Expand the role of poetic means in artistic structure. The role of poetic means in artistic structure
TRAILS AND STYLISTIC FIGURES.
TRAILS(Greek tropos - turn, turn of speech) - words or turns of speech in a figurative, allegorical meaning. Trails are an important element of artistic thinking. Types of tropes: metaphor, metonymy, synecdoche, hyperbole, litota, etc.
STYLISTIC FIGURES- turns of speech used to enhance the expressiveness (expressiveness) of an utterance: anaphora, epiphora, ellipse, antithesis, parallelism, gradation, inversion, etc.
HYPERBOLA (Greek hyperbole - exaggeration) - a kind of path based on exaggeration ("rivers of blood", "sea of laughter"). By means of hyperbole, the author enhances the desired impression or emphasizes what he glorifies and what makes fun of. Hyperbole is found already in the ancient epic among different peoples, in particular in Russian epics.
In the Russian liter, N.V. Gogol, Saltykov-Shchedrin and especially
V. Mayakovsky ("I", "Napoleon", "150,000,000"). In poetic speech, hyperbole is often intertwinedwith other artistic means (metaphors, personifications, comparisons, etc.). The opposite is litotes.
LITOTA (Greek litotes - simplicity) - a trope opposite to hyperbole; figurative expression, turnover, which contains an artistic understatement of the magnitude, strength, meaning of the depicted object or phenomenon. There is litota in folk tales: "a boy with a finger", "a hut on chicken legs", "a little man with a fingernail".
The second name of litota is meiosis. The opposite of a lithote is hyperbola.
N. Gogol often addressed the littote:
“Such a small mouth that it cannot miss more than two pieces” N. Gogol
METAPHOR(Greek metaphora - transfer) - trope, hidden figurative comparison, transfer of properties of one object or phenomenon to another on the basis of common features ("work is in full swing", "forest of hands", "dark personality", "stone heart" ...). In metaphor, unlike
comparisons, the words "as", "as if", "as if" are omitted, but implied.
Nineteenth century, iron,
A cruel age indeed!
Into the darkness of the night, starless
A careless abandoned man!
A. Blok
Metaphors are formed according to the principle of personification ("water runs"), reification ("nerves of steel"), distraction ("field of activity"), etc. Various parts of speech can act as a metaphor: a verb, a noun, an adjective. The metaphor gives the speech exceptional expressiveness:
There is a fragrant lilac in each carnation,
Singing, a bee creeps in ...
You ascended under the blue vault
Above the wandering crowd of clouds ...
A. Fet
The metaphor is an undifferentiated comparison, in which, however, both terms are easily seen:
With a sheaf of her oatmeal hair
You settled on me forever ...
Dog eyes rolled
Gold stars in the snow ...
S. Yesenin
In addition to verbal metaphor, metaphorical images or expanded metaphors are widespread in artistic creation:
Ah, the bush of my head has withered,
The song captivity sucked me in
I am condemned to the hard labor of feelings
Turn the millstones of the poems.
S. Yesenin
Sometimes the entire work is a broad, expanded metaphorical image.
METONYMY(Greek metonymia - renaming) - trope; replacing one word or expression with another based on the proximity of meanings; the use of expressions in a figurative sense ("foaming glass" - meaning wine in a glass; "forest rustling" - meaning trees; etc.).
The theater is already full, the boxes shine;
Parterre and chairs, everything is boiling ...
A.S. Pushkin
In metonymy, a phenomenon or object is designated with the help of other words and concepts. At the same time, signs or connections that bring these phenomena closer together remain; so, when V. Mayakovsky speaks of "a steel orator dozing in a holster," the reader can easily guess in this image a metonymic image of a revolver. This is the difference between metonymy and metaphor. The idea of a concept in metonymy is given with the help of indirect signs or secondary meanings, but this is precisely what enhances the poetic expressiveness of speech:
You led swords to a plentiful feast;
Everything fell with a noise before you;
Europe was perishing; grave dream
Was hovering over her head ...
A. Pushkin
When is the shore of hell
Will take me forever
When it falls asleep forever
Pen, my joy ...
