Functions of composition in literature. What is composition in photography

Composition - structure, arrangement and ratio constituent parts text, due to its content, issues, genre and purpose.

The composition of the text is a way of constructing it, connecting its parts, facts, images.

The famous Roman scholar Marcus Fabius Quintilian is credited with developing the theory of speech composition. Quintilian singled out eight parts in the orator's speech. The composition of speech, developed by him, entered the practice of later rhetoric.

So, eight parts of the composition according to Quintilian.

1. Appeal. Its purpose is to attract the attention of the audience and position it towards the speaker.

2. Naming the theme. The speaker names what he will be talking about, sets the listeners on the subject, makes them remember what they know, and prepares them to delve into the subject.

3. Narration consists of a description of the history of the subject (how the issue to be resolved arose, and how the case itself developed).

4. Description. Talk about what's going on at the moment.

5. Proof consists of logical arguments that justify the solution to the problem.

6. Refutation. Proof by contradiction. A different point of view on the subject is allowed, which the speaker refutes.

7. Appeal. Appeal to the feelings of the listeners. The goal is to evoke an emotional response from the audience. It occupies the penultimate place in the structure of speech, because people are usually more likely to make judgments based on emotions rather than logic.

8. Conclusion. A brief summary of what has been said and conclusions on the case under discussion.

• linear composition is a sequential statement of facts and events and is usually built on a chronological basis (autobiography, report);

• stepped - involves an accentuated transition from one position to another (lecture, report),

• parallel - is based on a comparison of two or more provisions, facts, events (for example, school essays, the topics of which are -

"Chatsky and Molchalin", "Onegin and Lensky", "Sisters Larina"

• discrete - suggests a pass individual moments presentation of events. This complex type of organization is characteristic of literary texts. (For example, such a solution often underlies detective stories);

• ring composition - contains a repetition of the beginning and ending of the text. This type of structure makes it possible to return to what has already been said in the beginning at a new level of comprehension of the text.

So, for example, the incomplete repetition of the beginning in A. Blok's poem "Night, street, lantern, pharmacy" makes it possible to comprehend what the poet said as a vital contradiction to the words "And everything will be repeated as of old" in the end of the text.);

• contrast - based on a sharp contrast between the two parts of the text.

Genre types of composition

Depending on the genre of the text, it can be:

• tough- obligatory for all texts of the genre (references, informational notes, statements, memorandums);
• variable- the approximate order of the parts of the text is known, but the author has the opportunity to vary it (textbook, answer in the lesson, letter);
• non-rigid- assuming sufficient freedom of the author, despite the fact that he focuses on existing examples of the genre (story, essay, composition);

In texts:

• built on the basis of combining elements, a linear, stepped, parallel, concentric composition is used,
• in artistic texts, its organization is often more complex - it arranges the time and space of a work of art in its own way.

Our short presentation on this topic

Materials are published with the personal permission of the author - Ph.D. O.A. Maznevoy (see "Our Library")

In order to correctly use words borrowed from other languages ​​in your speech, you need to understand their meaning well.

One of the words frequently used in different areas activities, mainly in the arts, is "composition". What does this word mean and in what cases is it used?

Word "composition" borrowed from Latin, where "composition" means compiling, adding, linking a whole from parts. Depending on the field of activity, the meaning of this word may acquire certain semantic variations.

So, chemists-technologists are well aware of composite materials, which are a composition of plastic and mineral chips, sawdust or other natural material. But most often this word is found in descriptions of works of art - painting, music, poetry.

Any art is an act of synthesis, as a result of which a work is obtained that has the power of emotional impact on viewers, readers or listeners. An important component of creativity relating to organizational principles art form, is composition.

Its main function is to give integrity to the connection of elements and to correlate separate parts With general idea author. For each type of art, composition has its own meaning: in painting it is the distribution of shapes and color spots on canvas or paper, in music it is combination and mutual arrangement musical themes and blocks, in literature - the structure, rhythm of the text, etc.

Literary composition is the structure of a literary work, the sequence of its parts. It serves to best express common thought works and can use for this all forms of artistic representation available in the literary baggage of a writer or poet.


Important parts of the literary composition are the dialogues and monologues of his characters, their portraits and systems of images used in the work, storylines, and the structure of the work. Often the plot develops in a spiral or has a cyclic structure, a large artistic expressiveness different descriptive passages, philosophical digressions and the interweaving of stories told by the author.

A work may consist of separate short stories connected by one or two characters, or have a single storyline and narrate on behalf of the hero, combine several plots (a novel within a novel), or have no plot at all. storyline. It is important that its composition serve to most fully express the main idea or enhance the emotional impact of the plot, embodying everything the author intended.

Consider the composition of S. Yesenin's poem "Birch".

White birch
under my window
covered with snow,
Exactly silver.

The first stanza draws big picture: the author's view from the window falls on a snow-covered birch.

On fluffy branches
snow border
Brushes blossomed
White fringe.

In the second stanza, the description of the birch becomes more convex.


Reading it, we clearly see branches covered with hoarfrost in front of us - wonderful, fabulous picture Russian winter.

And there is a birch
In sleepy silence
And the snowflakes are burning
In golden fire

The third stanza describes the picture of the early morning: people have not yet woken up, and silence envelops the birch, illuminated by the dim winter sun. The feeling of calmness and quiet charm of winter nature is enhanced.

