Inconsistent definitions
associated with the word being defined in a way
control or adjunction, that is, the coincidence of the forms of the determined
words and definitions are not expected; when changing forms
of the word being defined, the inconsistent definition does not change.
Separation of inconsistent definitions depends on several
factors:
a) from the part of speech of the defined (main) word;
b) from the position of the definition in relation to the defined (main)
word - before the main word, after the main word;
c) from the presence of additional shades of meaning in the definition
(circumstantial, explanatory);
d) on the degree of distribution and the way of expressing the definition.
However, in general, the isolation of inconsistent definitions is less
categorically, rather than isolating agreed definitions. It
occurs if in this context it is required to highlight
any sign, to strengthen the meaning expressed by it.
We list the conditions for separating inconsistent definitions:
A) The definition expressed indirect cases nouns(more often
with suggestions)
1. Definitions-nouns are isolated if they refer to
personal pronoun:
Here's an example:
Yesterday he, in an old red jacket, was especially young and imposing.
handsome.
2. Definitions-nouns stand apart if separated from
the word being defined by other members of the sentence:
Here's an example:
After dinner everyone went into the yard, where, in a white dress, with a red
with a ribbon on her head, Angelina walked.
3. Definitions-nouns stand apart if they form a series
homogeneous members with a preceding or subsequent isolated
agreed definition:
Here's an example:
This young man, provocatively dressed, with a white face and blue
eyes, made a strange impression.
4. Noun definitions are usually isolated if they refer to
proper name, since they complement, clarify the idea of
person or object.
Here's an example:
Vera Starolubova, in a cotton dress, in a cap on the back of her head and in a shawl,
was sitting on a chair.
5. Noun definitions are usually isolated if they refer to
noun that characterizes a person according to the degree of kinship,
position, profession, etc. definition-noun
in this case gives an additional characteristic to the person. Such
definition is more common, that is, contains
dependent words. Quite often there are several such definitions.
Here's an example:
Father came out majestically, in a red jacket, in lace, with
silver bracelet on the arm.
B) Definition expressed by turnover with form comparative degree
adjective.
1. Inconsistent definitions expressed in turnover with the form
the comparative degree of the adjective, are usually isolated,
since in value they approach a weakened, secondary
predicate. Therefore, such definitions can be replaced by a clause
an offer or an independent offer. Such turns are usually
come after the defined word and have dependent words:
Here's an example:
Love, stronger than his mind, pushed him to her.
This love was stronger than his mind. This love pushed him to
her.
Separation of definitions.
Often there is another definition before the noun being defined,
agreed. In this case, the definitions have a tinge of explanation.
(meaning "namely"):
Here's an example:
long beard, slightly lighter than the hair, slightly shaded the chin and
lips;
The rest of the older guys looked at him in amazement.
2. Definition with the form of the comparative degree of the adjective is not
is isolated if it is closely related to the noun being defined:
But at another time there was no person more active than him (Turgenev).
C) Definition expressed by the indefinite form of the verb
1. Definition expressed by the indefinite form of the verb
(infinitive), is isolated (with a dash) if it has
explanatory meaning and before it you can put the words viz. IN
In oral speech, such infinitive definitions are preceded by a pause:
Here's an example:
But insane given choice to love and die.
2. Definition expressed by the indefinite form of the verb
(infinitive), is not isolated if it forms together with the name
noun is a single phrase. Usually these definitions
stand in the middle of a sentence and are pronounced without pauses:
Here's an example:
The idea of marrying Oleg came to my mind less and less.
It is preferable to start the analysis of a drama with the analysis of a small fragment of it, an episode (phenomena, scenes, etc.). Episode analysis dramatic work is carried out practically according to the same scheme as the analysis of an episode of an epic work, with the only difference that the reasoning should be supplemented with a point in the analysis of the dynamic and dialogic compositions of the episode.
So,
ANALYSIS OF THE EPISODE OF A DRAMATIC WORK
- The boundaries of the episode are already defined by the very structure of the drama (the phenomenon is separated from other components of the drama); name the episode.
- Describe the event underlying the episode: what place does it take in the course of the development of the action? (Is this an exposition, a climax, a denouement, an episode in the development of the action of the whole work?)
- Name the main (or only) participants in the episode and briefly explain:
- Who are they?
- what is their place in the system of characters (main, title, secondary, off-stage)?
- Reveal the features of the beginning and ending of the episode.
- Formulate a question, a problem that is in the center of attention:
- author; characters.
- Identify and characterize the theme and contradiction (in other words, a mini-conflict) underlying the episode.
