Introduction to the theory of literature. Analysis of literary

Literary criticism - Science O. artistic literature, its essence and historical evolution.

In literature, three main industries are allocated - the theory of literature, the history of literature and literary criticism, and the belonging of literary criticism for literary criticism of the discussion. All branches of literary studies are interconnected. In the system literary disciplines There is also poetics. The auxiliary historical disciplines includes literary archival studies, paleography, textology, text commenting. Literary criticism has strong links with other humanitarian sciences: philosophy, aesthetics, folkloristic, theory of art, psychology and sociology. The community of material primarily brings literary studies with linguistics.

The emergence and development of literary studies

The origins of literary studies relate to antiquity. In the aesthetic views of philosophers Ancient Greece and Ancient Rome You can find the foundations of scientific ideas about literature. In the works of Aristotle and Plato, which laid the foundations of idealistic aesthetics, have already contained the fundamental concepts of the theory of literature. The written Aristotle "On Art of Poetry" was a systematic presentation of the foundations of poetics.

In the Middle Ages, the study of literature was carried out mainly in the bibliographic and commentation aspect. In the era of the revival return from oblivion antique World, special attention is paid to the problem people's Languageto which dandy (treatise "about folk speech", 1304-1307), J. Tyu Belle (" Protection and the glorification of French ", 1549).

Until the middle of the Xih century. Literary studies developed mainly in line with philosophical and aesthetic concepts. The founder of literary studies as historical science Johann Gerder is considered (1744-1803), which "first began to consider the originality artistic literature of different nations From the point of view of its conditional circumstances of national historical life. "

In Russia in the 1820-1830s. declared "Philosophical Criticism" ( D.V.V.Veevitinov , N.I.Nadejdin), who experienced the influence of German classical philosophy. In the 1840s. Belinsky mating philosophical and aesthetic ideas with the concepts of civilian art and social history. Literary critic, explaining the phenomena of the past, developed theoretical problems of realism and the nationality of literature. By the middle of the Xih century. European countries develop a cultural approach to the study of the verbose of one or another ethnic group (This is connected, for example, the emergence of such discipline as Slavodiology). In the domestic science, an interest in the ancient Russian literature is manifested (in 1846, the book "The history of Russian literature, mainly ancient" is coming out of the press. S.P.Shevyreva).

Academic schools in literary

To the Xih century The emergence of pan-European methodological schools, primarily mythological school (its leading representatives - Brothers J. and V. Grimm). The mythological school arose on the wave of an awakened romanticism of interest in mythology and folklore and relying on the aesthetics of F. Schellling and Brothers A. and F. Schelegl. In Russia, in line with mythological school worked F.I. Buslaev and A.N. Afanasyevwho belonged to "younger mythologists."

Supporters of the biographical method for the first time applied french critic Sh.O. Sent-Bev (author of "literary and critical portraits", TT.1-5, 1836-1839; in Russian translation - " Literary portraits. Critical essays"1970), considered the biography and identity of the writer as a determining moment of creativity. This method is to one degree or another apply in modern literary.

In the middle of the 4th century A cultural and historical school has developed, which methodologically relied on historicism and examined the artistic work as an organic impression of the so-called "spirit" of the people in various historical moments of its existence. The cultural and historical school in the philosophical plan relied on positivism (O.Kont, Moscow). The lead representative of the cultural and historical school in literary criticism - Ippolit Ten (author "History english literature", 1863-1864). De Sanctis, V. Sheer, M. Santez-Pelaio, in Russia - N.Stikhonravov, A.N. Pypin, N.I. Kostyenko, and others, worked in line with this school. Cultural and historical school has contributed to in creating stories national literatures (in the context of the history of public psychology and material culture nations).

Research of oral folk creativity and literature of antiquity contributed to the formation of comparative historical literary criticism. Combises explained the similarity literary facts similarities in social history and the history of the culture of certain peoples, as well as cultural and literary contacts between them. In Russia, from the 1880s. Almost all universities existed the Department of "Universal Literature". In St. Petersburg, he headed this department A.N.Veselovsky - the height of the comparative historical method in domestic science, the author " Historical poetics", (1870-1906, separate edition - 1940).

IN last third Hih in. originated psychological schoolwhich reflected the overall turn of humanitarian knowledge (first of all sociology, philosophy and aesthetics) to psychologism and the main subject of study for which the psychological side became creative process, The attention of this school was directed to mental life the author, as art reflects both the external and internal impressions of the Creator artistic work. IN Western Europe The psychological school was presented primarily by the works of V. Dundta. In Russia, the ideas of the psychological direction adhered to A.Potebnay ("Thought and language", 1862), subsequently - his students (D.N. Zseyaniko-Kulikovsky, A.G. Gornfeldt, etc.).

