Analyze the work. Schemes for analyzing a work of art

MOU Novo-Usmanovskaya secondary school

Russian language lesson in 10th grade in order to prepare for the exam.

SPELLING RULES OF THE RUSSIAN LANGUAGE

Theme

"Basic norms of modern literary

pronunciation and stress in Russian"

prepared

teacher of Russian language and literature

Mingalimova Ramziya Mudaristovna

year 2009

Goals:

1. Restore in the memory of students the basic norms of correct literary speech; note actual problems state of the modern language.

2. On concrete examples work out spelling, lexical, grammatical, stylistic pronunciation norms; promote the development of oral communication skills.

3. Educate from students careful attitude to language, an aesthetic linguistic ideal.

Equipment: test tasks, cards, spelling dictionaries.

Location of the lesson. Computer class.

During the classes.

1 Organizing time. (The student enters the class by "passes" - cards with words for the correct pronunciation.

2. Communication of the topic and purpose of the lesson.

3. Checking homework (Several students work at computers with simulators for various spellings, and two students at the blackboard perform phonetic parsing words)

4. Work on the topic.

5. Preliminary research by a group of students according to the orthoepic norms of the language.

Motivation.

Teacher's word:

Let's pay attention to the statement of K. S. Gorbachevich, which will serve as an epigraph to today's lesson:

It is difficult to overestimate the role of literary pronunciation - one of the important indicators of general cultural level modern man. The correct pronunciation of a word is as important as the correct spelling.

K.S. Gorbachevich

Work on the topic of the lesson.

A) frontal survey.

What does orthoepy study? The term "orthoepy" is used in linguistics in two meanings:

1) a set of norms literary language associated with the sound design of significant units: the norms of pronunciation of sounds in different positions, norms of stress and intonation;

2) a science that studies the variation of the pronunciation norms of the literary language and develops pronunciation recommendations (orthoepic rules).

Educational complexes define orthoepy as the science of pronunciation, that is, in the first sense. Thus, according to these complexes, all the pronunciation norms of the Russian language belong to the sphere of orthoepy: the realization of vowels in unstressed syllables, the stunning / voicing of consonants in certain positions, the softness of a consonant before a consonant, etc.

What is the orthoepic norm?

The pronunciation of individual sounds, sound combinations, words and grammatical forms is subject to certain rules. These rules are called orthoepic norms.

What orthoepic norms do you know?

Students. Orthoepic norms are a complex phenomenon. The main orthoepic rules - the norms of modern Russian literary pronunciation can be divided into those that determine the pronunciation of vowel sounds (in different positions in a word, as well as when determining the place of stress) and the pronunciation of consonant sounds (also in different positions in a word, in consonant combinations, in combinations with some vowel sounds, in different grammatical forms).

– Some students conducted a study of the pronunciation of individual sounds, their combinations, individual words, and today they will acquaint everyone with the rules that they have developed.

Pronunciation of vowels.

1. Strong position for vowels - position under stress. In an unstressed position, vowels undergo a change (qualitative or quantitative), i.e. are reduced.

Attention should be paid to the difficult cases of reduction. After the hissing [zh] and [w] and the sound [c], the unstressed vowel [a] is pronounced as a short [a]: jargon, kings. But before soft consonants - like the sound [ye]: sorry, thirty. In rare cases, [ye] is also pronounced before solid consonants: rye, jasmine.

2. After soft consonants in the first pre-stressed syllable, in place of the letters a, e, i, the sound [ie] is pronounced: hours. This is what is called "hiccup". It is found in neutral and conversational styles. "Ekanye" (pronunciation in a given phonetic position of the sound [ee] characterizes stage speech: in [ee] net, te [ee] new. The pronunciation of ch[i]sy is obsolete, ch[a]sy is dialectal.

3. Consonants c, w, w - solid sounds, after them in place of the letter and pronounced [s]: revolution [s] I, w[s] zn, w[s] r.

4. In a few words of foreign origin, not completely assimilated by the Russian language, in place of the letter o, in contrast to the Russian orthoepic norm, in an unstressed position, a weakened [o] is pronounced, i.e. without reduction: radio[o]. Too distinct [o] is perceived as mannered, on the other hand, a distinct pronunciation of [o] in "Russified" book words (sonata, short story) is also not desirable, because gives the pronunciation a colloquial tone.