A. Pushkin
PERIPHRASE (Greek periphrasis - roundabout, allegory) is one of the tropes in which the name of an object, a person, a phenomenon is replaced by an indication of its signs, as a rule, the most characteristic ones, enhancing the depiction of speech. ("King of birds" instead of "eagle", "king of beasts" - instead of "lion")
PERSONALIZATION(prosopopeia, personification) - a kind of metaphor; transferring the properties of animate objects to inanimate ones (the soul sings, the river plays ...).
My bells
Steppe flowers!
What are you looking at me
Dark blue?
And what are you ringing about
On a happy May day
Among the unmown grass
Shaking your head?
A.K. Tolstoy
SYNECDOCHE (Greek synekdoche - correlation)- one of the tropes, a type of metonymy, consisting in the transfer of meaning from one subject to another on the basis of the quantitative relationship between them. Synecdoche is an expressive means of typing. The most common types of synecdoches:
1) The part of the phenomenon is called in the meaning of the whole:
And at the door -
pea jackets,
overcoats,
sheepskin coats ...
V. Mayakovsky
2) Whole in the meaning of part - Vasily Terkin in a fist duel with a fascist says:
Oh, how are you! Fight with a helmet?
Well, isn't it a vile fellow!
3) The only number in the meaning of general and even universal:
There a man groans from slavery and chains ...
M. Lermontov
And the proud grandson of the Slavs, and the Finn ...
A. Pushkin
4) Replacing a number with a set:
Millions of you. Us - darkness and darkness and darkness.
A. Blok
5) Replacement of a generic concept with a specific one:
We beat you with a penny. Very good!
V. Mayakovsky
6) Replacement of a species concept with a generic one:
"Well, sit down, shine!"
V. Mayakovsky
COMPARISON - a word or expression containing the assimilation of one object to another, one situation to another. ("Strong as a lion", "said how he cut it off" ...). The storm covers the sky with darkness,
Whirling snow whirlwinds;
How the beast she will howl
It will cry like a child ...
A.S. Pushkin
"Like the steppe scorched by fires, the life of Grigory became black" (M. Sholokhov). The idea of the blackness and gloom of the steppe also evokes in the reader that melancholy, painful feeling that corresponds to the state of Gregory. There is a transfer of one of the meanings of the concept - "scorched steppe" to another - the inner state of the character. Sometimes, in order to compare some phenomena or concepts, the artist resorts to detailed comparisons:
The view of the steppe is sad, where without obstacles,
Exciting only the silver feather grass,
Flying Aquilon roams
And before him freely drives the dust;
And where around, no matter how keenly you look,
Meets the gaze of birch two or three,
Which are under the bluish haze
They turn black in the evening in the distance empty.
Life is so boring when there is no struggle
Having penetrated into the past, discern
There are few things we can do in it, in the prime of years
She will not amuse the soul.
I need to act, I do everyday
I would like to make immortal like a shadow
Great hero, and understand
I can't what it means to rest.
M. Lermontov
Here, with the help of the expanded, S. Lermontov conveys a whole gamut of lyrical experiences and reflections.
Comparisons are usually combined by the conjunctions "as", "as if", "as if", "exactly", etc. Non-union comparisons are also possible:
"I have curls of a fine fellow - combed flax" N. Nekrasov. The union is omitted here. But sometimes it is not supposed to be:
"Execution in the morning, a familiar feast for the people" A. Pushkin.
Some forms of comparison are constructed descriptively and therefore are not connected by unions:
And she is
At the door or at the window
An early star is lighter
Morning roses are fresh.
A. Pushkin
She is sweet - I will say between us -
The thunderstorm of the court knights,
And it is possible with southern stars
Compare, especially with verses,
Her Circassian eyes.
A. Pushkin
A special type of comparison is the so-called negative:
The red sun does not shine on the palate,
The blue clouds do not admire him:
At the meal he sits in a crown of gold
The formidable Tsar Ivan Vasilyevich is sitting.
M. Lermontov
In this parallel depiction of two phenomena, the form of negation is both a method of comparison and a method of transferring meanings.
A special case is the instrumental forms used in comparison:
It's time, beauty, wake up!
Open your eyes closed with bliss,
Towards northern Aurora
Appear as the star of the north.