On the turn xi - XX centuries. Psychological school gave way to schools of psychoanalysis. The scope of the unconscious made it possible to explain many phenomena in art. A little later, K. Jung, who formulated the theory of collective unconscious (archetypes), applied the principles of psychoanalysis in a new way. Under the influence of the ideas of K. Jung, as well as J. Fraizer there was a so-called ritual-mythological criticism, whose representatives are engaged in searching in works not only mythological metaphors and likescent, but also reproduction of certain ritual schemes. The most fruitful ritual mythological criticism examined literary genresrelated to its origin with ritual, folklore and mythological traditions.

In the 1910s. There was a formal school in domestic literse. Its representatives opposed the unity of the form and the content of the ratio of the material (something pretexting the artist) and forms (the organization of the material in the work). "Formal School", the Russian species of the formal method in literature, included the Society for the study of the poetic language (OPO), the Moscow Linguistic Circle (MLK) and scientists from the Leningrad State Institute of Art History (GIIA). Representatives and supporters of the formal school fruitfully examined some of the problems not previously studied, including the ratio of semantics and verse design ( Y.Tynyanov), Rhythm and meters (B.Tomashevskiy), a plug-in section (B.Shklovsky) and others. The formal school, through interaction with the Prague linguistic circle, influenced structuralism and "new criticism" representing foreign philological schools.

From interaction with sociology in literary criticism in the 1910s. The flow of vulgar sociologist, simplifically interpreted by historical literary process. It was presented primarily by the works of V.N. Fricce, V.F. Pereverez and, later, theorists of Perevoletchta. Pereverzev understood art only as a reflection of only class ideas of the artist. Representatives of the sociological direction sometimes replaced the analysis of the artistic work only by analyzing its subjects, but it was the first attempt to build a new concept of the historical and literary process.

IN soviet period Literary criticism was both a subject of scientific study and a university course, receiving high degree Institution. The history of national literatures were scientifically developed, monographs of creativity of domestic and foreign writersReleased literary scholars and reference editions. However, the ideological installation associated with the principle of party-party in the literature was very often a methodological obstacle for an objective analysis of a particular literary phenomenon.

Modern literary criticism

Modern literary criticism actively interacts with adjacent areas of humanitarian knowledge, trying to find a universal method in the field of humanitarian sciences. To one of these methods traditionally include hermeneutics. "The hermeneutic" understanding "is aimed at reconstructing meaning, deciphering historical text In order to realize the continuity of the spiritual and cultural experience of mankind, at the introduction of a new generation and new era By the past, to tradition. " Hermeneutics, like existentialist, phenomenological, mythological criticism and recipe aesthetics and some other flows and schools of foreign literature, is based on the anthropological type of constructing theoretical concepts. In the same time modern literary criticism Actively uses the conceptual apparatus of various academic schools of literary studies, but from new methodological positions. As an example, the use of the terms "archetype" and "archetypal image" can be given.

Domestic literary studies released since the late 1980s. From ideological dogma, actively masters a large layer of "returned names" and literary works of the so-called Russian abroad, trying to recreate the literary process in its entirety and complexity. In this regard, the urgent task was the creation of new university courses of the history of Russian literature, first of all the twentieth century. Already described literary phenomena are rethought with new methodological positions. Modern domestic literary criticism is represented by a number of research institutions, including (had) and the Institute of Russian Literature (Pushkin House).

Literary analysis of text

Literary analysis Text implies research reading literary work, in the opposite of interpretation, with its moments of subjective assessment. Scientific consideration of the artistic work is, first of all, the analysis of its structure: content and forms, the subject of the work, the problems, ideological world, the image, and compositions, and also artistic speech. Thus, the analysis of the composition of the literary work implies the analysis of the composition of the figurative system, the plot and conflict, the exhaustion of the plot and extrapty elements of the literary work. The picture of the shown world consists of separate artistic details: portrait features, landscape, objective parts.

The types of auxiliary analysis refers, for example, an analysis of the work in the aspect of the genus and genre. For example, for form analysis lyrical work It is necessary to answer the following questions:

1. What genre variety is a lyrical work (Elegy, Message, Station, Sonnet, Madrigal, etc.)?
2. What are the features composite structure Works (Is it solid or consists of several parts)?
3. What are the characteristics of the structure of lyrical work?
4. How does lyrical mood develop in poem?
5. As can be characterized lyrical hero poem?
6. What are the features of the vocabulary of the poem?

Nikolaev P.A. and others. Academic schools in Russian literature

Nikolaev P.A. et al. History of Russian literary studies

Esalnek A.Ya. Introduction to literary studies

(for the organization of independent activities of students)

Compiler: Size O.L., Literature Literature

Preface.

The purpose and task of literary analysis artistic text.

Features of literary design analysis of artistic text.

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

Comments on the fulfillment of literary analysis of artistic text.

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

Preface

A feature of the modern stage of the philological study of the text is the strengthening of its communicative orientation: the text is studied as a form of communication from the position of the author's dialogue and reader. Communicative approach to the text significantly expands the idea of \u200b\u200bit, its properties, units and categories, its structure, semantics, pragmatics.