5. The Russian historian N. M. Karamzin suggested using the letter ё, simplifying complex pattern, existing earlier in the alphabet of the letter. However, now we can only meet the letter ё in primers and textbooks for foreigners studying Russian. The absence of this letter in books and periodicals leads to incorrect pronunciation of words. You should pay attention to the words in which the vowel [o], denoted by the letter ё, is sometimes erroneously replaced with a shock [e], whitish, maneuvers are pronounced as whitish, maneuvers. Sometimes, on the contrary, the shock [e] is mistakenly replaced with [o] e: grenadier, scam is pronounced as grenadier, scam. This pronunciation is not standard. Pronunciation of consonants

1. Voiced consonants at the absolute end of a word and before deaf consonants are stunned: arbu [s], pre[t] acceptance.

2. In nouns male on -ism consonant [h] is pronounced firmly in all cases, including when softening the final consonant in D.p. and P.p.: under capitalism.

3. The consonant [g] can be pronounced as [g] - year, [k] - enemy, [?] - Lord, [x] - God, [c] - whom.

4. Sound [?] within modern literary norm be pronounced in a limited number of words, but the pronunciation [g] Lord, a [g] a, o [g] o can be considered a variant of the norm.

5. In Russian, there is a tendency for the adaptability of the sound image of borrowed words with e after a hard consonant, many such words are "Russified" and are now pronounced with a soft consonant before e: museum, cream, academy, overcoat, plywood, Odessa.

But a number of words retain a solid consonant: antenna, business, genetics, detective, test. Variant pronunciation is allowed: dean, claim, therapy, terror, track. solid or soft pronunciation consonant is determined in dictionary order.

6. According to the old Moscow norms, the spelling combination ch was pronounced as [shn]. Currently, [shn] is preserved in the words: of course, boring, scrambled eggs, on purpose, birdhouse, trifling and in female patronymics in -ichna: Fominichna, Kuzminichna.

In a number of words, a double pronunciation is allowed: bulo [ch] naya and bulo [shn] naya, although the latter is becoming obsolete.

7. According to the "older" norm, the combination of th was pronounced as [pcs] in the word that and words derived from it: nothing, something, etc.

Currently, this rule is preserved for all the specified words, except for something [th]. In all other words, spelling th is always pronounced as [th]: mail, dream.

8. The combination of zhd in the word rain and derivatives from it was pronounced according to the "older" norm as [zh"zh"] (at the end of the word - [w"sh"]). Modern pronunciation[zhd"] (at the end of the word - [pcs"]) is evaluated as a variant of the literary norm.

9. According to the "older" norm, the spelling combinations zzh and zhzh (yeast, later) were worn out as [zh"zh"] - a long and soft hissing. Currently, in place of zzh and zhzh, a hard hissing [zhzh] is pronounced. And this pronunciation is evaluated as a variant of the literary norm

In most cases, it is necessary to refer to the "Orthoepic Dictionary of the Russian Language" ed. R.I. Avanesov, which gives the pronunciation of the word Orthoepic dictionary of the Russian language.

The pronunciation of the hard and soft consonant before e in borrowed words is regulated separately for each word of this type. So, you should pronounce k[r"]em, [t"]ermin, mu[z"]ey, shi[n"]el, but fo[ne]tika, [te]nnis, sw[te]r; in a number of words, a variable pronunciation is possible, for example: prog [r] ess and prog [r "] ess.

The pronunciation in individual words of combinations of th and ch as [pcs] and [shn] is also given by the list. So, with [pcs] the words are pronounced that, with [shn] - the words are of course, boring, in a number of words a variable pronunciation is acceptable, for example, two [h "n"] ik and two [shn"] ik, bulo [h "n] th and bulo[shn] th.

As already mentioned, in the speech of some people, mainly the older generation, there is a long soft consonant sound [zh "], which is pronounced in separate words at the place of combinations of letters zhzh, zhzh, zhd: yeast, reins, I go, rains: [shiver " and], [vozh "and], [th "ezh" y], [dazh" and]. In people's speech younger generation at the place of combinations of zhzh and zhzh, the sound [zh] \u003d [zhzh] ([trembling], [y "ezhu]) can be pronounced, at the place of the combination of zhd in the word rains - [zhd"] (thus, when stunning in the word rain, we have pronunciation options [dosch"] and [dosht"]).

In the speech of all native speakers of the modern Russian language, [n] is consistently replaced by [n"] before [h "] and [u"]: drum [drum "h" ik], drummer [drum "sch" ik]. In other groups softening consonants either does not occur at all (for example, benches [lafk "and]), or it is presented in the speech of some native speakers and is absent in the speech of others. At the same time, the representation of positional softening in different groups consonants is different. So, in the speech of many speakers, positional softening occurs [s] before [n "] and [t"], [s] before [n"] and [d"]: bone [kos "t"], song [p "es "n" a], life [zhyz" n "], nails [gvoz" d "and], softening the first consonant in combinations [z"], [dv"], [sv"], [zl"], [ sl "], [sy"] and some others are the exception rather than the rule (for example: door [dv"er"] and [d"v"er"], eat [sy"em] and [s"th"em] , if [th "esl" and] and [th" es "l" and]).