A. Pushkin
I do not soar - I sit as an eagle.
A. Pushkin
Often there are comparisons in the form of the accusative case with the preposition "under":
"Sergei Platonovich ... sat with Atepin in the dining room, covered with expensive oak wallpaper ..."
M. Sholokhov.
IMAGE -generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon. Poets think in images.
It is not the wind that rages over the forest,
Streams did not run from the mountains,
Frost - Voivode of the Watch
Bypasses his possessions.
ON. Nekrasov
ALLEGORY(Greek allegoria - allegory) - a concrete image of an object or phenomenon of reality, replacing an abstract concept or thought. A green branch in the hands of a person has long been an allegorical image of the world, a hammer has been an allegory of labor, etc.
The origin of many allegorical images should be sought in the cultural traditions of tribes, peoples, nations: they are found on banners, coats of arms, emblems and acquire a stable character.
Many allegorical images date back to Greek and Roman mythology. So, the image of a woman blindfolded and with scales in her hands - the goddess Themis - is an allegory of justice, the image of a snake and a bowl is an allegory of medicine.
Allegory as a means of enhancing poetic expressiveness is widely used in fiction. It is based on the convergence of phenomena according to the correlation of their essential sides, qualities or functions and belongs to the group of metaphorical tropes.
Unlike metaphor, in allegory the figurative meaning is expressed by a phrase, a whole thought, or even a small work (fable, parable).
GROTESQUE (French grotesque - whimsical, comical) - depicting people and phenomena in a fantastic, ugly comic form, based on sharp contrasts and exaggerations.
Furious at the meeting, I burst into an avalanche
Wild curses belching dear.
And I see: half of the people are sitting.
O devilry! Where is the other half?
V. Mayakovsky
IRONY (Greek eironeia - pretense) - an expression of ridicule or deceit through allegory. A word or utterance takes on a meaning in the context of speech that is opposite to the literal meaning or denies it, calls into question.
Servant of powerful gentlemen
With what courage noble
Smash with the speech you are free
All those who got their mouth shut.
F.I. Tyutchev
SARCASM (Greek sarkazo, literally - tear meat) - contemptuous, sarcastic mockery; the highest degree of irony.
ASSONANCE (French assonance - consonance or respond) - repetition of uniform vowel sounds in a line, stanza or phrase.
Oh spring without end and without edge -
Endless and endless dream!
A. Blok
ALLITERATION (SOUND)(lat. ad - to, at and littera - letter) - repetition of homogeneous consonants, giving the verse a special intonational expressiveness.
Evening. Seaside. Sighs of the wind.
The majestic cry of the waves.
The storm is near. Beats into the shore
A black boat alien to enchantment ...
K. Balmont
ALLUSION (from Lat. allusio - a joke, a hint) - a stylistic figure, a hint through a similar-sounding word or a mention of a well-known real fact, historical event, literary work ("the glory of Herostratus").
ANAPHORA(Greek anaphora - carrying out) - repetition of the initial words, line, stanza or phrase.
You and wretched
You are abundant
You and downtrodden
You are omnipotent
Mother Russia! ...
ON. Nekrasov
ANTITHESIS (Greek antithesis - contradiction, opposition) - a pronounced opposition of concepts or phenomena.
You are rich, I am very poor;
You are a prose writer, I am a poet;
You are blush, like poppies,
I am like death, and skinny and pale.
A.S. Pushkin
You and wretched
You are abundant
You and mighty
You are powerless ...
N. Nekrasov
So few roads have been traveled, so many mistakes have been made ...
S. Yesenin.
Antithesis enhances the emotional coloring of speech and emphasizes the thought expressed with its help. Sometimes the whole work is built on the principle of antithesis.
APOCOPE(Greek apokope - cutting off) - artificial shortening of a word without losing its meaning.
... When suddenly from the woods
The bear opened its mouth on them ...
A.N. Krylov
Bark, laugh, sing, whistle and clap,
Human rumor and horse top!
A.S. Pushkin
ASYNDETON (asyndeon) - a sentence with no conjunctions between homogeneous words or parts of a whole. A figure that gives dynamics and richness to speech.
Night, street, lantern, pharmacy,
Pointless and dim light.