A dawn, lazy
Walking around,
Sprinkles branches
New silver.

Quiet, windless winter morning imperceptibly passes into the same quiet sunny day, but the birch, like the Sleeping Beauty from a fairy tale, remains. The artfully constructed composition of the poem is aimed at making readers feel the charming atmosphere of a winter Russian fairy tale.

Composition in musical art extremely important. complex musical composition relies on several basic musical themes, the development and variation of which allows the composer to achieve the emotional effect desired by the composer. The advantage of music is that it affects directly the emotional sphere of the listener.

Consider, as an example, a well-known musical composition - Anthem Russian Federation. It begins with a powerful introductory chord that immediately sets the listener in a solemn mood. The majestic melody floating above the hall evokes the numerous victories and accomplishments of Russia, and for older generations it is a link between today's Russia and the USSR.


The words "Glory to the Fatherland" are reinforced by the ringing of the timpani, like a surge of jubilation of the people. Further, the melody becomes more melodic, including Russian folk intonations - free and wide. In general, the composition awakens in the listeners a sense of pride in their country, its endless expanses and majestic history, its power and unshakable fortress.

Composition is a kind of program for the process of perception of the work by the reader. The composition makes a whole out of separate parts, the very arrangement and correlation of artistic images expresses artistic meaning. What is composition , compositional analysis of a work of art?

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Composition of a work of art

Composition is a kind of program for the process of perception of the work by the reader. The composition makes a whole out of separate parts, the very arrangement and correlation of artistic images expresses artistic meaning.

« What is composition?First of all, this is the establishment of the center, the center of the artist’s vision, ”wrote A.N. Tolstoy . (Russian writers about literary work. - L., 1956, vol. IV, p. 491) The composition of a work of art is understood differently.

B. Uspensky States that " central issue compositions of a work of art" is "point of view problem". “It is assumed that the structure of a literary text can be described by isolating different points of view, that is, the author’s positions from which the narration (description) is conducted, and exploring the relationship between them.” (Uspensky B. Poetics of composition. - St. Petersburg, 2000, p.16)Point of view in a literary work- “the position of the “observer” (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in relation to “volume” (degree awareness), and in terms of assessing the perceived; on the other hand, it expresses the author's assessment of this subject and his outlook. (Tamarchenko N.D., Tyupa V.I., Broitman S.N.Theory of Literature. In 2 volumes. - M., 2004, v.1, p.221)

« Composition - a system of fragments of the text of a work, correlated with the points of view of the subjects of speech and image, this system, in turn, organizes a change in the reader's point of view both on the text and on the depicted world. . (Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, v.1, p.223) These authors distinguishthree compositional forms of prose speech

V. Kozhinov believes that composition unit“is a segment of a work, within the framework or boundaries of which one specific form (or one way, angle) of a literary image is preserved.” “From this point of view, in a literary work one can distinguish elements of a dynamic narrative, a static description or characterization, a dialogue of characters, a monologue, and the so-called internal monologue, a letter from a character, an author's note, a lyrical digression ... Composition - the connection and correlation of individual forms of representation and scenes. (Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964, p. 434)Large composition units- portrait (composed of individual elements of the narrative, description), landscape, conversation.

A. Esin gives the following definition: Composition - this is the composition and a certain arrangement of parts, elements and images of a work in some significant temporal sequence. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, amplification, opposition, montage.

Repetition - a roll call between the beginning and end of the text, or a repeating detail as the leitmotif of the work, or rhyme. Strengthening - the selection of homogeneous images or details. Opposition is the antithesis of images. Montage - two neighboring images give rise to a new meaning.

V. Khalizev calls such compositional techniques and means: repetitions and variations; motives; close-up, overall plan, default; point of view; co-and opposition; mounting; temporal organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) " Composition literary work, constituting the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means.

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

N. Nikolina highlights different aspects compositions:architectonics, or external composition of the text; character image system; change of points of view in the structure of the text; parts system; extracurricular elements. (Nikolina N.A. Philological analysis text. - M., 2003, p.51) Composition organizes the entire artistic form of the text and operates at all levels: the figurative system, the system of characters, artistic speech, plot and conflict, extra-plot elements.

« Composition - the construction of a work of art, due to its content, character and purpose, and largely determining its perception. Composition is the most important, organizing component of the artistic form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. (Great Soviet Encyclopedia - M., 1973. T.12. St.1765.-p.293)

The reader perceives the text, first of all, through the features of its construction. wide view on theinstallation as a principle of joining the elements of the wholeunderlies the understanding of composition. S. Eisenstein stated: “... the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author ... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude to phenomena. It dictates the structure and characterization by which the image itself is deployed.” (Eisenstein S. Selected works. In 6 T. T. 3. - M., 1956, - ​​p. 42)

The composition of a literary work is based on such an important category of text as connectivity . In the same time repetitions and oppositions(opposition) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic composition theoryoriginated at the beginning of the 20th century. V.V. Vinogradov wrote about verbal, linguistic composition. He advanced understanding compositions literary text "as a system of dynamic deployment of verbal series in a complex verbal and artistic unity"

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of the language composition are word sequences. " Word row - this is a sequence (not necessarily continuous) of language units of different tiers presented in the text, united by a compositional role and correlation with a certain sphere of linguistic use or with a certain method of constructing a text. (Gorshkov A.I. Russian stylistics. - M., 2001, p.160)Language composition- this is a comparison, opposition and alternation of word rows in a literary text.