The object of literary analysis is artistic text.

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

At the modern stage of literary crowns N.S. Bolotnova, A. B.Syne, et al. Allocate different kinds Analysis of art text: philological, linguistic, stylistic, literary.

The purpose of the philological analysis of the text is to show through the mutual conditionality of the form and the content of the text of its meaning and cultural status. The peculiarities of philological analysis of text include: historicism, anthropocentricity, cultural orientation, integrated integral nature (attention to the form and content of text in their mutual conditionality), lexicocentricity. Philological analysis The text includes a linguistic, stylistic and literary analysis, as well as the coverage of the cultural and historical context of the era. The philologist examines the different aspects of the text as a complex multidimensional phenomenon in the process of linguistic analysis, stylistic and literary, which mutually complement each other, expand and deepen the idea of \u200b\u200bthe informative plan of the text and the personality of the author behind him.

The purpose of the linguistic analysis of the text is "the show of the funds by which the ideological and related emotional content of the work is expressed" (L.V. Shcherba).

The purpose of the stylistic analysis is the consideration of the text from the point of view of linguistic and extralying-in-forming factors as manifestation of stylistic uzus and individually-copyright style.

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

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

The purpose and tasks of the text of the text of the text

From the point of view of literary science, the text is considered as a work of art that is emerging in a wide literary and cultural and historical context of the epoch, reflecting a certain natural development of the literary process. The area of \u200b\u200bliterary analysis includes both textual and venetatic information: the study of the worldview of the writer, the process of forming his creative personality, belonging to a certain literary direction, genre specifics of the text, the characteristics of the composition, the figurative system, themes and the problems of the work, its main pathos and artistic aesthetic peculiarity.

All this determines the range of tasks facing the literary review. In an effort to emphasize the peculiarity of literary analysis in comparison with Linguistic, V.V. Vinogradov (1954) noted: "Linguist is sent from the analysis of verbal fabric of the work. Literary critic - from social and psychological understanding of character. "

Analysis of the whole text is not possible without taking into account the relationship of the form and content. Meanwhile, the substantive plan of the text has long been studied only by literature and (partly) literary poetic, the form of the artwork was the object of attention of linguistics, stylistics, linguistic poetics. However, only in the unity of consideration of the form and content of the text, it is possible to know his artistic meaning. Identify it, ultimately, is a common goal different species Analysis of the text, which, complementing each other, deepen the idea of \u200b\u200bit in the consciousness of the reader. Each type of artistic text analysis makes a definite contribution to the comprehension of its aesthetic content.

Purposeliterary analysis is the consideration of artistic text as works of art with cultural and visual significance capable of performing aesthetic function.

Features of the Literary Text Analysis

What path the literary critic analyzing artistic

composition? Compare the description of this process A.B. Yesin: the first thing you need to do is read the work, not burdened by the dogma, read it as it were for the first time, after this, at the same time, find out what the writer tells you personally. Then the usual way to literary studies follows: interpretations in the first approximation and targeted analysis-re-reading, the goal to adjust, expand and kill the primary interpretation.

Secondly, and this is the most important and practically necessary - it is necessary to determine the meaningful dominants of the work, those properties artistic contentwhich combine all the elements, that problem-semantic rod, which provides systemic-housing unity of content.

And finally, thirdly, to verify the loyalty of the interpretation, you should contact the analysis of the poetics of this work, to the peculiarity of its style, to the search for stylistic dominant. "

In this case, we are talking about the immanent analysis of the text, by definition of V.V. Vinogradov. In the proposed A.B. The ESIS procedure of literary analysis attracts, first, important for the modern educational sector of the need to interpret the content of the text, entering into a dialogue with it with other researchers. Secondly, the supported is a support for dominants (meaningful and formal).

What is dominant? "... they can become not separate artistic techniques, but only the most common properties of the work, which are like artistic principles for building a whole, those organizing parameters that" permeate "all the meaningful elements". The researcher considers the types of artistic issues, a variety of pathos and the idea of \u200b\u200bthe work. Going on this path, the literary critic rationally streamlines the impressions, "translates" them to the conceptual language and then complements and expands the interpretation within the framework of the given dominant directions.

It is quite obvious: to objective his impressions, the researcher should turn to the analysis of the language forms and stylistic features of the text, i.e. The immanent literary analysis of the text requires auxiliary and linguistic justification.

Not by chance V.V. Vinogradov talked about the two possible ways of studying the literary work: 1) "... Going away from the concepts and categories of the general literary language system, from its elements and delight in the techniques and methods of their individually-stylistic use ..."; 2) "... from complex unity to a hundred dismemberment."

