work, you can correctly interpret the functions of each element or text component. Without this, the correct understanding of the idea, the meaning of the whole work or its parts is inconspicuous. (Odintsov V. Stylistics of text. - M., 1980, p.171)

A.Yesin says "Starting the analysis of the composition of a whole work requiredsupported points ... The points of the greatest reader voltage we will be called the support points of the composition ... Analysis of the reference points is the key to understanding the logic of the composition, and therefore the entire internal logic of the work as a whole. " (Esin A.B. Principles and receptions of the analysis of the literary work. - M., 2000, p.51)

Support points composition

1. Culmination
2. Junction
3. Peripetia B. fate Hero
4. Strong positions of text
5. Spectacular artistic techniques and means
6. Reints
7. Opposition

Analysis object Different aspects of the composition are: architectonics, or external text composition (chapters, paragraphs, and the like); Character image patterns; shift points of view in the text structure; The system of parts presented in the text; Relationship with each other and with the other components of the text of its extrapty elements.

It is necessary to take into account variousgraphic discharge, Reversals of language units of different levels, strong positions of text (title, epigraph, beginning and end of text, chapter, parts).

"When analyzing the overall composition, the work should first of all determine the relationship between the plot and the extralectual elements: which is more important - and, on the basis of this, continue the analysis in the appropriate direction." (Esin AB Principles and Receives Analysis of the Literary Work. - M., 2000, p.150)

The concept of the composition of the text is effective at two stages of analysis: at the stage of acquaintance with the work, when it is necessary to clearly imagine his architectonics as an expression of copyright, and at the final stage of analysis, when intrath-buttles are considered different elements works; Receives to build text (repetitions, leitmotifs, contrast, parallelism, installation and other).

« To analyze the composition of the artistic text you need to be able to: allocate in its structure significant for interpretation of the work repeats, which serve as the basis of cohesion and coherence; identify semantic roll calls in parts of the text; allocate language signals marking composite parts of the work; correlate the features of the membership of the text with its content and determine the role of discrete composite units in the composition of the whole; establish the connection of the narrative text structure ... with its external composition. " (Nikolina N.A. Philological analysis of text. - M., 2003, p.51)

When studying the composition, the generic features of the work should be considered. Composite analysis of poetic text may include such, for example, operations.

Composite analysis of poetic text

1.Stabs and poems. Microtem of each part.

2. language composition. Key words, verbal rows.

3.composition techniques. Repeat, strengthening, antithesis, installation.

4. Sex text position. Title, epigraph, first and last sentences, rhymes, repetitions.

Prosecutic text analysis

1. On text (microthelems), plot scheme.

2. The sound points of the composition.

3. The protesters and opposition.

4.Composition techniques, their role.

5. Sex text positions.

6.Yu-language composition. Key words, verbal rows.

7.Vide and type of composition.

8.Rol episode in the text.

9. The characteristic characteristics of the characters.

10. The change of points of view in the text structure.

11.In the organization of the text.

1. Announced architectonics. Acts, actions, phenomena.

2. Development of action in time and in space.

3. Role plot elements in the text.

4. Remarks remarks.

5. Picture grouping characters.

6.Ssentee and insignificant characters.

Analysis of the episode of prosaic text

What is an episode?

The assumption of the role of an episode in the work.

Compressed fragment retelling.

Episode place in text composition. What fragments before and after? Why exactly here?

Place episode in the plot of works. Exposition, tie, climax, development, omission, epilogue.

What are the topics, ideas, the problems of the text were reflected in this fragment?

Alignment of characters in the episode. New in the characters of heroes.

What is the subject of the work? Landscape, interior, portrait. Why in this episode?

Episode motifs. Meeting, dispute, road, sleep, etc.
Association. Biblical, folklore, antique.
From whose name is the story? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Language means of artistic image. Trails, figures.
Output. The role of the episode in the work. What are the topics of works develop in this episode? The value of the fragment to disclose the idea of \u200b\u200bthe text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Ithological.
Episode reveals independent state Character.
3.Good.
Episode shows a new turn in the relationship of heroes
4. Price.
The author gives the characteristic of the character or events.

IPM - 3.

Program

"Study of the composition of artistic

Works in literature lessons in 5 - 11 classes "

Explanatory letter

The relevance of the problem

The problem of the composition is the center of the study of artwork. The composition of the artistic work is understood in different ways.

B. Shupnsky claims that the "central problem of the composition of artwork" is the "point of view". V.Korinov writes: "The composition is the relationship and the ratio of individual forms of the image and scenes." A.Sene gives such a definition: "The composition is the composition and a certain arrangement of parts, elements and images of the work in some significant time sequence."

In linguistics, there is also a theory of composition. Language composition is a comparison, opposition, alternation of verbal rows in the artistic text.

Composite analysis in accordance with the style of the text is most productive in working on a literary product. L.Kaida says that "all the components of the artistic structure are important not by themselves, but as a reflection of the aesthetic program of the author, which selected the material and processed it in accordance with his understanding, attitude and assessment."

The purchase path of the readership qualifications is an independent deep aesthetic analysis of the artistic text, the ability to perceive the text as a sign system, the work - as a system of images, to see ways to create an artistic image, to have pleasure from the perception of text, want and be able to create their interpretations of artistic text.

"The structure of the artistic text in this case (analysis) acts as a" dead "object of the study: in the text it is possible to allocate elements, compare them with each other, compare with elements of other texts, etc. .... Analysis helps the reader find answers to questions: "How is the text?", "What elements it consists of?", "For what purpose, the text is built so, and not otherwise?" - writes Lavlinsky S.P.

Goal and tasks

Development of readership culture, understanding copyright; figurative and analytical thinking, creative imagination.

• Know the concept of "composition", "composite techniques", "compositions of composition", "compositions of the composition", "language composition", "composite forms", "support points of the composition", "plot", "plot elements", "outworking elements" , "Conflict", "Strong Positions of Text", "Literary Hero", "Moting", "Fabul", "verbal techniques of subjectivation", "Types of narration", "System of images".
• To be able to perform a composite analysis of prosaic text, poetic text, dramatic text.

Grade 5.

"The narration. The initial concept of O.plot and conflict in epic work, portrait,building a work" (Bogdanova O.Yu., Leonov S.A., damn V.F. Methods of teaching literature. - M., 2002, p.268)

Verse and stanza.

Strong positions of text: Name, epigraph.

Text plan, microthem.

Composite techniques: Repeat, opposition.

Scene elements: Proprietary, development, climax, falling, junction.

The structure of the folk magic fairy tale (according to V.PropPa).