Types of composition.
1. Ring
2.Mirror
3.Linear
4.Default
5. Flashback
6.Free
7.Open, etc.
Composition types.
1. Simple (linear).
2. Complex (transformational).
Plot elements

climax

Development Fall

action actions

Exposition Ending Ending Epilogue

Extraplot Elements

1.Description:

Landscape

Portrait

3.Insert episodes

Strong positions of the text

1.Name.

2. Epigraph.

3. Beginning and end of the text, chapter, part (first and last sentences).

4. Words in the rhyme of the poem.

Drama composition– organization dramatic action in time and space.
E. Kholodov

IPM - 2

Compositional analysis artwork

Compositional analysisin accordance with the style of the text, he is most productive in working on a literary work. L.Kaida writes that “all components of an artistic structure (facts, a set of these facts, their location, character and method of description, etc.) are important not in themselves, but as a reflection aesthetic program(thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment. (Kaida L. Compositional analysis of a literary text. - M., 2000, p. 88)

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

A. Esin says that “it is necessary to begin the analysis of the composition of a whole work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition ... Analysis of the reference points is the key to understanding the logic of the composition, and hence the whole internal logic works as a whole. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p.51)

Composition anchor points

1. climax
2. denouement
3. The ups and downs in the fate of the hero
4. Strong positions of the text
5. Effective artistic techniques and means
6. Replays
7. Oppositions

Object of analysisdifferent aspects of the composition can serve: architectonics, or the external composition of the text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; the system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account the variousgraphic highlights,repetitions of language units different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

“When analyzing the overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.” (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p.150)

The concept of text composition is effective at two stages of analysis: at the stage of acquaintance with a work, when it is necessary to clearly imagine its architectonics as an expression of the author's views, and at the final stage of analysis, when the intertextual connections of different elements of the work are considered; methods of constructing a text (repetitions, leitmotifs, contrast, parallelism, montage, and others) are revealed.

« To analyze the composition of a literary text, one must be able to: to highlight repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence; identify semantic overlaps in parts of the text; highlight the language signals that mark the compositional parts of the work; correlate the features of text division with its content and determine the role of discrete compositional units in the whole; establish a connection between the narrative structure of the text ... with its external composition. ( Nikolina N.A. Philological analysis of the text. - M., 2003, p.51)

When studying the composition, one should take into account the generic features of the work. Compositional analysis poetic text may include such, for example, operations.

Compositional analysis of a poetic text

1.Strophes and verses. The microtheme of each part.

2. Language composition. Key words, word series.

3. Compositional techniques. Repetition, amplification, antithesis, montage.

4. Strong positions of the text. Title, epigraph, first and last sentences, rhymes, repetitions.

Compositional analysis prose text

1. Plan of the text (micro-themes), plot scheme.

2. Reference points of the composition.

3. Repetitions and oppositions.

4. Compositional techniques, their role.

5. Strong positions of the text.

6. Language composition. Key words, word series.

7. Kind and type of composition.

8. The role of the episode in the text.

9. The system of character images.

10. Change of points of view in the structure of the text.

11. Temporary organization of the text.

1. External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6. Stage and off-stage characters.

Analysis of an episode of a prose text

What is an episode?

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

Concise retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after pieces? Why exactly here?

The place of the episode in the plot of the work. Exposition, plot, climax, development of action, denouement, epilogue.

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

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

What object world works? Landscape, interior, portrait. Why in this particular episode?

episode motives. Meeting, dispute, road, dream, etc.
Associations. Biblical, folklore, antique.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Language means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes are developed in this episode? The meaning of the fragment for revealing the idea of ​​the text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Psychological.
Episode Reveals state of mind character.
3. Rotary.
Episode shows new turn in the relationship of heroes
4. Estimated.
The author gives a description of a character or event.

IPM - 3

Program

"Studying the composition of artistic

Works at the lessons of literature in grades 5 - 11 "

Explanatory note

Relevance of the problem

The problem of composition is the center of the study of the work of art. The composition of a work of art is understood in different ways.

B. Uspensky argues that "the central problem of the composition of a work of art" is "the problem of point of view." V. Kozhinov writes: "Composition is the connection and correlation of individual forms of image and scenes." A. Esin gives the following definition: "Composition is the composition and a certain arrangement of parts, elements and images of a work in some significant time sequence."

In linguistics, there is also a theory of composition. Language composition is a comparison, opposition, alternation of word rows in a literary text.

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

The way children acquire reading qualifications is an independent deep aesthetic analysis of a literary text, the ability to perceive a text as a sign system, a work as a system of images, to see ways to create an artistic image, to experience the pleasure of perceiving a text, to want and be able to create their own interpretations of a literary text.

“The structure of a literary text in this case (analysis) acts as a “mortified” object of study: elements in the text can be distinguished, compared with each other, compared with elements of other texts, etc. ... analysis helps the reader find answers to questions: “How is the text arranged?”, “What elements does it consist of?”, “For what purpose is the text built this way and not otherwise?” - writes Lavlinsky S.P.

Goal and tasks

Development of reader culture, understanding of the author's position; figurative and analytical thinking, creative imagination.

• Know the concepts of "composition", "compositional techniques", "types of composition", "types of composition", "language composition", "compositional forms", " anchor points compositions", "plot", "plot elements", "extra-plot elements", "conflict", "strong positions of the text", "literary hero", "motive", "plot", "verbal techniques of subjectification", "types of narration" , "image system".
• To be able to perform a compositional analysis of a prose text, a poetic text, a dramatic text.