Live for at least a quarter of a century -
Everything will be like this. There is no escape.
A. Blok
MULTI-UNION(polysindeon) - excessive repetition of conjunctions, creating an additional intonation coloration. The opposite figure isnon-union.
Slowing down speech by forced pauses, the multi-union emphasizes individual words, enhances its expressiveness:
And the waves are crowding and rushing back
And again they come, and they beat on the shore ...
M. Lermontov
And it's boring and sad, and there is no one to give a hand to ...
M.Yu. Lermontov
GRADATION- from lat. gradatio - gradualness) is a stylistic figure in which definitions are grouped in a certain order - the increase or decrease of their emotional and semantic significance. Gradation enhances the emotional resonance of the verse:
I do not regret, do not call, do not cry,
Everything will pass like smoke from white apple trees.
S. Yesenin
INVERSION(lat. inversio - permutation) - a stylistic figure that violates the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase gives it a peculiar expressive shade.
Legends of deep antiquity
A.S. Pushkin
The doorman by he arrow
Soared up the marble steps
A. Pushkin
OXYMORON(Greek oxymoron - witty-stupid) - a combination of contrasting, opposite words (a living corpse, a giant dwarf, the heat of cold numbers).
PARALLELISM(from the Greek parallelos - going next to it) - identical or similar arrangement of elements of speech in adjacent parts of the text, creating a single poetic image.
In the blue sea, waves are splashing.
Stars shine in the blue sky.
A.S. Pushkin
Your mind is as deep as the sea.
Your spirit is high that mountains.
V. Bryusov
Parallelism is especially characteristic of works of oral folk art (epics, songs, ditties, proverbs) and literary works close to them in their artistic characteristics ("Song about the merchant Kalashnikov" by M. Yu. Lermontov, "Who lives well in Russia" N. And . Nekrasov, "Vasily Terkin" A. T, Tvardovsky).
Parallelism can have a broader thematic character in content, for example, in the poem by M. Yu. Lermontov "Heavenly Clouds - Eternal Wanderers."
Parallelism can be both verbal-figurative and rhythmic, compositional.
PARCELLATION- an expressive syntactic technique of intonational division of a sentence into independent segments, graphically highlighted as independent sentences. ("And again. Gulliver. Standing. Stooping." PG Antokolsky. "How courteous! Good! Nice! Simple!"
N. Ilyina. “He soon quarreled with the girl. And that's why. " G. Uspensky.)
TRANSFER (French enjambement - stepping over) - mismatch of syntactic division of speech and division into verses. When transferring, the syntactic pause inside a verse or semi-verse is stronger than at its end.
Peter comes out. His eyes
Shine. His face is terrible.
The movements are fast. He is beautiful,
He's all like a storm of God.
A.S. Pushkin
RHYME(Greek "rhythmos" - harmony, proportionality) - a variety epiphores ; consonance of the ends of poetic lines, creating a feeling of their unity and kinship. The rhyme emphasizes the border between the verses and links the verses into stanzas.
ELLIPSIS (Greek elleipsis - loss, omission) is a figure of poetic syntax based on the omission of one of the members of a sentence, which is easily reconstructed by meaning (most often predicate). This achieves the dynamism and conciseness of speech, a tense change of action is conveyed. Ellipsis is one type of default. In artistic speech, it conveys the speaker's emotion or the intensity of the action:
We sat down - in ashes, hails - in dust,
In swords - sickles and plows.
1. The originality of the genre "Words ...".
2. Features of the composition.
3. Linguistic features of the work.
Shouldn't we, brothers, begin with the old words of war stories about Igor's campaign, Igor Svyatoslavich? To begin this song according to the times of our time, and not according to the custom of Boyanov.
"The Lay of Igor's Campaign" Literary scholars have long recognized the undoubted artistic value of this work of Old Russian literature - "The Lay of Igor's Campaign." Most researchers of this literary monument agree that the "Word ..." was created in the XII century, that is, shortly after the events about which it refers. The work tells about a real historical event - the unsuccessful campaign of Prince Igor Novgorod-Seversky against the steppe-Polovtsy, which ended with the complete defeat of the prince's squad and the capture of Igor himself. Mentions of this campaign were found in a number of other written sources. As for the "Lay ...", the researchers primarily consider it as a work of art, and not as historical evidence.