The emergence of many orthoepic variants is associated with the development of the literary language. The pronunciation is gradually changing. At the beginning of the 20th century they said a[n"]gel, tse[r"]kov, ve[r"x], ne[r"]y. And even now in the speech of older people you can often find such a pronunciation. The solid pronunciation of the consonant [s] in the particle -sya (sya) very quickly leaves the literary language (laughed [s] a, met [s]). At the beginning of the 20th century this was the norm of the literary language, as well as the hard sounds [g, k, x] in adjectives ending in -ky, -gy, -hy and in verbs na -nod, -give, -hivat. The words tall, strict, dilapidated, jump up, bounce, shake off were pronounced as if it were written strict, dilapidated, jump up, jump up. Then the norm began to allow both options - the old and the new: and dared [with] a and dared [with "] I, and strict [g] y stro [g"] y. As a result of changes in literary pronunciation variants appear, some of which characterize the speech of the older generation, others - of the younger.

Teacher's conclusion.

Which dictionary can be consulted in case of difficulty related to the pronunciation of a word?

Relaxation: Starting position - standing, hands forward, look at the fingertips, raise your hands up (inhale), follow your hands with your eyes without raising your head, lower your hands, exhale. Repeat 3 times.

Work with the simulator "Orthoepic norms".

In fact, the list of these words is much longer. In case of difficulty, you need to refer to the spelling dictionary. In our daily speech, such common words often occur.

Research.

Work with exercises:

Place the stresses in the words using the spelling dictionary. Formulate a rule that obeys the placement of stress in these words.

Pipeline, gas pipeline, water pipeline, garbage chute, oil pipeline. (Rule: in words ending in -wire, the stress falls on the last syllable).

Philologist, psychologist, catalogue, epilogue, prologue. (Rule: if the noun is animate, then the stress falls on the middle of the word).

Silence, deafness, yawning, stuffiness, beauty, drowsiness, aching. (Rule: in nouns formed from verbs, the stress falls on -from-, formed from adjectives - on the ending.

Silence - dumb, deafness - deaf, stuffiness - stuffy, beauty - beautiful;

Yawning - yawning, drowsiness - napping, aches - breaking.)

(After checking each task from this block, the rule is written in notebooks).

Performing exercises 50, 51, 52. In case of difficulty, students refer to the school spelling dictionary or Appendix 1 of the textbook. Exercise 50 is done in writing.

Alphabet, hyphen, quarter, kitchen, miserable, orphans, convocation, statue, phenomenon, expert, flounder, pantry, silo, carpenter, more beautiful, beets, sorrel, he calls, corrugated, indulge, clog.

The words of exercises 51, 52 are read aloud in a chain, everyone monitors the correct pronunciation and, if necessary, makes corrections.

Exercise 51.

Call - called, called, called, called; pour - poured, naughty, poured, poured; take - took, took, took, took; spin - spun, spun, spun, spun; call - called, called, called, called; drive - drove, drove, drove, drove; wait - waited, waited, waited, waited; steal - stole, stole, stole, stole; begin - began, began, began, began; come to life - came to life, came to life, came to life, came to life; understand - understood, understood, understood, understood; accept - accepted, accepted, accepted, accepted.

Exercise 52 (words are transcribed)

Summary of the lesson. 1) conversation on questions:

What is an orthoepic norm and why is it needed?

What should we do to make our speech correct, clear, understandable to others?

Will greatest crime in front of culture, in front of our Motherland, in front of humanity, if we do not protect our language and allow ourselves to distort it.

K. G. Paustovsky.

2) grading.

Homework:

Write an essay-reasoning on the topic “Why do we need orthoepy?”

Repeat everything studied on the topic "Orthoepy";

Orthoepic norms (pronunciation of consonants, stress).

Even though I looked in the old days

In the Academic Dictionary.

A.S. Pushkin "Eugene Onegin".

Really, the best remedy successfully cope with task A1 (orthoepic norms) - constantly look into dictionaries, where the correct pronunciation of words is indicated. Look at the page for the correct accents for a few hundred words.

In no case when completing a task not costs lean on own an experience! Most of the words of the orthoepic minimum in everyday speech we pronounce it wrong!