5th grade

"Narration. The initial concept ofplot and conflictin epic work, portrait,building a work". (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Verse and stanza.

Strong positions of the text: title, epigraph.

Plan of the text, micro-theme.

Compositional techniques: repetition, opposition.

Plot elements: plot, development of action, climax, fall of action, denouement.

The structure of a folk fairy tale (according to V. Propp).

"Propp's Maps"

1. Absence of one of the family members.

3. Violation of the prohibition.

4. Finding out.

5. Issue.

6. Trick.

7. Involuntary complicity.

8. Wreckers (or shortage).

9. Mediation.

10. Beginning opposition.

11. The hero leaves the house.

12. The donor tests the hero.

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

14. Obtaining a magical remedy.

15. The hero is transferred, delivered, brought to the location of the "location" of the search items.

16. The hero and the antagonist enter the fight.

17. The hero is being marked.

18. Antagonist defeated.

19. Trouble or shortage is eliminated.

20. The return of the hero.

21. The hero is persecuted.

22. The hero flees from persecution.

23. The hero arrives unrecognized at home or in another country.

24. A false hero makes unfounded claims.

25. The hero is offered a difficult task.

26. The task is solved.

27. The hero will be recognized.

28. A false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

1. Start. Exposure: the situation before the start of the action.

2.Setting: the hero is faced with a new situation (sabotage, lack, the hero leaves the house).

3. Development of action: the hero sets off on a journey, crosses the border of another world (donor, magic tool).

4.Climax: the hero between life and death.

5. Falling action: tense moments.

6.Decoupling: resolution of contradictions (wedding, accession of the hero). Ending.

Ways of inventing stories (according to D. Rodari)

• Bean fantasy.
• Limerick.
• Mystery.
• Propp cards.
• Inside out story.
• old fairy tale in a new key.
• character material.
• Salad from fairy tales.
• Continuation of the tale.
• fantastic hypothesis.

"Fantastic Hypothesis"

What would happen if...? We take any subject and predicate - their combination gives a hypothesis. What would happen if our city suddenly found itself in the middle of the sea? What would happen if money disappeared all over the world?

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

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

"Limerick"

Limerick (English) - nonsense, absurdity. E. Lear's limericks are the most famous. The scheme of the limerick structure is as follows.

The first line is a hero.

The second line is the description of the hero.

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

The fifth line is the final characteristic of the hero.

Once upon a time there lived an old marsh man,

Nonsensical grandfather and burdensome,

He was sitting on the deck

Sang songs to the frog

Corrosive old man swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the hero's choice.

The second line is the actions of the hero.

The third and fourth lines are the reaction of others to the hero.

The fifth line is the output.

An old grandfather lived in Graniers,

He walked on tiptoe.

All vied with him:

Laugh with you!

Yes, a wonderful old man lived in Granieres.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is elimination. Let's give the object such a definition, as if we see it for the first time in our lives.

The second operation is association and comparison. The object of association is not the subject as a whole, but one of its characteristics. For comparison, choose another item.

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

The fourth operation is an attractive form of puzzle.

For example, let's think of a riddle about a pencil.

First operation. A pencil is a stick that leaves a mark on a light surface.

Second operation. A light surface is not only paper, but also a snow field. The trace of a pencil resembles a path on a white field.

Third operation. A pencil is something that draws a black path on a white field.

Fourth operation.

He is on a white - white field

Leaves a black mark.

"Fairy Tales Inside Out"

Everyone enjoys the game of twisting fairy tales. Perhaps a deliberate “turning inside out” of a fairy-tale theme.

Little Red Riding Hood is evil, and the wolf is kind ... The boy - s - Finger conspired with the brothers to run away from home, leave their poor parents, but they pierced his pocket and poured rice into it ... Cinderella, crappy girl, scoffed at a wonderful stepmother, beat off the groom’s sister ...

"Continuation of the fairy tale"

The story is over. What happened next? The answer to this question will be new fairy tale. Cinderella married the Prince. She, unkempt, in a greasy apron, always sticks out in the kitchen at the stove. The Prince is tired of such a wife. But you can have fun with her sisters, an attractive stepmother ...

"Salad from fairy tales"

This is a story in which the characters of various fairy tales live. Pinocchio ended up in the house of the seven dwarfs, became the eighth friend of Snow White ... Little Red Riding Hood met the Boy - with - Finger and his brothers in the forest ...

"An old fairy tale in a new key"

In any fairy tale, you can change the time or place of action. And the fairy tale will acquire an unusual coloring. Adventures of Kolobok in the 21st century…

"Character Material"

From the characteristic features of the character, one can logically deduce his adventures. Let the glass man be the hero. The glass is transparent. You can read the thoughts of our hero, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered with soft, handshakes are canceled. The doctor will be a glassblower ...

A wooden man must beware of fire, but he does not sink in water ...

The ice cream man can only live in the fridge, where his adventures take place...

"Beanome Fantasy"

Take any two words. For example, a dog and a closet. There are such options for connecting words: a dog with a closet, a closet of a dog, a dog on a closet, a dog in a closet, etc. Each of these pictures serves as the basis for inventing a story. A dog runs down the street with a wardrobe on its back. This is his booth, he always carries it on himself ...