What are the features of this work? Even with a superficial acquaintance with the text of the work, it is easy to notice its emotional richness, which, as a rule, are devoid of dry lines of chronicles and chronicles. The author praises the valor of the princes, laments the lost soldiers, points out the reasons for the defeats that the Russians suffered from the Polovtsi ... Such an active author's position, atypical for a simple statement of facts, which are the chronicles, is quite natural for a literary work of fiction.
Speaking about the emotional mood of the "Lay ...", it is necessary to say about the genre of this work, an indication of which is already contained in its very title. "Word ..." is also an appeal to the princes with a call for unification, that is, speech, narration and song. Researchers believe that its genre is best defined as a heroic poem. Indeed, this work has the main features that characterize the heroic poem. The Lay ... tells about events, the consequences of which turned out to be significant for the whole country, and also praises military valor.
So, one of the means of artistic expression of the Lay ... is its emotionality. Also, the expressiveness of the artistic sound of this work is achieved due to compositional features. What is the composition of the monument of Ancient Russia? In the storyline of this work, you can see three main parts: this is the story itself about Igor's campaign, the ominous dream of the Kiev prince Svyatoslav and the "golden word" addressed to the princes; Yaroslavna's cry and Igor's flight from Polovtsian captivity. In addition, "The Word ..." consists of thematically integral pictures-songs, which often end with phrases that play the role of a chorus: "looking for honor for myself, and for the prince - glory", "O Russian land! You are already behind the hill! "," For the Russian land, for the wounds of Igor, the buoy Svyatoslavich. "
Pictures of nature play an important role in enhancing the artistic expressiveness of the Lay ... Nature in the work is by no means a passive background of historical events; She acts as a living being, endowed with reason and feelings. A solar eclipse before the hike foreshadows trouble:
"The sun blocked his path with darkness, the night awakened the birds with fearsome groans, the animal whistle rose, Div was roused, calling at the top of the tree, ordering to listen to a foreign land: the Volga, and Pomorie, and Posulia, and Surozh, and Korsun, and you, the Tmutorokan idol." ...
The image of the sun is very symbolic, the shadow of which covered the entire army of Igor. In the literary works of princes and rulers, they were sometimes compared to the sun (remember the epics about Ilya Muromets, where Prince Vladimir of Kiev is called the Red Sun). And in the very "Word ..." Igor and his kin-princes are compared with four suns. But not light, but gloom falls on the warriors. The shadow, the darkness that enveloped Igor's squad is a harbinger of imminent death.
Igor's reckless determination, who is not stopped by the omen, makes him similar to the mythical heroes-demigods, fearlessly ready to meet their fate. The prince's desire for glory, his unwillingness to turn back fascinates with its epic scope, probably also because we know that this campaign is already doomed: “Brothers and retinue! Better to be killed than to be captured; so let us sit down, brothers, on our greyhound horses and look at the blue Don. " It should be noted that in this case the author of "Lay ...", wanting to enhance the artistic expression of the work, even "postponed" the eclipse a few days earlier. It is known from the chronicles that it happened when the Russians had already come to the borders of the Polovtsian steppe and to turn back was tantamount to a shameful flight.
Before the decisive battle with the Polovtsians, “the earth is buzzing, the rivers flow muddy, the dust covers the field,” that is, nature itself seems to be opposing what is about to happen. At the same time, you should pay attention: the land, rivers, plants sympathize with the Russians, and animals and birds, on the contrary, eagerly await the battle, because they know that there will be something to profit from: “Igor is leading an army to the Don. Birds are already waiting for him in the oak groves, wolves call a thunderstorm by yarugs, eagles call animals on bones with a scream, foxes crack on scarlet shields. " When Igor's army fell in battle, "the grass crumbles with pity, and the tree bowed to the ground with sorrow." The Donets River appears as a living being in the Lay ... She talks to the prince and helps him during his escape.