Orthoepy is a set of rules that determine the pronunciation norms of our speech and ensure the sound of all language units, which is uniform and obligatory for all literate native speakers, in accordance with the characteristics of the language phonetic system, as well as the uniform pronunciation of language units in accordance with the pronunciation norms that have historically developed and entrenched in language practice. . Orthoepic norm- this is the only possible or preferred option for the correct pronunciation of the word.

Rule.

I. Accents in initial form verbs.

1. In verbs ending in I-TH, the suffix -I- is most often stressed

II. The stresses in the forms of verbs of the present and future tense, participles (in -УШ/УШ, -АШ/ЯШ, -ВШ, -НН\ENН) and gerunds are the same as in the initial form of the verb.

In participles formed from verbs with the suffix -T-, stress falls on the first syllable.

folded,

bent,

started,

accepted.

III. Stress in the past tense of verbs.

In feminine forms stress falls on the ending -a. In masculine, neuter and plural forms - on the first syllable.

EXCEPTIONS: laid, stole, sent, lived.

IV. Stress in nouns.

1. In forms nominative case plural shock is the ending -A, unstressed- -Y, so you should remember:

airports,

cakes,

elevators,

bows,

cranes,

lecturers,

scarves.

2. In the forms of the genitive plural, the ending -OB is most often unstressed, and the ending -EY - shock.

agent

alphabet

hyphen

dispensary

document

blinds

catalog

obituary

quarter

PARTNER

apostrophe

percent

cement

expert

fetish

BUT:

flyleaf, facsimile.

4. In many derivative words stress is preserved producing words:

creed - to confess

agreement, agreement - agree

INTENTION - MEASURE

SUPPLY - PROVIDE

aristocracy - aristocracy

sign - banner

metallurgy – metallurgy

5. Remember the pronunciation of the following words:

citizenship

winterer

self-interest

flint

ski track

adolescence

beet

a statue

tableYar

chain

Spark

shoe.

V. Adverbs.

The stress falls on the prefix in the words:

in time,

ahead of time

after dark,

Isstari

VI. Adjectives.

Remember the orthoepic norms for the sound of the following adjectives:

old

more beautiful, more beautiful

mosaic

wholesale

plum

pear

kitchen

salmon

Ukrainian

enviable.

Parsing the task.

In which word is the letter denoting the stressed vowel correctly highlighted?

2) sneaked

4) (good) news

Option number 1.

Option ski track- a noun, the sound of which should be remembered. The correct pronunciation is ski track.

Options number 2,3.

The words "skull and understand" are feminine forms of the past tense of verbs, where the stress should fall on the ending -a, therefore in the form understood the accent is wrong. Verb sneaked is an exception, and the emphasis in it falls on the stem - sneaked.

Option number 4.

news - noun in the form R.p. plural, ending -ee is stressed.

Analysis artwork is a very subjective thing. The articles of the classics of criticism are works of art in themselves. Often the opinions of both literary critics and readers differ polarly. How can one find objective truth here? How to give the studied fragment an adequate assessment?

Today we will discuss two questions:

• what needs to be assessed and
• how to evaluate it.

This is the essence of such an analysis.

The question of what exactly should be assessed can be answered quite objectively. World experience converges in understanding what exactly characterizes the work, what elements of the structure can be distinguished, what is important and what is not very important. This means that it is possible to formulate techniques for analyzing a work of art that correspond to modern ideas about such an analysis and propose a formalized scheme for the analysis of a work of art.

The proposed analysis scheme includes seven steps divided into two stages.

Step 1. Genre.

Step 2. Concept.

Step 3. Composition.

Step 4. Heroes.

Step 5. Language.

Step 6. I believe - I do not believe.

Step 7. Hooked - not hooked.

So, everything is in order.

Stage 1. Step 1. Genre

The correct definition of the genre - necessary start analysis of a literary work. In this post, we will discuss, first of all, literature. The analysis of artistic works of other art forms, such as paintings or symphonies, although it has common features with literary analysis, but it has such a pronounced specificity that it deservedly requires separate discussion. We will focus on prose literary texts. It will focus primarily on stories and novels. Much of this applies to novels and plays. To a lesser extent - to poetry.

Genre affiliation must be taken into account in the analysis so that the texts do not compete with other genres. Fantasists must compete with science fiction writers, and feuilletonists with feuilletonists. They just have different rules and criteria. Bandy is also hockey, but in ice hockey there are different sticks and power moves are allowed. In the "instruction" genre digressions are not very appropriate, but in the essay genre they are quite welcome.