- Describe the characters in the episode:
- their attitude to the event;
- to the question (problem);
- to each other;
- briefly analyze the speech of the participants in the dialogue;
- make an analysis of the author's remarks (explanations for speech, gestures, facial expressions, postures of the characters);
- identify the features of the behavior of characters, the motivation of actions (author's or reader's);
- determine the alignment of forces, grouping or regrouping of heroes depending on the course of events in the episode.
- characterize dynamic composition episode (its exposition, plot, climax, denouement; in other words, according to what scheme the emotional tension develops in the episode).
- To characterize the dialogical composition of the episode: what is the principle of covering the theme of the dialogue?
- Understand author's attitude to the event; correlate it with the climax and the idea of the whole work as a whole; determine the attitude of the author to the problem.
- Formulate the main idea (author's idea) of the episode.
- Analyze the plot, figurative and ideological connection of this episode with other episodes of the drama.
Now let's move on to complex analysis of a dramatic work. The success of this work is possible only if you understand the theory dramatic kind literature (see topic number 15).
- So,
- The time of creation of the work, the history of the idea, a brief description of era.
- The connection of the play with any literary direction or cultural era(antiquity, Renaissance, classicism, Enlightenment, sentimentalism, romanticism, critical realism, symbolism, etc.). How did the features of this trend appear in the work? 1
- Type and genre dramatic work: tragedy, comedy (of manners, characters, positions, cloak and sword; satirical, everyday, lyrical, buffoonery, etc.), drama (social, everyday, philosophical, etc.), vaudeville, farce, etc. Meaning check these terms in the reference literature.
- The specifics of the organization of the action of the drama: division into actions, scenes, acts, phenomena, etc. Author's original components of the drama (for example, "dreams" instead of acts or actions in M. Bulgakov's drama "Running").
- Playbill of the play (characters). Features of names (for example, "speaking" names). Main, secondary and off-stage characters.
- Features of the dramatic conflict: tragic, comic, dramatic; social, everyday, philosophical, etc.
- Features of dramatic action: external - internal; "on stage" - "behind the stage", dynamic (actively developing) - static, etc.
- Features of the composition of the play. The presence and specificity of the main elements: exposition, an increase in emotional tension, a conflict and its resolution, a new increase in emotional tension, culminations, etc. How are all the "sharp points" (especially emotional scenes) of the work connected? What is the composition of the individual components of the play (acts, actions, phenomena)? Here it is necessary to name specific episodes that are these "sharp glasses" of action.
- The specifics of creating dialogue in a play. Features of the sound theme of each character in dialogues and monologues. ( Brief analysis dialogue composition of one episode of your choice).
- The theme of the play. Leading themes. Key episodes (scenes, phenomena) that help to reveal the theme of the work.
- The problem of the work. Leading problems and key episodes (scenes, phenomena), in which the problems are especially acutely stated. The author's vision of solving the problems posed.
- The specifics of the author's remarks explaining:
- actions of characters (play of actors);
- stage setting, costumes and scenery;
- the mood and idea of a scene or phenomenon.
- The specificity of the author's position, expressed through remarks.
- Meaning of the play's title.
1. The ideological and artistic meaning of the title of the play. The title is introduced into the work of any genre. What is its peculiarity in dramaturgy? The title of the play does not strive for complete coverage of vital material, as in epic work, where the title sometimes, as it were, muffles, absorbs its main idea in order to emphasize the significance of the image of reality in its entirety.
The title in dramaturgy does not give, like lyrics, an extremely generalized and personal title (up to the frequent rejection of the title in poetry). In the play, the title is more frank, purposefully leads to the very grain central conflict, thickens the meaning of the work, often concentrating it down to an aphorism, to a proverb, to a “maxim”. The poetics of the title refracts and common feature dramaturgy - its duality, its symbolism.
In the play, the title "Forest" deliberately sets up an assessment of the main conflict in the perspective of ontological values - this impulse is then realized in the course of the play in the through motif of the sale of the forest as an everyday situation, as a social collision of the replacement of noble dominance by merchants, as a philosophical understanding of the "ecology of the soul" .
2. The most specific feature of the drama genre is the originality of the action in it: in the play, all replicas, monologues, dialogues, polylogues, details, facts, events in separate scenes, phenomena and acts are mated into a single holistic conflict, into a through "stage action".
In the very first appearance of the play “Forest”, in the very first dialogue, the pupil - dowry Aksyusha, called by the lady for a conversation, asks the servant Karp about the sale of the forest by the lady: she timidly hopes for a dowry - that is, the very first remarks associated only with a specific local situation, but also with the general, prepared collision of the purchase and sale of the forest. A half-educated high school student Bulanov, who is ready to marry at a profit, covets a possible dowry. On the other hand, the merchant Vosmibratov connects the matchmaking of his son with Aksyusha with the purchase of timber, hoping to snatch the timber as a dowry.