Speaking about the means of artistic expression in "The Lay of Igor's Campaign", of course, one cannot keep silent about the linguistic features of this work. To attract the attention of his audience, to create the appropriate mood, the author used questions to which he himself answers (exclamations that emphasize the emotional tone of the narrative, appeals to the heroes of the work): “What is making noise, what is ringing at this hour early before the dawn?”, “Oh Russian land! You are already behind the hill! ”,“ And Igor's brave regiment cannot be resurrected! ”,“ Yar-Tur Vsevolod! You are standing in front of everyone, you shower the soldiers with arrows, you warble your helmets with damask swords ”.
The author of "Lay ..." makes extensive use of epithets characteristic of oral folk poetry: "greyhound horse", "gray eagle", "open field". In addition, metaphorical epithets are not uncommon: "iron shelves", "golden word".
In the "Word ..." we also find the personification of abstract concepts. For example, the author depicts offense in the form of a maiden with swan wings. And what does this phrase mean: "... Karna screamed, and Zhlya rushed across the Russian land, sowing grief to people from a fiery horn"? Who are they, Karna and Zhlya? It turns out that Karna is formed from the Slavic word "cariti" - to mourn the dead, and "Zhlya" - from "regret".
In "Word ..." we also find symbolic pictures. For example, the battle is described as sowing, then as threshing, then as a wedding feast. The skill of the legendary storyteller Boyan is compared with falconry, and the collision of the Polovtsians with the Russians is described as an attempt by “black clouds” to close the “four suns”. The author also uses symbolic designations traditional for folk poetry: he calls the Russian princes falcons, the raven is the symbol of the Polovtsian, and the yearning Yaroslavna is compared with the cuckoo.
The high poetic merits of this work inspired talented people to create new works of art. The plot of "Words ..." formed the basis of AP Borodin's opera "Prince Igor", and the artist V.M. Vasnetsov created a number of paintings based on "The Lay of Igor's Campaign."
Lesson topic:
The role of figurative and expressive means of language in works of fiction
Lesson objectives:
cognitive : repeat terms; develop the ability to distinguish between paths, stylistic figures and other means of expression; define their role in the text;
developing : to develop the thinking and speech activity of students, the ability to analyze, compare, classify, generalize, logically correctly express their thoughts; continue to work to unleash creativity; on the development of critical, imaginative thinking; create conditions for the development of communication skills;
educational: development of a system of value attitudes towards the native language; fostering a respectful attitude to the author's word, a responsible attitude to one's own word, to the culture of speech.
DURING THE CLASSES.
1. Organizing time.
2. Introductory remarks. Let's start our lesson by reading and analyzing O. Mandelstam's poem. Reading and analysis of the poem by O. Mandelstam. (1 slide).
What is this poem about? What is the theme and main idea of this poem? What helps the author to create such a picture of St. Petersburg and convey his feelings? (comparisons - "like a jellyfish"; epithets - "transparent spring", personifications - "spring dresses", metaphors - "sea wave heavy emerald", etc.).
What can expressiveness be used for?
Output : pictorial - expressive means make speech bright, figurative, expressive.
Based on all that has been said, how can we formulate the topic and objectives of the lesson?
3. Writing the topic of the lesson. ( 2 slide). What are the objectives of the lesson? (3 slide).
Let's turn to the epigraph of our lesson. We read lines from the works of N.V. Gogol, V. Brusov, A. Akhmatova.
What do these quotes have in common? How do they reflect the topic of our lesson?
4. Conversation on questions. Repetition.
1 . Into what three groups are the pictorial - expressive means of the language?
2. List the pictorial and expressive means of the language, write down the terms in a notebook, give orally definitions.
METAPHOR - the use of a word or expression in a figurative sense based on the similarity of two objects or phenomena.
COMPARISON - comparison of two phenomena in order to explain one of them with the help of the other.
EPITHET - figurative definition.
METONYMY - a trope, consisting in the fact that instead of the name of one object, the name of another is given.
HYPERBOLA - a figurative expression containing an exaggerated exaggeration of the strength, size, significance of any phenomenon.
LITOTES - a trope containing an exorbitant understatement of the subject, power, significance of any phenomenon.
IRONY - a trope consisting in the use of a word in the opposite sense of the literal one.
ALLEGORY - the expression of an abstract concept or idea in a specific artistic image.