"Propap maps"

1. Elevice of someone from family members.

3. Prohibition.

4. Entering.

5.Midden.

6.like.

7.newnym.

8. Independentity (or shortage).

9.Production.

10.Contently opposition.

11. Hero leaves the house.

12. The deer is experiencing a hero.

13. The ring reacts to the actions of the future donor.

14. Putting the magic agent.

15. The ring is transferred, delivered, is driven to the place of "finding" the items of the search.

16. The hero and antagonist come into fight.

17. Heroye.

18. Theantagonist is defeated.

19. Grade or shortage are eliminated.

20.Arprove the hero.

21. The ring is persecuted.

22. The ring is saved from the persecution.

23. The ring is unrecognized home or to another country.

24.In the Hero places unreasonable claims.

25. The mino is proposed a difficult task.

26.Fasting is solved.

27. Heroy will find out.

28. Such a hero or antagonist is issued.

29. The game is given a new appearance.

30. The doctor is punished.

31. The ring comes into marriage.

Plot folk magic fairy tale

1. Zacchin. Exposure: The situation before the start of action.

2. Sound: The hero is faced with a new situation (sabotage, shortage, hero leaves the house).

3. Development of the action: the hero goes into the path, crosses the border of another world (donor, magic agent).

4. Culmination: Hero between life and death.

5. Playing actions: tense moments.

6. Issue: resolution of contradictions (wedding, hero's accession). Ending.

Methods of inventing stories (according to D. Terry)

• Binin fantasy.
• Limerick.
• Riddle.
• Poppa cards.
• Tale inside out.
• Old fairytale In a new vein.
• Material for character.
• Salad of fairy tales.
• Continued fairy tale.
• Fantastic hypothesis.

"Fantastic hypothesis"

What would happen if ...? We take anyone subject to and levy - their combination and gives a hypothesis. What would happen if our city suddenly turned out to be among the sea? What would happen if money would have disappeared all over the world?

What would happen if a person suddenly woke up in the indulgence of an insect?

This question answered F. Kafka in the story "Transformation".

"Limerick"

Limerick (English) - nonsense, nonsense. The most famous Limerics E.Lira. The diagram of the Limerick structure is.

The first line is a hero.

The second line is the characteristic of the hero.

The third and fourth lines are the actions of the hero.

The fifth line is the final characteristic of the hero.

He lived yes there was an old male,

Visitory grandfather and hard,

On the deck he sat,

Frog song sang,

Empty old marsh.

E. Lir.

Another version of the Limerick structure is possible.

The first line is the choice of the hero.

The second line is the actions of the hero.

The third and fourth rows are the reaction of the surrounding hero.

Fifth string - output.

Old grandfather in a granome lived,

He went on tiptoe.

All in a mixer:

Incrypt with you!

Yes, a wonderful old man in a girlfriend lived.

D. Terry

"Riddle"

Construction of the riddles

Choose any item.

The first operation is a precision. Let us give such a definition as if we see it for the first time in my life.

Second operation - Association and comparison. The object of the association is not an object as a whole, but one of its characteristics. For comparison, choose another subject.

The third operation is the choice of metaphor (hidden comparison). We give the subject metaphorical definition.

The fourth operation is an attractive form of riddles.

For example, come up with a prayer in a pencil.

First operation. Pencil is a wand that leaves a trace on a light surface.

Second operation. Light surface is not only paper, but also a snowy field. The pencil trail reminds the path on a white field.

Third operation. Pencil is something that he watches the black path on a white field.

Fourth operation.

He is on white - white field

Leaves a black mark.

"Tales inside out"

Great pleasure to everyone delivers the game to transiety fairy tales. Perhaps intentional "turning inside out" a fabulous topic.

The Red Hat is evil, and the wolf is kind ... The boy - the finger speaking with the brothers to escape from the house, throw the poor parents, but they sank his pocket and poured back rice ... Cinderella, a cracked girl, mocked her wonderful stepmother, beat off his groom ...

"Continued fairy tales"

Tale ended. And what happened then? The answer to this question will be new fairy tale. Cinderella married a prince. She, slightly, in a fearful apron, forever sticks out in the kitchen at the stove. Such a wife prince tired. But the fun can spend time with her sisters, an attractive stepmother ...

"Salad of fairy tales"

This is a story in which the characters of various fairy tales live. Pinocchio was in the house of seven dwarfs, became the eighth odds of Snow White ... A red cap met the boy in the forest - with - finger and his brothers ...

"Old fairy tale in a new vein"

In any magic fairy tale, you can change the time or place of action. And the fairy tale will acquire an unusual color. The adventure of the kolobka in the XXI century ...

"Material for character"

From the characteristic features of the character, you can logically with its adventure. Let the hero be a glass man. Glass transparent. You can read the thoughts of our hero, he cannot speak in a lie. Thoughts can be hidden, only putting the hat. Glass fragile. Everything around should be upholstered, handshake canceled. The doctor will be glasses ...

A wooden man should be fear of fire, and in the water he does not sink ...

A man from ice cream can only live in the refrigerator, and his adventures occur there ...

"Binin Fantasy"

Take any two words. For example, dogs and a wardrobe. There are such options for the connection of words: the dog with a wardrobe, the PSA cabinet, the dog on the closet, dog in the closet, etc. Each of these paintings serves as the basis for inventing history. On the street runs the dog with a wardrobe on his back. This is his booth, he always pulls her on himself ...

In grade 5, "the teacher introduces schoolchildren with the construction of fairy tales, dialogue and monologue, a stories plan, an episode, forms the initial concept of literary hero. Putting structural elements The concepts of the "literary hero", children learn to allocate the appearance of the appearance of the hero, its actions, relationships, characterize the experiences, addressing the descriptions of nature, surrounding hero The settings. " (Snezhnevskaya M.A. Theory of literature in 4 - 6 classes of high school. - M., 1978, p.102)

6th grade

« Primary concept of composition. Development of the concept of the portrait of the literary hero, landscape. (Bogdanova O.Yu., Leonov S.A., damn V.F. Methods of teaching literature. - M., 2002, p.268)

Strong positions of text: First and last sentences, rhymes, repetitions.

Language composition: keywords.

Types of composition : Ring, linear.

Scene elements: exposure, epilogue.

Empty elements: Descriptions (landscape, portrait, interior).

Scene scheme : plot elements and outwork elements.