Stage 1. Step 2. Concept

When analyzing a literary work, first of all, it is necessary to understand what topic it is devoted to and what its idea is.

A subject is usually understood as an image object. : situations, relationships, actions of characters, etc. The idea reflects the goals and objectives that the author seeks to achieve while working on the text.

Other conceptual level concepts are problem and conflict.

A problem is a question that a writer poses to a reader. The authors rarely formulate such a question directly, but usually make it clear what they see as the answer.

It is important to distinguish the concept of "problem" from the concept of "theme". The topic is the answer to the question “what did the author write about?”. Let's say about love. A problem is a question to which a work seeks an answer. For example: what can a loving person sacrifice?

The problem is the essence of the conflict in which the main character. He can be opposed by another character, a group of characters, society as a whole, or any circumstances.

It happens that the hero is in conflict with himself, for example, with his conscience.

As a result of conflict resolution. The hero either dies, or reconciles with the circumstances, or wins. For more information about the conflict, I recommend reading the posts "" and "".

All these concepts are included in the conceptual outline of the analysis. AT good story they are clearly legible. If, after reading the text, you clearly understand what it is about, what is the idea, problem and conflict, then the author has a clear concept of what he wrote.

The genre adequacy of the concept is very important. A story on the theme of "the horrors of the Holocaust" does not look appropriate in the "parody" genre; a children's fairy tale "about Santa Claus" is hardly suitable for the "satire" genre.

Stage 1. Step 3. Composition

The next level of analysis is compositional. Here, first of all, you should analyze the plot. Often there are such components of the plot: exposition, plot, development, climax, denouement.

Exposition in literary criticism is usually called that part of the text that precedes the beginning of the unfolding of events. The exposition gives an initial description actors, describes the circumstances of place and time, shows the reasons that drive the plot conflict.

An anchor is an event that starts an action, it triggers conflicts.

Remember, in William Shakespeare's tragedy Hamlet, Prince of Denmark, Hamlet meets a ghost? This is a tie. The plot is one of the key moments of the plot.

Development, in literary criticism, is often understood as the course of events, the spatio-temporal dynamics of the depicted. Tension builds as the conflict develops until a climax occurs.

The culmination in literary criticism is an event where the conflict reaches its maximum tension and a decisive clash occurs between the parties to the conflict.

The denouement is the last part of the development of the conflict, where it comes to its logical conclusion. Here the hero wins, is defeated, or dies. If he survived, then the denouement is followed by an epilogue. It talks about what happened outside the plot, as they say, "what the heart rests on."

We talked about the plot in more detail in the last post - ““.

The analysis of the composition also includes the so-called extra-plot elements. They do not move the action forward, the characters remain in the same position. There are three types of extra-plot elements: descriptions, author's digressions and inserted episodes. The presence of extra-plot elements should not disturb the natural dynamics of the development of the plot, only under this condition can they serve as an additional means of compositional expressiveness.

Stage 1. Step 4. Heroes

Sincerely,

Analysis of a work of art

An approximate plan for the comparative characteristics of heroes:

• hero's first appearance
• portrait
• living environment
• relationship with people close to him, with society
• behavior in similar situations
• author's attitude to the hero

Algorithm comparative analysis poetic text

1. Find the similarities of two texts at the level:

• plot or motive
• figurative system
• vocabulary
• visual means
• syntactic constructions
• other options.

2. Find differences at the same levels.

3. Explain the identified differences:

a) in the works of the same author;

• the difference in the time of writing, which determined the change in views;
• difference in artistic tasks;
• contradictions of outlook and attitude;
• other reasons.

• difference of artistic worlds;
• difference historical conditions and features literary development;
• difference not only individual, but also national artistic worlds.

4. Clarify the interpretation of each of the analyzed texts in accordance with the comparative analysis.

Poem Analysis Plan

1. The title of the poem and its author.

2. Leading theme (What is the poem about?)

3. What picture does the poet paint in his poem? Describe. (Pay attention to the details of the picture, their color scheme.)

4. Mood, feelings conveyed by the author. How do feelings change from the beginning to the end of the poem?

5. The main images of the poem.

6. Lexical means of expressive speech: comparisons, epithets, metaphors, personifications, sound writing.

7. Syntactic means of expressiveness of speech: antithesis, appeal, introductory words and sentences, exclamation, homogeneous members sentences, repetitions, parallelism. For what purpose does the author use them?

8. Main idea ( What did the poet want to say in the poem?).

9. own attitude to what you read. What feelings does the poem evoke?