In the process of literary analysis, the work requires a support for a wide historical and literary context, i.e. immanentantthe analysis should be complemented projection(Terms of V.V. Vinogradova). The competence of literary critic is the knowledge of the history of the creation of the work and literary fate of the author, his worldview and creative credo; The idea of \u200b\u200bthe literary process and in particular the relevant stage in the development of fiction. This important background uniform information will make more accurate and deeper to interpret the aesthetic meaning of the text.

It is known that the artistic text allows multiplicity of interpretations, which depend on both the text itself and from the information thesaurus readers, the level of their spiritual, psychological and speech culture, social experience and other factors.

Sometimes there is a literary analysis "according to images", "by Hlelems", "along the course of action." Due to the systemic organization of the text, its connectedness and integrity, any type of analysis is focused on comprehending the whole artistic content of the text and does not exclude the coverage of its other aspects.

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

M. Gasparov allocated: 1) the upper level of analysis - idean-shaped(it includes ideas and emotions, images and motives); 2) Middle Level - stylistic(it includes analysis of vocabulary and syntax); Nizhny - fonic(metric, rhythm, rhyme, stroke). According to the author, analysis of the works of the worldit refers to the highest level, the most important and "most universal level of the structure of the poetic work".

Let's summarize:

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

Literary waters are interested in belonging the text with a specific literary direction, genre specificity, composition, figurative system, theme and problematic work, its main pathos and artistic peculiarity. Along with this, an explosive background is explored: a writer's worldview, aesthetic credo, cultural and historical era and the circumstances of the creation of text.

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

The purpose of education in the education program Sverdlovsk region For 2005-2010, social competence is considered as a common ability based on knowledge, experience, values, allowing to establish links between knowledge and life situation, find ways to solve this or that problem. Thus, a graduate modern school Must have certain personality qualities:

Flexibly focus on changing life situations, be able to independently apply the knowledge you need in practice to address emerging problems; competently work with information; be sociable, contact in various groups; independently work on the development of own morality, intelligence, cultural level; Independently critically thought, clearly realize where and how the knowledge acquired by him can be applied, therefore, the domestic school needs to be transition to a competence approach to education and upbringing. Considering the existing disagreements in determining the terms "competence" and "competence" in the gymnasium No. 174 of Yekaterinburg as a basis, the experience of Samara teachers, where the concept of transition to the competence approach to the Laboratory of Educational Resources was developed.

Department of Education and Science Administration of the Samara Region.

Competence is the result of the formation, expressed in the readiness of the subject, to effectively sorganize internal and external resources to achieve the goal. In the process of mastering new technologies, roles, mastering new activities. Thus, the competence is manifested in the development of subjectively new activities, when it is necessary to perform non-algorithmized (new for a person) actions. In this form, the competence absorbs all other competencies allocated at a lower level (competence).

Competence is the direct result of education, expressed in mastering students with a certain set of ways of activity. Since it is impossible to master activity through imitation, the child begins to manage its activities using various results of education (knowledge, skills, skills), forming its own resource package necessary for the formation of competence. Based on the analysis of theoretical literature (articles ", the technology of designing key and substantive competencies" Khutorsky A.V.) and employers' requests, the following key competence are allocated:

1) Communicative competence (written communication, public speaking, dialogue, productive group communication);

2) information competence (readiness for self-education, readiness for the use of information resources, perception and processing of various information);

3) Competence of solving problems (samology) (definition of problems, goaling and planning activities, the use of various technologies, resource planning, assessment of activity, assessment of the result of activities, assessing its own promotion (reflection)).

To form and develop the listed competences are designed to qualitatively new strategies and teaching technologies, in particular the competence approach, which, according to B. Goluba and E.Ya. Kogan in the article "Paradigm of the urgent education", includes several directions. One of the destinations is to monitor the level of formation of key competencies through various types of children's activities in the lessons, survey and evaluation creative work Adolescents on specially designed criteria.

In our opinion, a literary analysis of artistic works used in literature lessons is a means of forming information and communicative competencies.

We bring to your attention the experience of the training session "Analysis of space and time in the subject organization of prose A.P. Chekhov 80 - 90gg on the example of the stories" Tosca "(1886) and" Pumping "(1892)

In the process of studying these stories, we investigated the techniques for the creation of spatio-temporal relations and subject organization in the above-mentioned artistic works.

How different consciousnesses interact are: the hero and narrator, how the meaning of the story discloses through different organization of the narration, can be seen in the story A.P. Chekhov "Tosca", written in 1886.

At first glance, this story with a very obvious story, from the very first words, exciting sympathy to the Potapov and his trouble. But this is only at first glance. And indeed, the hero of the story is the cab driver, not new for the literature of the XIX century: we can meet this image in adventurous adventure and jecdotic works M. Pogodina, N. Field; In the river, "Natural School" will write about the cab by F. Bulgarin and I. Kokorev; In a new way, I will look at this Hero N. Nekrasov in the poem "Voice". Nevertheless, touching the topic more than once developed the topic, A.P. Chekhov gives her completely new understanding.