In grade 6, you need to "get acquainted students with elements of the composition. Landscape, interior ... as a background and place of action, ... as a means of characteristics of the hero, as the necessary part of the work, due to the plan of the writer ... We draw the attention of children to the event side of the work and the image tools of the characters ... ". (Snezhnevskaya M.A. Theory of literature in 4 - 6 classes of high school. - M., 1978, p.102 - 103)

7th grade

« Development of the concept of the plot, composition, landscape, species descriptions.The role of a storytellor in the narration. "(Bogdanova O.Yu., Leonov S.A., damn V.F. Methods of teaching literature. - M., 2002, p.268)

Language composition: verbal thematic series.

Composite techniques: Strengthening.

Types of composition : Mirror, retrospection.

Neat first person. Neat from a third party.

Plot and Fabul.

Justify the role of the episode in the text.

In grade 7, "we put the task of identifying the role of the composition in the disclosure of the characters of the actors ... Building and organizing works, the presentation of events, the location of chapters, parts, the ratio of components (landscape, portrait, interior), the grouping of the actors is due to the copyright attitude towards events and heroes." (Snezhnevskaya M.A. Theory of literature in 4 - 6 classes of high school. - M., 1978, p.103 - 104)

8th grade

« Development of the concept of the plot and composition, and NTTZA as a way to build a work. " (Bogdanova O.Yu., Leonov S.A., damn V.F. Methods of teaching literature. - M., 2002, p.268)

Composite techniques: Antiteza, installation.

Types of composition: free.

Plot and motive.

Verbal techniques of subjectivation: Direct speech, improper-direct speech, inner speech.

In grade 8, not only special cases of the composition (for example, the admission of antithesis), but also establishes relations between the composition and the idea of \u200b\u200bthe work; The composition acts as the most important "visualized" agent of creating an artistic image. " (White, Snezhnenevskaya M. Study of the theory of literature in high school. - M., 1983, p.110)

Grade 9.

Types of composition: Open, default.

Empty elements: Author's retreats, plug-in episodes.

Types of composition

Comparison of episodes.

Justify the role of the episode in the text.

Subject of speech : carrier point of view.

Composition As the location of fragments of the text, which are characterized by the point of view of the author, narrator, character.

Language composition As a comparison, opposition, alternation of verbal rows.

Composition of works classicism, sentimentalism, romanticism, realism.

Composite analysis of dramatic text

In grade 9, "The concept of composition is enriched in connection with the study of works of a more complex structure; Students to some extent are mastered by the skills of composite analysis on more high levels (Systems of images, "Callery scenes", a change of point of view of a narrator, the convention of art time, building characters, etc.). " (White, Snezhnenevskaya M. Study of the theory of literature in high school. - M., 1983, p.113)

10 - 11 classes

Deepening the concept of composition.

Different aspects of the composition Art text: External composition, system shaped, character system, shift points of view, system of parts, plot and conflict, artistic speech, extrapty elements.

Composite forms: narration, description, characteristic.

Composite forms and means: Repeat, strengthening, opposition, installation, motive, comparison, "large" plan, "General" plan, point of view, temporary organization of text.

Support points composition: culmination, junction, strong positions of text, repeat, opposition, peripetia in the fate of the hero, spectacular art techniques and funds.

Strong positions of text: title, epigraph,

Main types of composition: ring, mirror, linear, default, retrospection, free, open, etc.

Scene elements: Exposition, Tie, Development of Action (Peripetia), Culmination, Disagreement, Epilogue.

Empty elements: Description (landscape, portrait, interior), author's retreats, plug-in episodes.

Types of composition : Simple (linear), complex (transformation).

Composition of works Realism, neorealism, modernism, postmodernism.

Comprehensive prose text analysis.

Composite analysis of poetic text.

Composite analysis of dramatic text.

IPM - 4.

The system of methodological techniques of training composition

Analysis of the artwork.

Methodological techniques of teaching with a composite analysis of the text generously scattered in the works of M. Rybnikova, N.Snikolina, D.Motolskaya, V.Sorokina, M.Gasparova, V.Golubkova, L.Kayda, Y.Lotman, E.Rogovser, A.ESina, G. BELENKO, M.SNEZHNEVSKAYA, V. Obanesmensky, L.Novikova, E. E.Tortex and others.

V.Golubkov It believes that on the literature lessons it is necessary to use the works of painting. "In the picture of the artist, all its components before their eyes, and the connection is easy to install. Therefore, if the teacher wants to clarify the disciples that such a composition of the literary work is best to start from the picture "(Golubkov V. Methodology of teaching literature. - M., 1962, p.185-186).

Interesting ideas can be found in books.M. Rybnikova . "Composite analysis is composed of three sides: 1) Structure of action, 2) character or other type of image (landscape, part), its construction, 3) System of images ... Take any central story scene or story and show how it is prepared by all previous and previous and How it is due to all subsequent scenes ... Take the junction ... and prove to all the progress of the action, the characters of the heroes, that this junction is natural, which can not be ... The next question is: about the rings of heroes in the work, about their neighborhood, contrasts, similarities, with help Which author makes scenes and characters bright ... "(Rybnikova M. Essays according to the method of literary reading. - M., 1985, p.188 - 191).

• Methodist cut the text of the "death of the official" Chekhov, distributed students on cards, children had in the desired sequence.
• The students constituted a plan for the story of a thick "after the Bala", determined which part of the central, retells in a horizontal order.

D.Motolskaya Proposes a whole group of methods for analyzing the composition.

1. "From the most group of acting persons, it becomes clear, what is the author's plan ... Detection of the principle of grouping of the heroes of the work will allow students to ... keep in sight a" part "and" integer "(Motolskaya D. Study of the composition of the literary work. - In Book: questions of studying the skill of writers in literature lessons in VIII - X classes, L., 1957, p.68).

2. "When analyzing the composition is taken into account ... As the writer has a storyline (whether it gives them in parallel, whether one storyline is crossed by another, whether one after another is given) ... as they relate to each other, which binds them among themselves" (p.69 ).

3. "... It seems important to find out where the exposition is given, where the portrait or characteristic acting personIn the same place there is a description of the situation, a description of nature ... why copyright arguments or lyrical deviations appear in this place of the work "(p.69).

4. "... What is given by the artist close-ups, as it would be moved to the background that the artist details what, on the contrary, writes briefly" (p.70).

5. "... Question about the system of disclosure human character: biography, monologue, spells of the hero, portrait, landscape "(p.70).

6. "... The question of whether the perception is given by one or another material ... And when the author depicts life at an angle of view of one of his heroes ... when the narrator tells ..." (p.71).

7. "In the composition of epic works ... Another role is played by the principle of the membership of the material in them (Tom, chapter) ... What serves for the writer the basis for membership on the chapter ..." (p.71-72).