Mood Dictionary

Positive (good) mood: solemn, enthusiastic, the poet describes with delight ..., the poet is delighted ..., enthusiastic and joyful, the poet is fascinated ..., the poet admires ..., joyful, cheerful, light, bright, gentle, the poet writes with tenderness about ..., playful, peaceful, warm, calm, upbeat.

Negative (bad) mood: sadness, the poet sadly talks about ..., the poet yearns for ..., sadness, the poet regrets ..., regrets about ..., the poet is sorry ..., the poet worries about ..., the poet is indignant ..., the poet is upset ..., the poet is hurt by ..., with pain in the heart of the poet writes about ..., the poet speaks with emotion about ..., the poet experiences a feeling of bitterness ...

Detailed plan for analyzing the poem

2. The genre of the poem. What place does this genre occupy in the poet's work, is it typical for him, what literary direction does it belong to.

3. Analysis of the themes (love, hate, nature, freedom, etc.) and the problems of the poem. Does it meet the needs of the times? Is it up to date present stage and why.

4. Analysis of the plot and composition.

5. Lyrical "I", lyrical subject, image of the author. Does the image match lyrical hero and the lyrical subject, how the image of the author is realized, whether it is present at all.

6. Formal features of the poem. Determine the size, meter of the poem, rhyme system, stanza.

7. Stylistics. Traditionally, stylistic means include: paths, figures, sound writing. Bring the words of one thematic group who play big role in a poem. Find obsolete vocabulary and neologisms, explain why the author uses them.

8. Your personal attitude to what you read

Plan for analyzing an episode of an epic work

1. The place and role of the episode in the composition of the work. The episode is included in any element of the plot: exposition, plot, development of the action, climax, denouement, epilogue

2. Type of episode (narration, description, reasoning)

3. Events described in the episode

4. Characteristics of the characters in the episode: appearance, clothing, manners, speech, interaction of characters

5. Artistic means of expression

6. Features of the use of extra-plot elements in the episode: description, landscape, portrait, interior

7. The role of this episode in the work. characterological. The episode reveals the character of the hero, his worldview. Psychological. Episode Reveals state of mind character. Swivel. Episode shows new turn in the relationships of the characters. Estimated. The author gives a description of a character or event.

1. Time to create a fairy tale.

2. The main theme of the tale. Problem. Main idea (idea).

3. Features of the plot. How is the main idea of ​​the tale revealed in the system of characters?

4. Similarity with folk tales (with examples).

5. Artistic originality fairy tales (with examples).

6. Features of the language (with examples).

7. The meaning of the fairy tale.

Plan for analyzing the role of the episode in the text

Introduction

1. What is an episode? Give a definition.

2. An assumption about the role of this episode in the work (the thesis of the essay).

Main part (arguments and examples).

1. Concise retelling of this fragment.

2. The place of the episode in the composition of the text (Why is this episode located here? What episodes before and after? What is the connection with other fragments?)

3. The place of the episode in the plot of the work (outset, exposition, development of the action, climax, denouement, epilogue).

4. What themes, ideas, problems (questions) of the text are reflected in this episode?

5. Arrangement of characters in this fragment. New in the characters of the heroes.

6. What is object world works (landscape, interior, portrait)? Why is it in this episode?

7. The motives of the episode (meeting, argument, road, dream, etc.). Associations (biblical, folklore, antique).

8. On whose behalf is the narration being conducted: the author, the narrator, the hero (from 1st or 3rd person)? Why?

9. Organization of speech (narration, description, monologue, dialogue). Why?

10. Language means (tropes and figures).

Conclusion (conclusion)

1. The role of the episode in the work (roll call with the introduction).

2. What themes of the work are developed in this episode?

3. The value of the fragment for revealing the idea of ​​the text.

An approximate plan for analyzing an episode of a dramatic work

1. 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.

2. 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 plot, an episode of the development of the action of the whole work, a climax, a denouement?)

3. Name the main (or only) participants in the episode and briefly explainWho are they,what is their place in the system of characters (main, title, secondary, off-stage).

4. Reveal the features of the beginning and ending of the episode.

5. Formulate a question, a problem that is in the focus of the author's attention; characters.

6. Identify and characterize the theme and contradiction (in other words, a mini-conflict) underlying the episode.

7. Describe the characters - participants 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.

8. Characterize dynamic composition episode (its exposition, plot, climax, denouement; in other words, according to what scheme the emotional tension develops in the episode).

9. Describe the dialogic composition of the episode: on what principle is the dialogue based on the coverage of the topic?