In the 5th grade, “the teacher introduces students to the construction of fairy tales, dialogue and monologue, story plan, episode, forms the initial concept of literary hero. Comprehending the structural elements of the concept of "literary hero", children learn to highlight the description of the hero's appearance, his actions, relationships, characterize experiences, referring to descriptions of nature, the environment surrounding the hero. (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 102)

6th grade

« The initial concept of composition. The development of the concept of the portrait of a literary hero, landscape. (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

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

Language composition: keywords.

Types of composition : circular, linear.

Plot elements: exposition, epilogue.

Extraplot Elements: descriptions (landscape, portrait, interior).

Plot scheme : plot elements and non-plot elements.

In the 6th grade, you need to “acquaint students with the elements of composition. Landscape, interior ... as a background and scene of action, ... as a means of characterizing the hero, as a necessary part of the work, due to the writer's intention ... we draw the attention of children to the event side of the work and the means of depicting characters ... ". (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 102 - 103)

7th grade

« The development of the concept of plot, composition, landscape, types of description.The role of the narrator in the story.(Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Language composition: verbal thematic series.

Compositional techniques: Gain.

Types of composition : mirror, flashback.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In the 7th grade, “we set the task of identifying the role of composition in revealing the characters of the characters ... the construction and organization of the work, the presentation of events, the arrangement of chapters, parts, the ratio of components (landscape, portrait, interior), the grouping of characters are determined by the author's attitude to events and heroes. (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 103 - 104)

8th grade

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

Compositional techniques: antithesis, montage.

Types of composition: free.

plot and motive.

Verbal techniques of subjectivation: direct speech, indirect speech, inner speech.

In the 8th grade, “not only special cases of composition are considered (for example, the reception of antithesis), but links are also established between the composition and the idea of ​​the work; the composition acts as the most important "above-verbal" means of creating an artistic image. (Belenky G., Snezhnevskaya M. The study of the theory of literature in high school. - M., 1983, p.110)

Grade 9

Types of composition: open, default.

Extraplot Elements: author's digressions, inserted episodes.

Composition types

Episode Matching.

Justify the role of the episode in the text.

Subject of speech : point of view bearer.

Composition as the arrangement of text fragments that are characterized by the point of view of the author, narrator, character.

Language compositionas a comparison, opposition, alternation of word rows.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In grade 9, “the concept of composition is enriched in connection with the study of works of a more complex structure; students to some extent master the skills of compositional analysis for more high levels(systems of images, "scene roll call", change of the narrator's points of view, conventionality of artistic time, character building, etc.)". (Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. - M., 1983, p. 113)

10 - 11 grades

Deepening the concept of composition.

Different aspects of compositionartistic text: external composition, figurative system, system of characters, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Composite forms and means: repetition, amplification, opposition, montage, motif, comparison, "close-up" plan, "general" plan, point of view, temporal organization of the text.

Composition anchor points: climax, denouement, strong positions of the text, repetitions, oppositions, ups and downs in the fate of the hero, spectacular artistic techniques and funds.

Strong positions of the text: title, epigraph,

The main types of composition: ring, mirror, linear, default, flashback, free, open, etc.

Plot elements: exposition, plot, development of the action (ups and downs), climax, denouement, epilogue.

Extraplot Elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Composition types : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of the poetic text.

Compositional analysis of dramatic text.

IPM - 4

The system of methodological techniques for teaching compositional

Analysis of a work of art.

Methodical methods of teaching compositional text analysis are generously scattered in the works of M. Rybnikova, N. Nikolina, D. Motolskaya, V. Sorokin, M. Gasparov, V. Golubkov, L. Kaida, Y. Lotman, E. Rogover, A. Esin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V. Golubkov believes that in the lessons of literature it is necessary to use works of painting. “In the artist’s picture, all its constituent parts are before your eyes, and it is not difficult to establish their connection. Therefore, if a teacher wants to explain to students what the composition of a literary work is, it is best to start with a picture ”(Golubkov V. Methods of teaching literature. - M., 1962, p. 185-186).

Interesting ideas can be found in books M. Rybnikova . “Compositional analysis consists of three parties: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) the system of images ... Take any central scene of a story or story and show how it was prepared by all the previous ones and how all subsequent scenes are conditioned by it ... Take the denouement ... and prove with the whole course of action, by the characters of the characters, that this denouement is natural, that it cannot be otherwise ... The next question: about the roll call of the heroes in the work, about their neighborhood, about contrasts, similarities, with which the author makes the scenes and characters bright ... "(Rybnikova M. Essays on the method of literary reading. - M., 1985, p. 188 - 191).

• The methodologist cut the text of "Death of an official" by Chekhov, handed it out to the students on cards, the children arranged it in the right sequence.
• The students drew up a plan for Tolstoy's story "After the Ball", determined which part was central, and retold it in a horizontal order.

D. Motolskaya offers a whole group of techniques for analyzing composition.

1. “From the very grouping of characters, it becomes to some extent clear what the author’s intention is ... Revealing the principle of grouping the heroes of the work will allow students ... to keep in mind the “part” and “whole” (Motolskaya D. Studying the composition of a literary work. - In book: Questions of studying the skill of writers in literature lessons in grades VIII - X, L., 1957, p.68).

2. “When analyzing a composition, it is taken into account ... how the writer arranges the storylines (does he give them in parallel, does one storyline intersect another, is one given after the other) ... how do they relate to each other, what connects them with each other” (p. 69 ).