D.Motolskaya believes that work on the work is useful to start with the consideration of the composition. "Movement from" whole "to" part "and from the" part "to" whole "- one of the possible ways of analyzing the work ... In such cases, the appeal to the" whole "is the initial stage of work, and the final" (p.73).

When studying the composition, not only species, but also the generic features of the work should be taken into account. When analyzing the composition dramatic works It is necessary to pay attention to incoming character, junction, plot lines pulled into one dramatic node.

"When analyzing the composition of lyrical work, it is impossible to miss what is inherent in the lyrics ... the author's" I ", the feelings and thoughts of the poet himself ... it is the feeling of the poet and organize that material that is included in the lyrical work" (p.120).

"When analyzing the epic works, imbued with lyrical start, should always be raised the question of which Lyrics occupies in the epic work, what is its role in the epic work, what are the ways to make lyrical motives in the fabric epic works" (p.122).

V.Sorokin Also writes about the methodological techniques for analyzing the composition. "The main task of analyzing the composition ... The school is to teach students not only the" external "plan, but also capture his" internal "plan, the poetic structure of the work" (Sorokin V. Analysis of the literary work in high school. - M. 1955, p. 250).

1. "... When analyzing the composition of the story work, it is important to establish which conflict lies in it ... how all the works of the work stretch to this main conflict ... The students should learn to determine the main collision of the story work, realizing it as a composite rod of this work" (p.259 ).

2. "... What is the value ... each character for disclosing the main idea of \u200b\u200bthe work" (p.261).

3. "In the story work, it is important not only to call the string, culmination, junction, but it is even more important to trace the whole course of development of action, the growing conflict ..." (p.262).

4. "In school, all the most important extravagital elements in the analysis of works of students should allocate and find out them ... expressiveness and interconnection with a whole product" (p.268).

5. "Epigraph is a responsible compositional element of the work" (p.269).

"When analyzing large works, it is necessary to identify composite elements (plot, images, lyrical motifs), their meaning and relationship, to stop at the most important parts (tie, climax, lyrical retreats, descriptions)" (p.280).

"In 8-10 classes, small, but independently prepared by students of the posts: to trace the development of the Fabuli (or one storyline), find the nodal points of the plot and explain their expressiveness" (p.280).

V.Sorokin speaks of the need to use "acceptance of expressive reading, retelling the most important episodes in the plot, summary plot, retelling of the climax, junction, sketching students, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or fabul, memorizing by heart of lyrical retreats, own an essay with compulsory composite techniques (for example, exposure, landscape, lyrical retreats) " (p.281).

L.Kida Developed a decoding technique for analyzing the composition. "The study captures two stages: on the first - the real meaning of the statements as a result of the interaction of syntactic units is revealed ...; On the second (composite) - the real meaning of the syntactic structures constituting the components of the composition (header, the occurrence, ending, etc.) as the result of the functioning in the text "(Kaida L. compositional analysis of artistic text. - M., 2000, p. 83).

A.Yesin It claims to start the analysis of the composition you need from reference points. To the support points of the composition, he relates such elements: culmination, junction, peripetia in the fate of the hero, the strong position of the text, spectacular artistic techniques and means, repeats, opposition. "Analysis of the reference points is the key to understanding the logic of the composition" (Esin A.B. Principles and techniques for analyzing the literary work. - M., 2000, p.51)

N.Nikolina Calls the skills necessary to analyze the composition of the artistic text (Nikolina N.A. Philological analysis of the text. - M., 2003, p.51).

In the 5th grade, the teacher gives the "initial concept of a plot and conflict in an epic work, portrait, construction of the work" (Bogdanova O., Leonov S., damn V. Methods of teaching literature. - M., 2002, p.268.).

It seems a good acquaintance with the composition on the example of folk magical fairy tales. "The teacher introduces schoolchildren with the construction of fairy tales, a dialogue, a monologue, a story plan, an episode, forms the initial concept of a literary hero" (Snezhnevskaya M. Theory of literature in 4-6 high school classes. - M., 1974, p.102.). The study of the composition of the magic fairy tale in the form of a game of the card suggested by D. Rodari in the "Grammar Fantasy" book (Rodari D. Grammar Fantasy. Introduction to the art of inventing stories. - M., 1978, p.81). This idea is developed by Y.Sipinöv and I. Sipinev in the manual "Russian Culture and Literature" (Sipinev Yu., Sipinev I. Russian Culture and Literature. - S.-P., 1994, p.308).

Outstanding folkloride V.Ya.propp in the works "Morphology of a fairy tale", " Historical roots Magic fairy tales "," Transformation of magical fairy tales "wrote about the structure of the magic fairy tale.

In lessons you can use different forms Work with "proppap cards": to compose a fairy tale based on the proposed situations, make a fairy tale formula, create a fairy tale formula, bring examples of functions from fairy tales, compare the sets of fabulous situations in different fairy tales. (IPM - 8).

Thus, the compositional analysis is effective at a stage of acquaintance with the work when it is necessary to imagine his architectonics, and at the final stage of analysis, when the techniques of constructing text (repeats, leitmotifs, contrast, parallelism, installation) are detected and intratheral relations of the elements of the work are considered.

Summary

Methodical techniques

• Compressed retelling.
• Creating a simple (complex, quote) plan.
• Mysterious rearrangement of episodes.
• Restoring the missed text links.
• Detection of the principle of grouping actors.
• Justification of the role of an episode in the text.
• Detection of the location of the plot lines.
• Detection of plot and outworking elements.
• Inventing your finals.
• Comparison of the plot and fabul.
• Compilation of chronological scheme.
• Detection of different points of view.
• Analysis of the composition of the painting.
• Selection of illustrations for episodes.
• Creating your drawings.
• Detection of the principle of membership of the material.
• Detection of a system of means of creating an image of a character (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and the construction of verbal rows.
• Analysis of strong positions.
• Search for composite techniques.
• Determination of the composition of the composition.
• Finding the reference points of the composition.
• Determination of the type of composition.
• The meaning of the name of the work.
• Search for repeats and opposition at all levels of text.
• Reception E. Etkind "Up the stairs of meanings"

1. The main plot.

2.Fantastics and reality.

3.Prior and man.

4.Mire and man.

5 people.

• Detection of composite forms in the artistic text.
• Detection verbal techniques Subject.
• Analysis of the type of narration.
• Search for motifs in the text.
• Composition of history using the receptions of D. Rodri.
• Analysis of the structure of the magic fairy tale.
• Work with "proppap cards".
• Oral verbal drawing.

IPM - 5.

Subject

A.A.Fet "Shepot, timid breath ..."