Reflecting on the fate of the ions, over the grief of ordinary little manChekhov repeated four times the situation of "failed communication", thus drawing the loneliness of a simple person among the crowd, the lack of a response to someone else's pain, inattention to eager to erase himself. He will build a longing and mountain of a small man before longing truly universal.

Next, we offer students in more detail to analyze the subject's organization of this story A.P. Chekhov and its spatial-temporary construction and reveal that already in the first rows of the story it is shown how the state of longing captures the ion. He, being one on one with his grief, went into his longguing and externally resembles a small point, which people hurrying by people do not notice. The space around the ions closed at one point - in his grief, and even time in this moment, as if it stopped: "Wet snow is lazily spinning," ion and his horse do not move from the spot for a long time "(I, 134). The "point" space corresponds to the "point" time. The external action here is defined internal. But the ion, needing the interlocutor, goes on the road, the space begins to turn out of the "point" into the line - the path, the purpose of which is uncertain - this is the desire of the ions to pour into someone's worship.

Describing the state of the ions, A.P. Chekhov conveys the thoughts of their hero, but the attentive reader feels the presence of another, higher consciousness belonging to the narrator, which helps determine the presence of "foreign speech" in the inner monologue of ions. This "someone else's speech" allocated V.B. Kataev in his work "Literary ties Chekhov". He found three quotes in the text "longing", two of them are hidden. One of the quotes highlighted graphically and composite, epigraph: "Who will be sorrible mine?", In the opinion of Kataeva, from crying Joseph, the whole tonality of the story is set, which expands the framework of the narration, bringing it to universality, to eternity. So this phrase not only indicates the two-mindedness of the narrative, but also turns the "insignificant shell" of the point space, leads it to another level: all-in-law and historical space. The external substantive sign "Expansion" of space just serves the movement of the ions in order to fill out their longguing to - remove the stress of grief, compressed inside and stubbornly requiring "deployment".

Thanks to the emergence of the second voice, the quotes that have been "someone else's speech" can be determined by the distance between the hero and the narrator from the story of "Tosca". The simple consciousness of the hero was transferred from the outside, from the position of the consciousness of the developed. And the light grin of the narrator over the hero, who can not correctly explain and tell her longing ("and the oats did not leave. That is why there is a longing"), does not separate, but on the contrary, he raises the hero to another level. The consciousness of the narrator complements the consciousness of the character, giving him the opportunity to leave the framework of his narrow, ordinary consciousness.

This indicates the final of the story - longing finally has been told, the soul is open. Ion told his grief housing. Communication took place, although not quite what was assumed first. Purpose of the path of ions in a definite sense achieved, although VB Kataev believes that "Communication took place in a maximum absurd form."

When analyzing the story of "Tosca", students can conclude that the spatial organization of the text plays a significant role in identifying the copyright in the prose of Chekhov and on a par with a subject organization, the construction of the artistic world of the writer is determined.

In the works of the 90s A.P. Chekhov is looking for the truth not in monologic speech narrator or hero, and in their dialogue. In his stories, improperly direct speech is activated when the narrative speech is saturated with certain words or expressions of the hero, "scattered" on it, which is the means indirect characteristic of heroes.

How these narration features are manifested in a specific story and how the interaction of the narrative types with the space-time organization of the text, students are proposed to consider on the example of the analysis of the story "Pumpong" (1892).

Detailed narrative structure and language of this story were considered by A.P. Chudakov, L.G. Barlas, A.V. Cubasov, with whose works was invited to get acquainted to students during the collection of material on this story. All these scientists say that from the first pages of the story in the speech of the narrator, the voice of a heroine is poured into speech, which immediately opposes Olga Ivanovna and her smoke friends, about which all visitors to Olga Ivanovna salon say that he is "ordinary." Smokey in the word narrator ironically opposed friends of the heroine, which "were not quite ordinary people. Each of them was wonderful and a little known:" (II, 178). What is it belonging different charactersAnd not the narrator can be determined by vocabulary, alien to the narrator: So the picture of the "scattered dispersion" (term M.M. Bakhtina) arises, where the reader feels two opposite intonations: serious - heroes and ironic, exposure - narrator.

In the future, the influence of the voice of the heroine on the narration is increasing, because The story is increasingly saturated with her vocabulary, words that do not have a narrative storyteller. This influence is reflected in the space-time organization of the text, which Kubasov A.V. called the "chronotope" of the national day ".

From the first chapter, the reader learns about the routine of Smymov's Day: "He took the patients daily from nine o'clock in no afternoon and was engaged in his ward, and after noon I went to the other hospital, where I opened the dead patients. Private practice he was negligible, rubles Five hundred per year "(II, 179). Externally, it looks scarce, it can be made in such a chain: the house is the work - the house, and the work is not shown, it is only mentioned, revealing hidden meaning Question: "What else can you say?". This question, according to A.V. Kubasova stands on the border of two consciousness: an impersonal narrator and heroine, and there are two estimates of the smoke and his classes in it: the reader - Olga Ivanovna and hidden to the pore, opposing her, assessment of the narrator.