3. “... it seems important to find out where the exposition is given, where the portrait or characterization actor, in which place the description of the situation is given, the description of nature ... why the author's reasoning or lyrical digressions appear precisely in this place of the work ”(p. 69).

4. “... what is given by the artist close-up, which, as it were, is relegated to the background, that the artist details, about which, on the contrary, he writes briefly” (p. 70).

5. "... the question of the system of means of revealing the human character: biography, monologue, replicas of the hero, portrait, landscape" (p. 70).

6. “... the question of through whose perception this or that material is given ... And when the author depicts life from the point of view of one of his heroes ... when the narrator narrates ...” (p. 71).

7. “In the composition of epic works ... the principle of dividing the material in them (volume, chapter) also plays a significant role ... which serves as the basis for the writer to divide into chapters ...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work with a consideration of the composition. “The movement from the “whole” to the “part” and from the “part” to the “whole” is one of possible ways analysis of the work ... In such cases, the appeal to the "whole" is also initial stage work, and final ”(p. 73).

When studying the composition, one should take into account not only the specific, but also the generic features of the work. When analyzing the composition of dramatic works, it is necessary to pay attention to off-stage characters, denouement, storylines, pulled together into one dramatic knot.

“When analyzing the composition of a lyrical work, one should not miss what is inherent in the lyrics ... the author's "I", the feelings and thoughts of the poet himself ... it is the poet's feelings that organize the material that is included in the lyric work" (p. 120).

“When analyzing epic works imbued with a lyrical beginning, one should always raise the question of what place lyric occupies in an epic work, what is its role in an epic work, what are the ways of introducing lyrical motifs into the fabric of epic works” (p. 122).

V.Sorokin also writes about methodological methods of composition analysis. “The main task of composition analysis ... in school is to teach students not only to draw up an “external” plan, but also to capture its “internal” plan, poetic structure works ”(Sorokin V. Analysis of a literary work in high school. - M., 1955, p. 250).

1. “... when analyzing the composition of a plot work, it is important to establish what kind of conflict lies at its basis ... how all the threads of the work stretch to this main conflict ... Students should be taught to determine the main conflict of the plot work, recognizing it as the compositional core of this work” (p. 259 ).

2. "... what is the significance of ... each character for revealing the main idea of ​​the work" (p. 261).

3. "In plot work it is important not only to name the plot, the climax, the denouement, but it is even more important to trace the entire course of the development of the action, the growth of the conflict ... ”(p. 262).

4. “At school, all the most important extra-plot elements in the analysis of works, students must identify and find out their ... expressiveness and relationship with the whole work” (p. 268).

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

“When analyzing large works, it is necessary to identify compositional elements (plot, images, lyrical motifs), their meaning and interrelation, dwell on the most important parts (plot, climax, lyrical digressions, descriptions)” (p. 280).

“In grades 8-10, small, but independently prepared by students, messages are possible: to trace the development of the plot (or one storyline), find the key points of the plot and explain their expressiveness” (p. 280).

V. Sorokin speaks of the need to use “the technique of expressive reading, retelling the most important episodes in the plot, summary plot, retelling of the climax, denouement, student sketches, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or plot, memorizing lyrical digressions, own composition with obligatory compositional techniques (for example, exposition, landscape, lyrical digressions) ”(p. 281).

L.Kaida developed a decoding technique for analyzing composition. “The study covers two stages: at the first stage, the real meaning of the statement is revealed as a result of the interaction of syntactic units…; on the second (compositional) - the real meaning of the syntactic structures that make up the components of the composition (heading, beginning, ending, etc.) is revealed as a result of functioning in the text ”(Kaida L. Compositional analysis of a literary text. - M., 2000, p. 83).

A. Esin argues that you need to start the analysis of the composition from the reference points. He refers the following elements to the reference points of the composition: climax, denouement, ups and downs in the fate of the hero, strong positions of the text, spectacular artistic techniques and means, repetitions, oppositions. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and methods of analyzing a literary work. - M., 2000, p.51)

N. Nikolina names the skills necessary for the analysis of the composition of a literary text (Nikolina N.A. Philological analysis of the text. - M., 2003, p.51).

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

It seems successful to get acquainted with the composition on the example of folk fairy tales. “The teacher introduces schoolchildren to the construction of fairy tales, dialogue, monologue, story plan, episode, forms the initial concept of a literary hero” (Snezhnevskaya M. Theory of literature in grades 4-6 of high school. - M., 1974, p. 102.). The study of the composition of a fairy tale in the form of playing cards was proposed by D. Rodari in the book “Grammar of Fantasy” (Rodari D. Grammar of Fantasy. An Introduction to the Art of Inventing Stories. - M., 1978, p. 81.). This idea is developed by Y. Sipinyov and I. Sipinyova in the manual "Russian culture and literature" (Sipinyov Y., Sipinyova I. Russian culture and literature. - S.-P., 1994, p. 308).

The outstanding folklorist V.Ya.Propp wrote about the structure of a fairy tale in his works “Morphology of a fairy tale”, “Historical roots of a fairy tale”, “Transformations of fairy tales”.

You can use in class different forms work with "Propp cards": compose a fairy tale based on the proposed situations, compose a fairy tale formula, compose a fairy tale formula, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM - 8).