Whisper, timid breathing,

Truck nighting

Silver and Krakhanye

Sleeping stream

Night night, night shadow,

Shadows without end,

A number of magical changes

Cute face

In smoke puffur Purple Roses,

Gleam Amber

And lobsia, and tears;

And dawn, dawn!

1850

I. Perception of poem.

What seemed unusual in the text?

What's not clear?

What did you see?

What did you hear?

What did you feel?

What is unusually from the point of view of syntax?

The poem consists of one exclamation offer.

What is unusually from the point of view of morphology?

There are no verbs in the text, mostly nouns and adjectives.

II. Language composition text.

What nouns are indicated by nature?

What kind of nouns indicate a person's condition?

We will construct two verbal thematic series - nature and man.

"Nature" - truck Solovna, Silver and Sleeping Creek, Light Night, Night Shadows, In Smoky Purple Purple Roses, Amber Blade, Zarya.

"Human" - success, timid trouble, a number of magical changes of a cute face, lobsagne, tears.

Output. The composition is based on the reception of psychological parallelism: the world of nature and the world of man is compared.

III. Composite analysis.

First stanfa

What is microthem?

Date loved in the evening at the stream.

What paints? Why?

Silent paints.

What are the sounds? Why?

Walking, bars.

The epithet "timid", "sleepy", silver metaphor.

Second stanfa

What is it about?

The night is spent in love.

What are the sounds?

Silence.

What paints? Why?

No color definitions.

What is the role of epithets?

Third stanfa

What is microthem?

Morning, parting in love.

What paints? Why?

Bright tones ..

What are the sounds? Why?

Tears, kisses.

What is the role of artistic expressive means?

Output. Fet uses reception of color and sound contrast. In the first stanza, muffled, inappropriate paints, in the latter - bright tones. So the current time is shown - from the evening through the night to the dawn. Nature and senses of man are changing in parallel: the evening and a timid meeting, dawn and a rapid farewell. Through the sounds showed a change in the mood of heroes: from the whisper and sleeping sliced \u200b\u200bthrough the absolute silence to the lobzias and tears.

IV. Time and action.

There is no verb in the poem, and there is an action.

In most names, the motion is concluded - Trelli, Krakhanye.

What is the time characteristic?

Evening, night, morning.

V. Rhythmic pattern of poem.

Work in pairs or groups.

Meter - kernel. Size - multiple with pyricals. Constant on 5 and 7 syllables. Claused men's and female. Cessura no. Alternate short and long lines. Anakruise variable. Fullies in verse finite, alternate male and female, accurate and inaccurate, rich, open and closed. Crossing in stubborn.

Output. The rhythmic pattern is created by a multiple choree with pyrical. Constant, alternating on 5 and 7 syllables, gives rhythm harness. Alternation of long and short lines, female and men's clause gives a combination of a soft and solid rhythm start. In the finals of the stanza, solid male ending, the last line is short.

Vi. Features of the composition of the poem.

In the text there are three stains of 4 verses. Composition of stanza: in the first storm 1 verse - man, 2,3,4 verses - nature; In the second stanza, 1.2 poems - nature, 3.4 poems - man; In the third storm, 1,2,4 verses are nature, 3 verse - man. These lines are intertwined, alternate.

Output. The composition of the poem is built on a parallel comparison of two verbal rows - human and natural. Fet does not analyze his feelings, he just fixes them, transmits his impressions. His poetry impressionistic: mumbling of impressions, fragmentary composition, wealth of paints, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. - St. Petersburg, 1996
2. Lotman Yu.M. At the school of a poetic word. - M., 1988
3. Etkind E. Conversation about verses. - M., 1970
4. Etkind E. Matter verse. - SPb, 1998
5. Ginzburg L. about lyrics. - M., 1997
6. Highter V. Basics of Style Style. - M., 2002
7. Gasparov M. About Russian poetry. - St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. - M., 1994
9. Dry I. World Feta: moments and eternity. - Star, 1995, №11
10. Dry I. Shenshin and Fet: life and poems. - Neva, 1995, №11
11. Sukhova N. Masters of Russian lyrics. - M., 1982
12. Sukhova N. Lyrics Athanasius Feta. - M., 2000

IPM - 6.

Abstract literature lesson in grade 9

Subject

"Dressing" A. Chekhov. Who is so dressed?

I. Individual task.

Compare sowing images and A.M. Wheat.

II. Two glances to the heroine Chekhov.

L. Tolstoy: "Despite the wonderful, cheerful comicity of the whole work, I can't read some places of this amazing story without tears ... The author, obviously, wants to laugh at a pitiful, according to his reasoning, being ... But not funny, and the amazing soul of dullness."

M. Gorky: " There is anxiously, like a gray mouse, a shrimp is a shoes, - a sweet, meek woman who is so slaky, so much knows how to love. It can be hitting her cheek, and she will not even groan loudly dare, meek slave. "

Whose side are you on? Why?

III. Check your homework.

2 group. Reading written works "My attitude to dullness."

1 group. Status plan, composite techniques.

1. A shower is married to the entrepreneur Kukin.
2. Death of her husband.
3. A shower is married to the managing empty.
4. Death of her husband.
5. Roman dinner with a veterinarian Smirnin.
6. Departure veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. "Shower every time becomes a "dubler" of her husband. With Cukin, she sat in his office, looked at the orders in the garden, recorded the costs, issued a salary ... With the emptying "she was sitting in the office until the evening and wrote the bills there and released the goods." But at the same time, Olga Semenovna did not remain only an assistant - she assigned to herself personal experience, someone else's "direction of life", as if doubles the object of its attachment. The dedication of dinner, as it gradually clarifies by the end of the story, there is a form of spiritual dependency "

3 group. Analysis of strong positions: titles, beginning and end of each chapter.

Linguistic analysis of the fragment from the words "in the great post he went to Moscow ..."

Find keywords, build a verbal row that creates an image of a heroine (could not sleep without him, sat by the window, looked at the stars, compared myself with the chickens, do not sleep, have anxiety, there is no rooster in the smokeshief).

"In the poetic tradition, the contemplation of the star sky usually suggests an exalted system of thoughts, the dream of wildlife. According to mythological ideas, the shower is generally covered. Olenka also compares himself with the waters of creatures, however, they are not flutter, and the contemplation of the universe suggests her for the thought of the chicken coop. Just like chicken - a kind of parody of free migratory bird..., Chekhov Sideways - parody of traditionally allegorical psycho. "

The stories heroine is deprived of the ability to independently choose a vital position, uses other people's self-determination. Ironya Chekhov develops into sarcasm.

V. Conclusions.

Why is the story called "dull"? Why in the final chapter about Sasha?