In the second chapter, the description of the day of Olga Ivanovna. Unlike the day of Smoke, it is extremely filled with affairs and is painted by the hour: music or painting, visiting the dressmakers, lunch with her husband, trips to a friend, theater or concerts: and so every day. Thanks to the external population of the day, the impression of the temporal length and significance of each moment is created. But the "team day" of Smymova and Olga Ivanovna embodies two different lifefriend, walking in parallel, in contact with only at certain points of the space-time system: during the home dinner of spouses at 5 o'clock and on Wednesdays, when Olga Ivanovna arranged parties where smoke played a role Majordom. So the chronotope of the "team of the day" smoke and his wives always follow in a pair, comparing that clearly, then in context. All this creates the impression of the emptiness and artificiality of the life of Olga Ivanovna. Despite the fact that externally Olga Ivanovna is constantly in motion, constantly changes his "Places: City - House - Portnika - Theater - Guests - a village - cottage - a city, her time and space are crushed into fragments deprived of their completion and integrity. This The thought confirms the decoration of the house, which is overloaded by the things of the external space, which once again emphasizes the spiritual emptiness of the heroine, the surface of her personality.

And if we see that the day of Olga Ivanovna is determined only by the number of cases that do not give high-quality growth of the heroine, its movement is expressed only by external signs: moving from one constant point of space to another, the changes in the routine of the smoke day carry a high-quality shift - spiritual growth Hero who is licensed by the dissertation.

Thus, if the time and space of Olga Ivanovna are closed: moving from point to point always return it to the beginning, it resembles the run in a circle of proteins in the wheel, while Smymova goes progressively, its movement is climbing, move forward and higher.

In the process of working on the stories of A.P. Chekhov students come to the conclusion that the subteectional connection of the end and the beginning of the work is forced to rethink and the image of the hero, and the way of his life embodied in the externally scarce events day. Capacity of Chekhovsky art time is created by the addition of different time reference systems, which is a collision of not only various votes and opinions, but also a collision of time forms.

Teacher's task in the process of preparing and conducting a lesson of this kind not only to organize independent work Students both at the lesson and after school hours, but also determine the level of formation of information and communicative competence of 9th grade students. For this, the following criteria are developed on the basis of the materials of the new standards, which are presented in the form of a table (application).

References:

1. A.P. Chekhov Selected works In 3 volumes, M, 1964.
2. Bakhtin M.M. Questions of literature and aesthetics. M., 1975.
3. Korma B.O. Studying the text of the artistic work. M., 1972.
4. Barlas L.G. Language of the narrative prose Chekhov: problems of analysis. Rostov-on-Don, 1991.
5. Kataev V.B. Literary ties Chekhov. M., 1989.
6. Kubasov A.V. Stories A.P. Chekhov: Poetics of the genre. Sverdlovsk, 1990.
7. Chudakov A.P. Poetics Chekhov. M., 1971.

The performance of the literary work requires
Special preparation. Before you voice
Artistic text, you need to find answers to the following
Questions:
1.
Do I like the literary work that I
going to read the children? What did it attract me?
What is special in it?
2.
For what I want to read the children exactly
composition? What should happen to them after
Reading this work? What feelings I want from
They call them? What do I want to reflect with them?
Answers to these questions need to be sought in the work itself.
But while you do not ask yourself specific questions, your
Impressions will not be distinct. Only translating them in
Language form, formulating in the word, you really
You will begin to reflect, and therefore comprehend the subtext. Process
thinking about the work will lead you to necessity
His literary analysis, i.e. To more detailed
consideration of the work.

Questions about the author of the work

Questions about the author of the work
Folklore or literary in front of you
composition? It is important to immediately understand whether
Copyright. If it belongs to
Folklore, then it is necessary to work with it by law
Folklore. How to do this, we will Read more
Consider in the next chapter.
2.
If the work is literary, then who is his author,
where and when he lived and when it was created
composition?
Creation time is optional to install with
accuracy of the year, but the time period is the century and its
quarter - important because literature is always
reflects a specific era, even if wears
timeless. Also important is the country in
Whose writer lived and lives. Life of man
necessarily reflected in the work, and he, as
It is known to carry national traits and wherein
Changes with time.
1.

Theoretical Literary Questions

Theoretical Literary Questions
Every literary family has its own
the specifics that need to be considered when
Place the work.
Genre is always a specific point of view.
The author on the world. Every genre requires special
Intonation: Reader looks at the world through the eyes of the author.
Each genre has its own voice
their special intonations that
Know the performer. By paying attention to the genre,
Reader will be able to accurately choose the necessary
Expressive means.