PERSONALIZATION - a trope consisting in the transfer of human properties to inanimate objects and abstract concepts.
PERIPHRASE - a trope consisting in replacing the usual one-word name of an object with a descriptive expression.
ANAPHORA - repetition of individual words or phrases at the beginning of a sentence.
EPIPHORA - repetition of words or expressions at the end of adjacent, contiguous sentences.
ANTITHESIS - a turnover in which opposite concepts are sharply opposed.
GRADATION - such an arrangement of words in which each subsequent one contains a reinforcing meaning.
INVERSION - a special arrangement of words that violates the usual order.
SYNECDOCHE - , variety based on the transfer of meaning from one phenomenon to another on the basis of the quantitative relationship between them.
OXYMORON - "clever stupidity" stylistic or error, a combination of words with the opposite meaning (that is, a combination ).
SYNTAX PARALLELISM – the samesyntacticstructureneighboringproposals.
PARCELLATION - division of the proposal.
Consolidation and generalization of material
5. Divide the terms into two groups. ( Slide 5)
6. Find the error in the definition of the trail. (Slide 6)
7. Match definition and stylistic figure. (Slide 7)
8. Correlate definition and lexical means ... (Slide 8).
9. Physical education (Slides 10 - 16)
Metonymy, phraseological units, paraphrase, parallelism, epithet, synonyms, comparison, rhetorical question, common words, litota.
10. Working with texts of works of art (according to printouts) Examples from artwork of tropes and stylistic figures.
What language means are found in these texts?
Until he demands a poet To the sacred sacrifice Apollo, In the cares of vain light He is faint-heartedly immersed;Is silent his holy lyre: Soultastes cold sleep, And between the children of the insignificant world, Perhaps he is the most insignificant of all. (A.S. Pushkin, "Poet") (Metaphors)
Red brush rowanlit up ... Leaves were falling. I was born
(M. Tsvetaeva, From poems about Moscow) (Metaphor)
And you fall like that
How a leaf that has fallen from the tree will fall!
And you will die like that,
How your last slave will die .
(G.R.Derzhavin, "To the Sovereigns and Judges") (Comparisons)
But only a divine verb
Before hearing a clear touch
The poet's soul will stir
Like an awakened eagle.
(A.S. Pushkin "Poet") (Comparison)
Here dark oak and ashemerald,
And there is azureconcealing tenderness…
As if from realityweird
You are carried away inmagic vastness.
(A.A. Fet, "Mountain Gorge") (Epithets)
Feigned do not demand tenderness from me
I will not hide the coldness of my heartsad .
You are right, there is no longer in itbeautiful fire
My original love.
(E.A. Baratynsky, "Confession") (Epithets)
We need such a language as the Greeks had,
What the Romans had and, following them in that,
As Italy and Rome say today.
(A.Sumarokov) (Metonymy)
8. He's a man! It is ruled by the moment
He is a slave to word of mouth, doubt and passion;
Forgive him the wrong persecution:
He took Paris, he founded the Lyceum.
(A.S. Pushkin) (Metonymy)
And it was heard until dawn,
How jubilantFrenchman …
(M.Yu. Lermontov, "Borodino") (Synecdoche)
10 everyone sleeps - man, beast, and bird
(Gogol) (Sinekdokha)
11. “It rained in one place, sothe river, which the hare had swum a day earlier, swelled up and overflowed for ten miles ”.
(ME Saltykov-Shchedrin "Selfless Hare"). (Hyperbola)
12.Jumping Dragonfly
Summer redsang
I didn't have time to look back,
As winter rolls into your eyes.
(I.A.Krylov, "Dragonfly and Ant") (Impersonation)
13. Where are you, where are you,thunderstorm of kings,
Freedom is a proud singer?
Come tear the wreath off me
Break the pampered lyre ...
I want to sing freedom to the world
Strike vice on the trails.
(A.S. Pushkin, Ode "Liberty") (Periphrase)
14. You and wretched
You are abundant
You and mighty
You are powerless ...
(N.A. Nekrasov, "Who Lives Well in Russia") (Anaphora)
15. Let the thunders shake the sky,
The villains oppress the weak,
Madmen praise their minds!
A friend of mine! We are not to blame.