"So, no rebirth of" dulling "in the adult" soul "under the refining effect of the maternal feeling in the final part of the work is not visible. On the contrary, by accepting the author's angle of view on the text reported to us, we will be forced to recognize that the latter attachment finally exposes the inconsistency of Olga Semenovna as a person. Delicious ... With its inability to self-determination, the inability to actualize this meaning in itself appears in the story with an undeveloped "personality embryo".

Bibliography.

1. Type V. Artistic of the Chekhov story. - M., 1989, p.67.
2. Type V. Artistic of the Chekhov story. - M., 1989, p.61.
3. Type V. Artistic of the Chekhov story. - M., 1989, p.72.

application

Composition

Language composition

Composite receivers

1. Repeated
2. Gain.
3. Installation.

Strong text positions.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. Free
7. Open

Scene elements

1. Exposition
2. Vazka
3. Development of action
4. Culmination
5. Junction

1. The meaning of the name of the work.

IPM - 7.

Abstract literature lesson in grade 10

Subject

A man and his love in the story of A. Chekhov "Lady with a dog."

Objectives:

1. Cognitive:

• know composite techniques and their role in artistic work, strong positions of text, scheme of composite examination of prosaic text;
• to be able to find composite techniques and determine their function in the work, analyze the strengths of the text, interpret the artistic text using a composite analysis.

2. Developing:

• development of the ability to think;
• complication of the semantic function of speech, enrichment and complication of the vocabulary stock.

Equipment

1. Visual material. Photo of the writer, tables "Scheme of composite analysis of prosaic text", "Composition", "Composite techniques (principles)".
2. Handout. Photocopies "Scheme of composite analysis of prose text."

Preparation for lesson

1. Homework for the whole class. Reading the story "Lady with a dog", to make a plan of the story.
2. Individual tasks. Three student prepare expressive reading of fragments I, III chapters, comparison " Stone Guest"Pushkin with the story of Chekhov (Don Guang and Dmitry Gurov).

During the classes

I. Motivation of cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: "Artist of gray people and gray days. The system of life, woven from these absurdities, is not breaking. " Do you agree with this statement? Why?

II. Goal.

"Lady with a dog" is a story about resort Romana Or about real love? Today at the lesson we will try to answer this question using a composition of text analysis.

III. Actualization of the studied.

1. Poll. What is the composition? Name composite techniques. What is repeated? What is amplification? What is the role of opposition? What is the role of installation?

2. Checking homework.

Reading and discussing the stories plans.

1 Chapter. Meeting Dmitry Gurova and Anna Sergeyevna in Yalta.

2 Chapter. Love (?) And parting.

3 Chapter. Meeting of heroes in the city of S.

4 Chapter. Love and "the most difficult and difficult thing is still beginning."

What are we talking about in each chapter? Short retelling plot.

IV. Formation of the skill of composite analysis of text.

What is interesting composition of the story? Thematic reasons: in 1 and 3 chapters; In 2 and 4 chapters, events are repeated. Comparable these chapters. What changes in them?

Chapter 1. The student expressly reads a fragment from words "And once, in the evening, he dined in the garden ..." To the words "she laughed." Why does Gurov get acquainted with a woman? What way of life is the hero?

Individual message "Don Guan Pushkin and Dmitry Gurov Chekhov".

Chapter 3. The student expressively reads a fragment "But more than a month passed ...". What happened to the hero?

Linguistic analysis of episode According to "He came to S. in the morning ...". Why the author three times need the epithet "gray"? Why did the rider be off his head? Why does the Swiss make the name of the Didrica incorrectly?

A student expressly reads a fragment from the words "In the first intermission, the husband went smoking ...". What has changed to 3 chapter?

"So, with Gurov in the city of S., genuine rebirth occurs ... the emergence of genuine, the inner proximity of two personalities transforms everything. In Yalta, as we remember, while Anna Sergeyevna cried, Gurov ate watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, in the "Slavic Bazaar", he in a similar situation orders tea. A thematic adequate gesture acquires the exact opposite meaning. Tea drinking is a purely homemade, daily domestic, late. Genuine intimacy of two personals create an atmosphere of home intimacy around them (on the heroine, for example, "his favorite gray dress").

Reading the story final. Why "... the most difficult and difficult is just starting"? Read the first and last sentence. Match them. What is the role of each?

Why is the story called "lady with a dog" (after all, we are talking about Love Gurov)?"The story told in the" lady with a dog "is not just a story of the secret love and marital infidelity. The main event of the story is a change that under the influence of this love is happening. Throughout the story, the point of view of Gurova dominates, the reader is watching his eyes, in it, first of all, there is a change. "

A lady with a dog became a symbol of that spiritual fracture that occurred with Gurov. Internal rebirth, the revival of man under the influence of love for a woman.

We came to the idea of \u200b\u200bChekhov's story using a composite analysis. What techniques of the composition used the author and why? (Repeat and opposition).

Is this a story about the resort novel or about real love?

V. Reflection.

Write a thumbnail "Gray People and Gray Weeks" in the "lady with a dog".

Vi. Homework.

1. For the whole class. Reading the story "Ionch". Make a plan, find composite techniques.

2. Individual tasks. What is the meaning of the name of the story "Ionch". Analysis of the first and last sentences in each chapter. Comparative characteristics Gurova and Starteva.

Bibliography.

1. Tyu V.I. Artistic of the Chekhov story. M., 1989, p. 44-45.
2. Kataev V.B. Literary ties Chekhov. M., 1989, p. 101.

application

Composition

Composition and a certain arrangement of parts, elements and images of the work in some significant time sequence.

Language composition

Comparison or opposition to verbal series.

Composite receivers

1. Repeated
2. Gain.
3. Contrast (opposition).
4. Installation.

Strong text positions.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Scheme of composite examination of prosaic text

1. Create a text plan (microthelems) or plot diagram (plot items and outworking elements).
2. Detect the support points of the composition.
3. Select repeats and opposition in the structure.
4. Detect composite techniques. Determine the role of these techniques.
5. Analysis of strong text positions.
6. Find keywords. Build verbal thematic series.
7. Determine the view and type of composition.
8. Justify the role of a specific episode in the text.
9. The meaning of the name of the work.

IPM - 8.