Thus, compositional analysis is effective at the stage of acquaintance with the work, when you need to imagine its architectonics, and at the final stage of the analysis, when the methods of constructing the text (repetitions, leitmotifs, contrast, parallelism, montage) are revealed and intratextual connections of the elements of the work are considered.

Summary

Methodological techniques

• Condensed retelling.
• Creation of a simple (complex, citation) plan.
• Mental rearrangement of episodes.
• Restoration of missing links of the text.
• Identification of the principle of grouping actors.
• Justification of the role of the episode in the text.
• Identification of the location of storylines.
• Detection of plot and extra-plot elements.
• Designing your own ending.
• Comparison of plot and plot.
• Drawing up a chronological scheme.
• Discovery of different points of view.
• Analysis of the composition of a painting.
• Selection of illustrations for episodes.
• Create your drawings.
• Identification of the principle of division of the material.
• Detection of a system of means for creating a character's image (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and construction of word rows.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the anchor points of the composition.
• Determining the composition type.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• Reception by E. Etkind "Up the ladder of meanings"

1. External plot.

2. Fantasy and reality.

3. Nature and man.

4. World and man.

5 persons.

• Detection of compositional forms in a literary text.
• Detection verbal tricks subjectivation.
• Narrative type analysis.
• Search for motives in the text.
• Writing a story using D. Rodari's techniques.
• Analysis of the structure of a fairy tale.
• Working with "Propp's maps".
• Oral word drawing.

IPM - 5

Topic

A.A. Fet "Whisper, timid breathing…»

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

Reflection of amber

And kisses, and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What was unusual about the text?

What's not clear?

What did you see?

What did you hear?

What did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

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

II. Language composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

Let's build two verbal thematic series - nature and man.

"Nature" - the trills of a nightingale, the silver and the ripple of a sleepy stream, the light of the night, the shadows of the night, the purple roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - a whisper, a timid breath, a series of magical changes in a sweet face, a kiss, tears.

Conclusion. The composition is based on the technique of psychological parallelism: the world of nature and the world of man are compared.

III. compositional analysis.

First stanza

What is a micro theme?

Date of lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

Epithet "timid", "sleepy", metaphor "silver".

Second stanza

What is this about?

A night spent in love.

What sounds?

Silence.

What colors? Why?

There are no color definitions.

What is the role of epithets?

Third stanza

What is a micro theme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of means of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza, muted, soft colors, in the last - bright tones. This shows the flow of time - from evening through night to dawn. The nature and feelings of a person change in parallel: evening and a timid meeting, dawn and a stormy farewell. Through the sounds, the change in the mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.

IV. Time and action.

There are no verbs in the poem, but there is an action.

Most nouns contain movement - trills, swaying.

What is the time characteristic?

Evening, night, morning.

v. The rhythmic pattern of the poem.

Work in pairs or groups.

Meter - trochee. Size - diverse with pyrrhic. Constant on 5 and 7 syllables. Clause male and female. There is no caesura. Short and long lines alternate. Anakruza is variable. The rhyme in the verse is finite, male and female alternate, exact and inexact, rich, open and closed. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-footed trochaic with pyrrhias. The constant, alternating on syllables 5 and 7, gives harmony to the rhythm. The alternation of long and short lines, feminine and masculine clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a solid masculine ending, the last line is short.

VI. Features of the composition of the poem.

There are three stanzas of 4 verses in the text. Composition of the stanza: in the first stanza, 1 verse - man, 2,3,4 verses - nature; in the second stanza, verses 1.2 - nature, verses 3.4 - man; in the third stanza verses 1,2,4 - nature, verse 3 - man. These lines intertwine, alternate.

Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply fixes them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. - St. Petersburg, 1996
2. Lotman Yu.M. In the school of poetry. - M., 1988
3. Etkind E. Talk about poetry. - M., 1970
4. Etkind E. Matter of verse. - St. Petersburg, 1998
5. Ginzburg L. About lyrics. - M., 1997
6. Kholshevnikov V. Fundamentals of versification. - M., 2002
7. Gasparov M. About Russian poetry. - St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. - M., 1994
9. Sukhikh I. The world of Fet: moments and eternity. - Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poems. - Neva, 1995, No. 11
11. Sukhova N. Masters of Russian lyrics. - M., 1982
12. Sukhova N. Lyrics by Afanasy Fet. - M., 2000

IPM - 6

Literature lesson summary in grade 9

Topic

"Darling" A. Chekhov. Who is Dushechka?

I. Individual task.

Compare the images of Dushechka and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the whole work, I cannot read some parts of this amazing story without tears ... The author obviously wants to laugh at a pitiful, in his reasoning, creature ... but the amazing soul of Darling is not funny, but holy.”

M. Gorky: “ Here, like a gray mouse, Dushechka scurries anxiously, a sweet, meek woman who knows how to love so slavishly, so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

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

1 group. Plan of the story, compositional techniques.

1. Darling is married to an entrepreneur Kukin.
2. Death of a husband.
3. Darling is married to the manager Pustovalov.
4. Death of a husband.
5. Roman Dushechki with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes the “understudy” of her husband. Under Kukin, she sat at his cash desk, looked after the orders in the garden, wrote down expenses, paid out salaries ... Under Pustovalov, “she sat in the office until the evening and wrote accounts there and sold the goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else's personal experience, someone else's "direction of life", as if doubling the object of their affection. Darling's selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency”

3rd group. Analysis of strengths: title, beginning and end of each chapter.