Each type of speech requires special pronouncement.
Poems can not read as you read prose.
The poetic speech is organized more difficult,
than prose, it is more renewed and therefore
more difficult to understand. But at the same time she
Easier to memorize, more
affects human emotions thanks
Its distinct rhythm, rhyme, imagery.

Features of poetic works

Features of poetic
Works
Let's call the laws of verse:
1. Compliance with interstic pause: in
Poem is particular pauses,
which is not in prosaic speech; they are
Fix the end of the poetic line,
Specify rhythm. Such pauses are called
interstime.
2. Unity of the poetic string: all
Words in the poetic line are closely "fasting"
among themselves, so the longest
Pauses can be interstitial. If a
It is necessary to make a logical pause inside
lines, it should be replaced
intonation.

3.
4.
Compliance with copyright strokes: rhythm
poem tells the reader to what
The syllable of each word falls accent. Sometimes
Copyright stresses do not coincide with
orthoepic norm, but replace them on
Correct it is impossible, since such replacements
Destroy the rhythm of poem. Pyrrichiypropropus strokes in a strong place-give
Stick conversational sound.
Compliance with the number of syllables in the line: in
each row of poem certain
Number of stop with defined alternation
shock and unstressed syllables. Art of reader
poetic works is to
Connect in reading the word, feeling, the idea of \u200b\u200bthe author
and melody of verse.

Features of prosaic works

Features prosaic
Works
Prose does not cause children a desire to imitate
her form create their speech works
Similarly. But at the same time, children love to play
Heroes of prosaic works.
Prosaic speech is smoother because
It is more long sentences. Content
Prosaic works are perceived
lighter, but at the same time the prose is not so good
remembered often child perception of prose
No integrity.

As an example of literary analysis, we turn to the poem M.Yu. Lermontov "Farewell, unwashed Russia ...":

Goodbye, unwashed Russia

Country slaves, the country of the Lord.

And you, blue uniforms,

And you, they are a devotee.

Maybe behind the wall of the Caucasus

I will go from your pash,

From their all-seeing eyes

From their surviving ears.

1. The poem "Farewell, unwashed Russia ..." was written in 1841 before the second reference of the poet in the Caucasus. Published only in 1887, the 40s of the XIX century. Characterized as the time of the social passivity of the Company that came to replace the national rise of the people in Patriotic War 1812 and the uprising of the Decembrists 1825

2. The work belongs to the mature stage in the work of M.Yu. Lermontov, the period of the heyday of his poetic talent. In the 40s, such masterpieces of civil lyrics of the poet were written as "1 January", "and boring and sad ...", "Motherland", "Tuchi" and others. Poems "Farewell, unwashed Russia ... "Reflects the traditions of the Decembrist poetry with its high civilian pathos and a call for a social protest. For this stage in the work of M.Yu. Lermontov was characteristic of a sharply critical perception of reality, bitterness and motive of loneliness, the feeling of a deep inconsistency of dreams and real life. All these features were reflected in the considered poem.

3. The work belongs to lyricsand is characterized by a pronounced subjective attitude to the actual reality. This is a lyrical monologue of the author, which contains a challenge of autocracy Russia. The product is distinguished by limited descriptive, rhetoric, conventional (cf., for example, a hint of total surveillance, listening, suppression of freedom, dissent - due to hyperbolization and ability to turn the item into the symbol: from their all-seeing eyes, from their survive ears).

4. The work refers to the genre lyrical poem -this appeal to the "country of slaves, the country of the Lord." The accusatory pathos of the work, its angry intonation and clear rhythmics are formed not only due to special vocabulary and syntax, but also chosen by the author poems - four-rescue yamba. N.S. Gumilev said about this amount: "Each meter has its own soul, its own characteristics and tasks. Yamba, as if descending along the steps, ... is free, it is clear, hard and perfectly transfers human speech, the tension of human will. " The latter is especially noticeable in the analyzed poem.

The factors of the "unity of the poems" and "his grinds", marked by Yu.N. Tynanov in poetry is fully characteristic of the work under consideration, which distinguishes the harmonic compliance of the shape and content, the accuracy of poetic usament and aesthetic motivation of syntactic structures. Semantic saturation, laconicism, lack of verbia, rhetorical is constituted important features poem.

The problems of the poem can be described as civil, anti-refresh.This is a work about the homeland, full of pain and bitterness for the people who passive and oppressed by autocracy. For poems, monologism is characterized, the expressiveness and open evaluation.

6. The main in the work is the topic of the Motherland and the fate of the Russian people. This is a cross-cutting topic in Lermontov Poetry (Wed Poems: "Russian Song", "Autumn", "Will", " Last Son. Volosts "," You are beautiful, the fields of the earth of the native ... "," I look for futureness with fear "," Motherland "," Duma "). Unlike other works of Lermontov, where there is a contrast of the heroic past Russia of gloomy reality, in the considered poem presents the modern poet Russia with its despotic orders worthy of decent.