Bibliography

1. Lazareva V.A. Principles and technology literary Education Schoolchildren. Article first. - Literature at school, 1996, №1.
2. Collection regulatory documents. Literature. Federal component state Standard. - M., 2004.
3. Lavlinsky S.P. Technology of literary education. Communicative and activity approach. - M., 2003.
4. Loseva L.M. How the text is built. - M., 1980.
5. Moskalskaya OI Text grammar. - M., 1981.
6. Ippolitov N.A. Text in the system of studying Russian language at school. - M., 1992.
7. Vinogradov V.V. On the theory of artistic speech. - M., 1971.
8. Russian writers about literary work. - L., 1956, T.IV.
9. Uspensky B. Poetics compositions. - St. Petersburg, 2000.
10. Tamarchenko N.D., Tyu V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, T.1.
11. Kolinov V.V. Plot, Fabul, composition. - In the book: Theory of Literature. - M., 1964.
12. Esin AB Principles and techniques for analyzing a literary work. - M., 2000.
13. Khalizhev V.E. Theory of literature. - M., 2005.
14. Nikolina N.A. Philological analysis of text. - M., 2003.
15. Big Soviet Encyclopedia - M., 1973. T.12. Article 1765.-C.293.
16. Eisenstein C. Selected Works. In 6 T. T3. - M., 1956.
17. Gorshkov A.I. Russian stylistics. - M., 2001.
18. Kaida L. Composition Analysis of Artistic Text. - M., 2000.
19. Odintsov V. Stylistics text. - M., 1980.
20. Bogdanova O.Yu., Leonov S.A., damn V.F. Methods of teaching literature. - M., 2002.
21. Snezhnevskaya MA Theory of literature in 4 - 6 grades of high school. - M., 1978.
22. White, Snezhnevskaya M. Study of the theory of literature in high school. - M., 1983.
23. Golubkov V. Methods of teaching literature. - M., 1962.
24. Rybnikova M. Essays according to the method of literary reading. - M., 1985.
25. Motolskaya D. Study of the composition of the literary work. - In the book: Issues of studying the skill of writers in the literature lessons in the VIII - X classes, L., 1957.
26. Sorokin V. Analysis of the literary work in high school. - M., 1955.
27. Rodari D. Grammar Fantasy. Introduction to the art of inventing stories. - M., 1978.
28. SIPINEV YU., SIPINEVA I. Russian Culture and Literature. - S.-P., 1994.
29. Basics of literary studies. Ed. V.Mescheryakova. - M., 2003.

30. Galperin I.R. Text as an object of a linguistic study. - M., 1981.

31.Gadamer G.G. The relevance of the beautiful. - M., 1991.

32. Ringuistics and poetics. - M., 1979.

33. Zhinkin N.I. Speech as a conductor of information. - M., 1982.

34. Zarubina N.D. Text. - M., 1981.

35.Teeva Z.Ya. Linguistics text. - M., 1986.

36.Ells. Understanding text. - Questions of psychology, 1996, №6.

37. Muchnik B.S. Man and text. - M., 1985.

38. Ricer P. conflict interpretation. Essays about hermeneutics. - M., 1995.

39. Granik G.G. Sobolev O.V. Understanding the text: Problems of Earth and Space. - Questions of psychology, 1993, №5.

40.Soboleva O. On the understanding of mini-text. - Questions of psychology, 1995, №1.

41.Rista G.G., Kontsevaya L.A., Bondarenko S.M. On the implementation of laws of understanding in the educational text. - In the book: Problems of the school textbook. Release 20. M., 1991.

42. Bakhtin M.M. Aesthetics of verbal creativity. - M., 1979.

43. Granik G., Bondarenko S.M., Kontsevaya L.A. When the book teaches. - M., 1988.

44.Rist, Bondarenko S.M., Kontsevaya L.A. How to teach schoolchildren thoughtful reading. - Education of schoolchildren, 1991, №5, 6, 1992, №5-6.

45.Rist, Bondarenko S.M., Kontsevaya L.A. How to teach working with a book. - M., 1995.

46. \u200b\u200bGranik G.G. The role of the installation in the process of perception of text. - Questions of psychology, 1993, №2.

47.Rist G.G. examination of the reader's position of schoolchildren. - Questions of psychology, 1994, №5.

48.Rist G.G. Perception of schoolchildren of artistic text. - Questions of psychology, 1996, №3.

49.Rist G.G. How to teach to understand the artistic text. - Russian, 1999, №15.

50.Rist G.G. other. Literature. Learning to understand the artistic text. The task is a workshop. - M., 2001.

Style Dominanti

In the text of the work there are always some points in which the style "appears outside." Such points serve as a kind of style "Charton", set up the reader to a certain "aesthetic wave" ... The style is represented as "a certain surface on which a unique trace, a form that issues the presence of one steering force" is designated. (P.V. Paliyevsky)

Here we are talking about style dominants, which in the work performed the organizing role. That is, they, dominants, must be subordinate to all techniques and elements.

Style Dominanti - this is:

Scene, descriptions and psychologism,

Convention and life vessels,

Monologism and dissection,

Verse and prose

Nominative and rhetoricity,

- simple and complex types of composition.

Composition -(from lat. Compositio - drawing up, binding)

Construction of a artistic work due to its content, character, appointment and largely determining his perception.

The composition is the most important organizing element of the artistic form, which gives the work of unity and integrity, with the components of each other and the whole.

In the artistic literature, the composition is a motivated location of the components of the literary work.

The component (unit of the composition) is considered a "segment" of the work in which one image method is preserved (characteristic, dialogue, etc.) or a single point of view (author, narrator, one of the heroes) on the depicted.

The interconnection and interaction of these "" segments "" form a composite unity of the work.

The composition is often identified by both the plot, the image system and the structure of the artistic work.

In the most general form, two types of compositions are distinguished - simple and complicated.

Simple (linear) composition It comes down only to the unification of the parts of the work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.

With a complex (transformation) composition The size of the combination of parts reflects the special artistic meaning.

For example, the author begins not from the exposition, but with some fragment of climax or even a junction. Or the narrative is conducted as it were in two times - the hero "Now" and the hero "in the past" (recalls some events that are currently taking place). Or the twin hero is introduced - in general from another galaxy - and the author plays on comparison \\ opposing episodes.

In fact, the pure type of simple composition is difficult to find, as a rule, we are dealing with complex (to one degree or another) compositions.

Different aspects of the composition:

exterior composition

shaped system

system of characters change points of view,

system of details,

plot and Fabul

conflict art

empty elements

Composite forms:

narration

description

characteristic.

Composite forms and means:

repeat, strengthening, opposition, installation

comparison

"Large" plan, "General" plan,

point of view,

text temporary organization.

Composition reference points:

culmination, junction,

strong text positions

repeats, opposition,

peripetia in the fate of the hero,

spectacular art techniques and means.