11. Formulate the main idea (author's idea) of the episode.

12. Analyze the plot, figurative and ideological connection of this episode with other episodes of the drama.

Song analysis

Plan:

1. The meaning of the song title

2. Who and when could perform it?

3. What is the feeling of the song?

4. What parts does it consist of?

5. What means artistic expressiveness used in it?

Artistic features of the folk song

1. Permanent epithets: “good warrior”, “beautiful girl”, “blue sea”, “silk stirrup”, “straight road”, “good horse”, “black clouds”, “clear field”;

2. Short forms adjectives: good fellow, (glass) green wine, for the good of the horse, dear friend of the heart, for the crow of the horse, across the open field;

3. Words with diminutive suffixes: “tender branch”, “wheat”, “nose”, “friend”, “sun”, “path”;

4. Negative comparisons: “not a cuckoo in a borochka bored”, “does not write with a pen, not with ink, but writes with burning tears”;

5. Psychological parallelism - assimilation of natural phenomena to the state of the hero;

6. Sound recording - a technique for creating the musicality of a work. In the absence of folk songs rhymes through the repetition of individual vowels and consonants, a certain image is drawn brighter, the melodiousness of poetic lines is emphasized.

In the middle classes secondary school it is still too early to teach the actual analysis of the work. Students must pass hard way basic literary concepts to acquire knowledge for further analysis texts in high school. Let us turn to the rubric "Theory of Literature" according to the program for the 5th grade:

• The concept of oral folk art, its types, genres. Myth, folk tale, features of their construction and language.
• The concept of a literary fairy tale.
• The concept of science fiction and adventure literature.

As you can see, the content of this section provides only elements of the analysis of the work. The same is true in programs for 6th and 7th grades. The questions and tasks offered by the textbooks for the middle classes are also aimed for the most part to clarify the content of the text. In order to prepare schoolchildren for the analysis of a work of art in high school, it is necessary to take into account the program headings "Theory of Literature" on Ukrainian and foreign literature and plan this material in a logical sequence, taking into account the works that are being studied. Based on the calendar-thematic plan, the teacher will draw up an appropriate system of questions aimed at checking the students' understanding of both the content and the form of the work. Thus, during their studies in grades 5, 6 and 7, they will gradually learn the elements of considering a work of art, and only then the teacher will be able to take up his school analysis, taking into account these three aspects:

• The specifics of the perception of the material by students (emotional aspect);
• Measure of scientificity (cognitive aspect);
• The educational value of literature ( pedagogical aspect). Unlike academic, school analysis of a work of art also has an educational and developmental value. He teaches to understand and feel the beautiful, awakens the spirit of creativity, reveals the personality of the author. It is a fusion of science and art. That is why the teacher must unite deep knowledge literary criticism with methodical preparation.

The school analysis of a work of art is based on the literary concept, but does not copy it. Among unresolved issues methodology remains, and one of the main problems is school analysis artistic work. It has been studied for more than a century. Behind last decade, with the introduction of a new school discipline " Foreign literature”, it has sharpened and is still relevant today. Not only teachers-practitioners, scientists-methodologists, but also literary critics are actively working on it. They created a solid theoretical basis for solving the methodological problem of the school analysis of a work of art. cultural analysis. cultural line State standard basic and complete secondary education has the following content: “Fiction in the context of national and world culture, its relationship with religion, philosophy, aesthetics, literary criticism, different kinds of arts. Displaying the character of the people in national literature and culture. Traditions and innovation in literature and culture. Dialogue of cultures, its influence on the literary process. Connection literary trends and trends with an aesthetic search for artists of other types of art. Based on the requirements of the State Standard, we point out that cultural analysis involves the study of fiction in the context of national and world cultures. Linguistic analysis. Linguistics (from lat. - language) - philological science, which explores the language, its functions, structure and historical development. Based on this definition, M. Shansky formulated the goal and revealed the meaning linguistic analysis. The purpose of linguistic analysis is to identify and explain the linguistic facts used in a literary text in their meaning and use, and only to the extent that they are related to the understanding of a literary work as such. Thus, the linguistic material of the text is the subject of linguistic analysis. Stylistic analysis. The literary dictionary-reference defines style (lat. - lead for writing) as a set of features that characterize works of a certain time, direction and individual style writer. Based on this statement, we conclude that stylistic analysis- this is the identification of methods of individual-author's use language tools, the study of the features of the writer's work, in which his works differ from the works of other artists. Philological analysis. Explanatory dictionaries the term "philology" (from - love for the word) is interpreted in several ways. Relying on scientific explanations, we define that philological analysis involves the interpretation of the text of a work of art using the methods of studying the language, handwriting, and manner of the writer. Contextual analysis.