(N.M. Karamzin) (Graduation)
16. No peace full of proud confidence,
Neither dark antiquity cherished traditions
They do not stir in me a pleasant dream.
(M.Yu. Lermontov "Motherland")(Inversion)
17. And walking importantly, in a calm calm,
A little man leads the horse by the bridle
In big boots, in a sheepskin sheepskin coat,
In big mittens ...and himself with a fingernail!
(N.A. Nekrasov) (Litota)
18. The forest is not the same!
- The bush is not the same!
- The thrush is not the same!
(M. Tsvetaeva) (Epiphora)
And the day has come. Gets up from the bed
Mazepa, this frail sufferer,
Thiscorpse alive
, just yesterday
Moaning weakly over the grave.
( . «
11. Reading and listening to A. Blok's poem “Stranger ". (Slides 17 - 21)
Analysis of the pictorial and expressive means of the poem, their role in the text.
12. Conclusion: what is the role of pictorial and expressive means in works of fiction?
What is the practical orientation of knowledge of pictorial - expressive means and their role in the text? (Completion of the task 24 Unified State Exam in the Russian language).
13. Work with the text and review from the KIM USE in the Russian language. ( Slides 22 - 26)
Complete Task 24 using the Algorithm.
14. Reflection. (Slide 27). Let's summarize what we learned in the lesson.
What is the role of the figurative and expressive means of language in works of fiction and in human life?
Creation of new, bright, fresh images.
Fully, accurately, deeply, in accordance with the intention, the thought is expressed
Influence on the thoughts and feelings of the reader, purification on the spiritual and, as a result, on the physical level.
15. Homework. (Slide28)
1. Analyzefrom the point of view of the use of pictorial and expressive means, the poem of the poet of the Silver Age.
2. Complete the task of the 24th Unified State Exam in the Russian language.
Make a plan for an essay and check if it is written correctly? and are the punctuation marks placed correctly? in the story of ivan sergeevich turgenev "mumu" the janitor gerasim is the most remarkable face of all the servants. this is a man
tall, powerful physique and deaf and dumb from birth. in his hands any work argues, because nature has endowed him with extraordinary strength. mistress gerasima from the village to her city for service. they bought him clothes,
boots and identified him as a janitor. his work as a janitor Gerasim performed diligently and accurately, he loved order in everything. for these qualities he was respected and feared. The lady favored Gerasim as a loyal and strong watchman. she
kept numerous servants. of all the servants, the washerwoman Tatiana fell in love with the protagonist for her meek and timid disposition. when he met her, he rejoiced and tried to please her. gerasim guarded and protected Tatiana from ridicule and
sharp words. by order of the lady, the shoemaker Kapiton was married to the washerwoman Tatyana. Of course, Gerasim did not like this, he was worried and sat for a long time in his little room. and then gave Tatiana a red, paper handkerchief. and
when the shoemaker and the laundress were sent to the village, the gerasim went to see them off. this showed his meek and kind disposition. on the way back, the gerasim found a hungry and frozen puppy, which, out of his kindness, took with him. he
looked after his pet as a mother looks after her child. gerasim named the dog mumu. he loved her very much, and she fondled everyone, but loved one janitor. of course, the lady did not even know about the existence
Mu Mu. after one unpleasant incident, she ordered that the dog should no longer appear in the yard, the servant fulfilled her order and took it to the bazaar. at a time when gerasim did not find a dog in the closet and in the yard, he
very upset. then Mumu returned to the janitor. gerasim became careful, walked the dog only at night and tried in every possible way to hide it from human eyes. in the end they found out about the dog. followed from the lady
the order to kill the puppy. It was difficult for gerasim to do this, but he made up his mind. the next day the janitor went to the tavern, ate himself and fed the mum. he decided to go to the river and drown the dog. of course, Gerasim felt sorry for his mum, but he could not
do not follow the orders of the lady. After all this, the janitor Gerasim returned to his village and began to live as before. I like the gerasim janitor, because he is strong, courageous, diligent, hardworking. he is any
seeks to do the job well. Gerasim is kind, trying to protect those who are weaker than him. he loves animals and cares for them with affection. for these qualities I like the gerasim from the story and. with. turgenev "mumu".