The points of the greatest reader voltage are called the support points of the composition. These are peculiar vests who lead the reader in the text, and in them, the ideological problem of the work is most apparent.<…> they are the key to understanding the logic of the composition and, accordingly, the entire internal logic of the work as a whole whole .

Strong text positions:

These include formally dedicated parts of the text, its end and the beginning, including the name, epigraph, prologue, the beginning and end of the text, chapter, part (first and last sentence).

Main types of composition:

ring, mirror, linear, default, retrospection, free, open, etc.

Scene elements:

exposure, Zaguka

development of action

(Peripetia)

culmination, Epilogue, Epilogue

Empty elements

description (landscape, portrait, interior),

putting episodes.

Ticket number 26.

1. Neetic vocabulary

2. Epic, drama and lyricism of the artwork.

3. The volume and content of the stylistics of the work.

Poetic vocabulary

P.L. - one of the most important parties to the artistic text; The subject to study a special section of literary studies. The study of the lexical composition of the poetic (i.e. artistic) works involves the correlation of the vocabulary used in a separate sample of the artistic speech of any writer, with a vocabulary of general, i.e., used by contemporaries of the writer in various household situations. The speech of the Company, which existed in the historical period, refers to the work of the author of the analyzed work, is perceived as a certain norm, therefore, they recognize "natural". The purpose of the research is to describe the facts of deviation of an individual author speech from the norms of speech "Natural". The study of the lexic composition of the speech of the writer (t. N. "Dictionary of the Writer") at the same time turns out to be a private species of such a stylistic analysis. When studying the "Dictionary of the Writer", pay attention to two types of deviations from the "natural" speech: the use of lexical elements, rarely used in "natural", living circumstances, i.e., the "passive" vocabulary to which the following categories of words include archaisms, neologisms, warbarisms, officessels, professionalism, jargonisms (including argotizms) and spacious; The use of words that implement portable (therefore rare) values, i.e. trails. Introduction by the author of the words of the other group to the text determines the image formation, therefore, its artisticness.

(household vocabulary, business vocabulary, poetic vocabulary etc.)

Poet of vocabulary. As part of the archaic vocabulary, historians and archaisms are allocated. The historicists include words representing the names of the disappeared objects, phenomena, concepts (chain, hussar, extended, NEP, October (child of the younger school ageWhen preparing to join pioneers), Encaughtist (employee of the NKVD - People's Commissariat of the Interior), Commissioner, etc.). Historisms can be associated both with very remote epochs and events of relatively recently, however, however, by the facts of history (Soviet power, Partyakitiv, Secretary General, Politburo). Historisms do not have synonyms among the words of the active vocabulary stock, being the only names of the respective concepts.

Archaisms are the names of existing things and phenomena, for some reason those who are displaced in other words belonging to active vocabulary (Wed: Daily - always, comedian - actor, Zlato - Gold, to know - know).

Outdated words are heterogeneous by origin: among them there are original Russians (full, shell), Old Slavonic (glazing, loss, shrine), borrowed from other languages \u200b\u200b(Abside - "resignation", voyage - "Travel").

Of particular interest in stylistic terms, the words of Old Slavic origin, or Slavicama, are of particular interest. A significant part of the Slavs was assimilated in Russian soil and stylistically merged with a neutral Russian vocabulary (sweet, captive, hello), but there are such old Slavonic wordsthat B. modern language Perceived as a high-style szvuk and retain the solemn, rhetorical color characteristic.

With the fate of Slavs in Russian literature, the history of poetic vocabulary associated with antique symbolism and the imagery (so-called poets) is similar. Names of gods and heroes of Greek and Roman mythology, special poetic symbols (Lira, Ellizius, Parnas, Lavra, Mirats), artistic images of ancient literature in the first third XIX. in. They constituted an integral part of the poetic dictionary. The poetic vocabulary, like Slavs, strengthened the opposition of an elevated, romantically painted speech - the speech of the budic, prose. However, these traditional means of poetic vocabulary were not long used in fiction. Already the successors of A.S. Pushkin poets archaisisuated. Writers often turn to outdated words as an expressive agent of artistic speech. Interesting the history of the use of Old Slavic vocabulary in Russian artistic literature, especially in poetry. Stylistic Slavicians constituted a significant part of the poetic vocabulary in the works of writers of the first third of the XIX century. The poets found a source of elevated and romantic and "sweet" speech sound in this vocabulary. Slavs, which in Russian, consonant options, first of all, intolerable, were shorter than the Russian words for one syllable and were used in the XVIII-XIX centuries. At the rights of "Poetic Valibilities": poets could choose from two words, which answered the rhythmic rank of speech (I am sigh, and the voice of my Tomny, the harp vote is similar, it will die quietly in the air. - BAT.). Over time, the tradition of "poetic liberties" is overcome, but the obsolete vocabulary attracts poets and writers as a strong means of expression.

Outdated words are performed in an artistic speech of a variety of stylistic functions. Archaisms and historians are used to recreate the color of remote times. In this function, they used, for example, A.N. Tolstoy:

"The land of Motch and Dedich is those shores of full-flow rivers and forest glads, where our Prasrat came to live forever. (...) He disadvantaged his dwelling and looked at the sun in the distance in the distance.

And he was repeated a lot - heavy and difficult times: Igor's red shields in Polovtsy steppes, and Russian moans on Kalka, and Dmitry mushroom spears mounted under the horsights, and blood flooded ice Child Lake, and the Terrible Tsar, which spread uniform, from now on, the irregular, the limits of land from Siberia to the Varangian Sea ... ".

Archaisms, especially Slavicami, give speeches sublime, solemn sound. The Old Slavic vocabulary performed in this function in the Old Russian literature. In the poetic speech of the XIX century. High-grade old-Slavic lexicism was stylistically equal to the ancient Russians, who also began to be involved in creating patter of artistic speech. High, the solemn sound of obsolete words also evaluate the writers of the XX century. During the Great Patriotic War IG Ehrenburg wrote: "By reflecting the blows of predatory Germany, she (the Red Army) saved not only the freedom of our homeland, she saved freedom of peace. In this deposit of the triumph of the ideas of brotherhood and humanity, and I see the world, enlightened by the grief, in which the welcome will excite. Our people showed their military virtues ... "

Outdated vocabulary may acquire ironic color. For example: who from parents do not dream of a dirty, balanced child who grabs everything literally on the fly. But attempts to turn their child in the "miracle" catastrophically end failure (from gas.). An ironic rethinking of obsolete words often contributes to the parody use of high-style elements. In parody and ironic functions outdated words Often perform in fechens, pamphlets, humorous notes. Complete for an example from newspaper publication During the preparation of the President's Entrance Day to the post (August 1996).