The contextual analysis of a work of art provides (according to O. Chirkov) the presence of a certain context in which the work is studied and analyzed. There are such contexts: 1) a certain historical and literary era (with the definition of the place of the work in it); 2) the work of an individual writer (with the definition of the place of the work in it); 3) certain historical eras(the completeness of the reflection of the era in a literary work is being studied). Contextual analysis always involves the closest, most attention to the text as a form of expression of the author's subjective interpretation of the objective world. Intertextual analysis. Inter, or intertextuality is interpreted (as defined by O.

Chirkov) as a property of one work of art to be associated with another work or several works. At the intersection of such associations, judgments arise about the artistic originality of the work being analyzed, about the style of the author, his philosophical vision, which is embodied in a literary work. O. Chirkov summarizes and explains three (according to T. Korableva) main types of intertextual relations, namely: quotations are direct, frank, textual connections with famous works, reminiscences - mediated connections that are perceived through the context, and allusions - hints at associations and parallels with another artistic text. The identification of such quotations, reminiscences and allusions in the canonical text that is being analyzed is the task of the intertextual analysis of a work of art.

In other words, intertextual analysis involves comparing the original source and the work of art being analyzed in order to identify originality. artistic world writer in a certain work in comparison with those samples that previously existed in literature and are somewhat close, similar to him. Comparative (comparative) analysis. The phenomena of the art of the word are studied by comparing them with other such phenomena, mainly in different national writings. Psychological analysis . Theoretical basis of this analysis are the teachings of V.

Wundt (1832 - 1920) about the creative process in which the main role assigned to the mental state of the artist; Z. Freud (1856 - 1939) about the unconscious, which he first tried to explore and explain; O. Potebnya (1835-1891), who believed that artistic creativity is a reflection of the inner world of the writer.

He introduced the concept of "internal form" of word and image into literary criticism, approved the idea of ​​the unity of form and image and its meaning, put forward the theory of sequential development: word - myth - image (poetic), gave his understanding of their differences, etc. The work (according to M . Moklice) is the result of some process during inner world artist, it is a mechanism that is invisibly present in revealing the part.

The work that we are studying is the visible part of the iceberg, and its bulk remains in the depths of the author's psyche. A thorough reading of the work leads to the need to show springs creative process, to understand the intention of the author, the serious personal basis of his work. mythological analysis. Almost all literary scholars in one way or another turn to mythology, since fiction densely saturated with myths, mythical plots, mythologems (the presence in a literary work of a well-known mythological plot or motive that structure it) and mytho-worlds.

As for folklore, it is based on a mythological basis, since it has a mythological constant in itself. That's why the main task mythological analysis - to explore the direct mutual influence of literature and myths. Structuralist analysis(lat. - building a whole from parts).

The structural and semantic unity of the artistic whole and the conceptual system that displays a complex internal organization literary work and its contextual connections. Hermeneutic analysis(from the Greek. "interpreter") - the theory of text interpretation, the doctrine of understanding the meaning.

The methodology of hermeneutic analysis (according to M. Nefedov) covers the restoration and preparation of the text, solving the problem of its truth, time of writing, authorship, participation of other authors, revisions, as well as the compilation of comments (linguistic, literary, historical). Detailed notes can inform about the sources of the plot, images-characters, literary borrowings. Interpretation (lat. Interpretation) - the interpretation of a literary work, a kind of understanding and disclosure of its content and form.

Interpretation is reframing artistic content works through its presentation in the language of other arts or the language of science. Thus, artistic literary work can be interpreted artistic languages painting, graphics, theater, cinema, music, etc., as well as the conceptual and logical language of science - in literary criticism and literary criticism. Interpretation is a form of assimilation of rethinking and enrichment of the tradition of the artistic experience of human civilization, it is a manifestation of a deep and inexhaustible content classical works, their eternal existence. All the proposed types of analysis and many others that exist in literary criticism, the teacher studies perfectly in order to be able to single out favorable elements in them and use them effectively when applying the school analysis of a work of art or its components. For example, during the analysis artistic images as a component of the work, you can draw such elements from different types literary analyses.

This is also presented schematically (see diagram on p. 204). This scheme does not exhaust the possibilities of attracting elements literary analyzes, it only serves as an example to explain the methodology for their application. Specific features and the purpose of the study of the work at school.

To teach students to analyze a work of art means to single out its components, explore them, build reasoned Conclusions; to synthesize individual parts in order to see the work as a whole: to feel its aesthetic value, to understand the content, to give an independent, critical, reasonable assessment.