7. The composition of a small volume of the poem consisting of two stanzes is simple. The key statement is a centance reflecting the topic and the idea of \u200b\u200bthe work, opens the work built in the form of an excited monologue-reflection of the lyrical hero. The subsequent presentation reveals and complements the meaning of the key statement. Thus, the general logic scheme poetic text Includes thesis and arguments (Scheme 6).

8. As for paphosanalyzed poem, it can be defined as a combination of tragic and satirical with elements of irony.

Paphos of the work is associated with a characteristic of the poet of "transition" from romanticism to realism, their peculiar combination. The text is manifested by the author's reflection, its immersion in itself, the tragic breakdown with the surrounding reality, longing to the high, perfect, characteristic for romance.At the same time, the poem embodies specific historical details of a certain stage in the development of society, expressed in artistic form, the author openly criticizes the existing order of things in the Spirit realism.In this poetic product, presented for satyric image Conditional forms: Periprase blue uniforms(about royen gendarmes - autocratic orders who were born blue uniforms); pasha(their ironic designation for the name of the Turkish Military Santers); all-looking ears -symbols that personify the cruel order in the country based on denunciations and surveillance. Rhetoricthe distinguished poem is expressed by the agitated appeal "Farewell, unwashed Russia ...", using bright epithets, syninda and periphrase (blue and blue uniforms)metaphor (unwashed Russia, the Wall of the Caucasus),hyperball (OT. their all-thinking eyes, / from their surviving ears).

9. General emotional tonalitythe works are angry, indignant, painted pain and bitterness for the blasting people. The key in the work is the images of Russia, the people and the royal gendarmes. If the poet confessed in the poem "Motherland": "I love the depreciation, but strange love ...", this "oddity" and a special attitude towards Russia revealed in the analyzed text, reflecting the complex gamut of feelings: hatred and love, pain and bitterness. Estimated epithet "Unwilder", i.e. dirty- In the context of the poem, it has the current meaning of "over. immoral, immoral. " The subsequent presentation reveals the essence of this by receiving contrast: country slaves, the country of the Lord.In the formation of the image of the people, silently staying in slavery, important role belongs to the epithet "devotee" (And you, they are a devotee).Devotee - i.e. "Fullable love and loyalty", resigned. This circumstance is deeply perturbed the lyrical hero, filling his heart pain.

Very expressive images of royal gendarmes, forming on the basis of associative-semantic communication of lexical means: blue uniforms, Pasha, all-seeing eye, all-drying ears.The image of the lyrical hero in this work is painted tragically. This personality is brave, proud, deeply suffering from his homeland, denies the humility and humility of the people and the royal order. Regarding chronotope it is interesting to note that the poem presents the images of the present time ("here" and "now") - Goodbye, unwashed Russia ...and the future: - Perhaps, for the wallCavkaza I will creep from your pash ...Image of space as visible and imaginary, large-scale and remote (Caucasian Wall)updated in reflections of the lyrical hero. In general, the shaped system of the poem aims to express his idea.

I. Ideaworks can be defined as an active rejection and condemnation of the autocracy and social passivity of the people. High civilian pathos distinguishes this poem, which was perceived as a challenge of serfdom.

1. Artistic featuresthe poems are determined by its ideological and thematic peculiarity and high civilian pathos. Partly about them was discussed due to the characteristic rhetoricpoetic text. All finely expressive funds are aimed at creating an accusatory tonality, being focused on key images. Rheisting and contrast techniques at the beginning of the poem (Goodbye, unwashed Russia, country slaves, / country Lord)determine the subsequent artistic deployment of text. Contrast is enhanced by opposition to images people and Tsarist gendarmesdue to the syninda, periprase and expressive epithet:

And you, blue uniforms, and you, they are a devotee.

Using metaphor (Caucasian wall, unwashed Russia),hyperboles in the formation of a generalizing image of autocratic despotism, total surveillance and listening (From their all-seeing eyes, / from their surviving ears)it is very expressive and pragmatically effective.

So the bright system artistic means and techniques forms a figurative product, expressing its ideological content.

The poem is typically for late lyrics M.Yu. Lermontov and reflects his individually-author stylistic features: Romantic palaticle in combination with historically specific realistic reliability in the description of public realities of the 40s of the XIX century., Outdoor social protest and rejection of autocratic system; Increased expression and diversity of fine-expressive means.

Let's summarize:

Literary analysis is the third stage of the philological analysis of artistic text.

The object of literary analysis is mainly contentartwork,

Immanentanalysis of the literary work must be complemented projectionconsidering the cultural and historical context of the era. Literary analysis includes the study of the time and circumstances of writing a work; His places in the work of the writer; Definition literary rhodation works and genre; main issues; Topics; compositions; Paphos product and emotional tonality; figurative; Ideas and artistic features.

Literary analysis complements and deepens the idea of \u200b\u200bthe content of artistic text and creative personality The author obtained on the basis of a linguistic and stylistic analysis of text.

Basic

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