3. expressive means Characteristics of a hero in a dramatic work can be indirect ways his representations - such in act 1 is Neschastlivtsev's letter, his comments by all the heroes of the play. Reading the nephew's letter, which depicts his chivalrous idealization of the "loving aunt" and comments to it, in which the sentimental self-certification of himself as a benefactor of a poor relative-pupil is refuted by the fact of the robbery of the heir, creates another contrasting correlation that ties another main plot line of the play: the collision of Gurmyzhskaya and Neschastlivtsev.
4. Already in act 1, not only is the atmosphere in the Penki estate recreated, not only is the acquaintance with its inhabitants and guests, but the conflict of the play as a whole is being prepared: every cue, every detail turns out to be a projection of the general conflict of the play. The specificity of the "stage action" in the drama lies in the fact that although the actions in it appear at the moment of their accomplishment, in the very course of them - but at the same time they refract the conflict of the play as a whole: the drama is distinguished by a more abbreviated, more purposeful path of each scene to its central collisions.
5. If in an epic work the main fabric narrative language constitutes the author's speech, then figurative system drama always dominates speech characteristic: in dramaturgy "for the writer art word is the main and even the only means of development dramatic action. In the play, everything is accomplished through the word...” (V. Uspensky).
This feature of the drama found a classic embodiment in the "magician of the word" (M. Gorky) Ostrovsky. He is the creator of the “speech theater”, in which “any other action, any stage performance, facial expressions should serve only as a light seasoning for literary performance, action in the word ...” (I. A. Goncharov). Ostrovsky's plays are not intrigue plays, but plays of socio-psychological characters, and therefore the characters' speeches usually reveal not only some of the vicissitudes of the conflict, but are also a means of their autocharacteristics, revealing their hidden essence, the deep processes of their consciousness, their peculiarities. thinking, emotions and feelings.
6. One of the most important ways of analysis dramatic genre is to consider the arrangement of characters in it: the ratio actors- one of the most effective means embodiment of the author's position.
Let us comprehend the correlation of images in 1 and 2 phenomena - these first scenes of the play are clearly built on the principle of parallelism: here the servant Karp enters in turn into a dialogue with Aksyusha and Bulanov, while showing a fundamentally different attitude to their requests.
Through unambiguous situations, the contrast of the characters of young heroes is clearly manifested: the disinterested, pure appearance of Aksyusha and the selfish, cynical type of Bulanov. These dialogues are shown in visual correlation and storylines plays: the pursuit of Aksyusha's happiness, the pursuit of Bulanov's wealth.
But not only this is intended to show the beginning of the play with this “rhyme” of situations: Aksyusha asks Karp to pass a note to someone, Bulanov orders the servant to stuff cigarettes; Karp fulfills the first request, although he understands that it is contrary to the interests of the mistress, he refuses to fulfill the second request, despite the threat to complain to the mistress.
This parallelism of unambiguous situations makes it possible to clearly demonstrate the author's position: the property status of the heroes, the omnipotence of the masters of life and complete dependence on them are closely related to moral issues: Karp helps Aksyusha not because she is poor; - after all, Bulanov is also poor, and not because Aksyusha is closer to the servants than Bulanov, who is eager to join the circle of the rich, - after all, Julitta is also a servant, and Karp pokes her like that. It is not the social and property status that determines who and how Karp serves, but the moral, popular precepts of morality - and this “key” to the upcoming conflict is given by the technique of parallelism in the arrangement of characters.
Cohesion, correlation, arrangement of characters, their mutual illumination, on which one act of the drama is built, becomes one of the most important ways of revealing the idea of the play in subsequent acts.
7. “Stage action” in a play is expressed not only in external action, not only in utterance, but also in silence, in a meaningful look, eloquent gesture, secret motivation - hence the importance of analysis in a dramatic work of “non-verbal means artistic expressiveness”, pauses, replicas to the side, involuntary gestures, etc., expressed by remarks.
The emotional and semantic load of remarks of the 7th phenomenon of the 1st action, in the dialogue of Gurmyzhskaya and Aksyusha, is extremely effective.
Aksyusha says "downcast eyes", "quietly"; Gurmyzhskaya pronounces her lines, twice accompanying them with the author's note: "with laughter"; last remark before her departure, the unbroken Aksyusha, who accepted the challenge of Gurmyzhskaya, says, “looking into her eyes.”
Although in this phenomenon the heroines do not yet manifest themselves in actions, it is saturated " stage action”- and the essence of the characters of its participants and the conflict knots are extremely clearly manifested in the remarks.