Linguistic analysis of the fragment from the words “In Lent he left for Moscow…”

Find key words, build a word sequence that creates the image of the heroine (I couldn’t sleep without it, I sat by the window, looked at the stars, compared myself with chickens, they don’t sleep, they are worried, there is no rooster in the chicken coop).

"AT poetic tradition contemplation of the starry sky usually presupposes an exalted frame of mind, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself with winged creatures, however - flightless, and the contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of free migratory bird..., Chekhov's Darling is a parody of the traditionally allegorical Psyche”.

The heroine of the story is deprived of the ability to make independent choices life position, uses other people's self-definitions. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called "Darling"? Why is there a chapter about Sashenka in the finale?

“So, no degeneration of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having accepted the author's point of view on what is being communicated to us in the text, we will be forced to admit that the last attachment finally reveals Olga Semyonovna's failure as a person. Darling ... with her inability to self-determination, her inability to actualize this meaning in herself, appears in the story as an undeveloped "embryo" of personality.

Bibliography.

1. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.67.
2. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.61.
3. Tyupa V. The artistry of Chekhov's story. - M., 1989, p.72.

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Mounting.

Strong positions of the text.

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

The main types of composition

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

Plot elements

1. exposition
2. tie
3. Development of action
4. climax
5. denouement

1. The meaning of the title of the work.

IPM - 7

Literature lesson summary in grade 10

Topic

A man and his love in A. Chekhov's story "The Lady with the Dog".

Goals:

1. Cognitive:

• know compositional techniques and their role in work of art, strong positions of the text, the scheme of the compositional analysis of the prose text;
• be able to find compositional techniques and determine their function in a work, analyze the strong positions of the text, interpret a literary text using compositional analysis.

2. Developing:

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

Equipment

1. visual material. Photograph of the writer, tables “Scheme of compositional analysis of a prose text”, “Composition”, “Compositional techniques (principles)”.
2. Handout. Photocopies “Scheme of compositional analysis of a prose text”.

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, draw up a plan for the story.
2. Individual assignments. Three students are preparing expressive reading fragments of chapters I, III, a comparison of Pushkin's "Stone Guest" with Chekhov's story (Don Guan and Dmitry Gurov).

During the classes

I. Motivation of cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: “An artist of gray people and gray everyday life. The structure of life, woven from these absurdities, is not torn. Do you agree with this statement? Why?

II. Goal setting.

“Lady with a Dog” is a story about holiday romance Or true love? Today in the lesson we will try to answer this question using compositional text analysis.

III. Updating what has been learned.

1. Poll. What is composition? Name compositional techniques. What is a repeat? What is reinforcement? What is the role of opposition? What is the role of editing?

2. Checking homework.

Reading and discussion of story plans.

1 chapter. Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.

Chapter 2 Love (?) and parting.

Chapter 3 Meeting of heroes in the city of S.

Chapter 4 Love and “the most difficult and difficult is just beginning.”

What is each chapter about? Brief retelling plot.

IV. Formation of the ability of compositional analysis of the text.

What is interesting about the composition of the story? Thematic repetitions: in chapters 1 and 3; events are repeated in chapters 2 and 4. Let's compare these chapters. What changes in them?

Chapter 1. The student expressively reads the fragment from the words “And then one day, in the evening, he dined in the garden ...” to the words “She laughed.” Why does Gurov meet a woman? What kind of life does the hero lead?

Individual message"Don Juan of Pushkin and Dmitry Gurov of Chekhov".

Chapter 3 More than a month…”. What happened to the hero?

Linguistic analysis of the episodefrom the words “He arrived in S. in the morning…”. Why does the author need the epithet “gray” three times? Why is the rider's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads a fragment with the words “In the first intermission, the husband went to smoke ...”. What has changed in chapter 3?

“So, with Gurov in the city of S., a genuine rebirth takes place ... The emergence of a genuine, inner closeness of two personalities transforms everything. In Yalta, as we remember, while Anna Sergeevna was crying, Gurov was eating a watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, in the “Slavyansky Bazaar”, he orders tea for himself in a similar situation. A thematically adequate gesture acquires the exact opposite meaning. Tea drinking is a purely domestic, everyday, peaceful action. By genuine closeness, two personalities create an atmosphere of domestic intimacy around them (on the heroine, for example, “his favorite gray dress”).

Reading the end of the story. Why “…the most difficult and difficult is just beginning”? Read the first and last sentences. Compare them. What is the role of each?

Why is the story called "The Lady with the Dog" (after all, it is about Gurov's love)?“The story told in The Lady with the Dog is not just a story of secret love and adultery. The main event of the story is the change that takes place under the influence of this love. Throughout the story, Gurov's point of view dominates, the reader looks through his eyes, first of all, a change takes place in him.

The lady with the dog has become a symbol of the mental break that happened to Gurov. Internal rebirth, the rebirth of a person under the influence of love for a woman.

We came to the idea of ​​Chekhov's story with the help of compositional analysis. What composition techniques did the author use and why? (Repetition and opposition).

Is this a story about a holiday romance or true love?

V. Reflection.

Write a thumbnail gray people and gray days” in “The Lady with the Dog”.

VI. Homework.

1. For the whole class. Reading the story "Ionych". Make a plan, find compositional techniques.

2. Individual assignments. What is the meaning of the title of the story "Ionych". Analysis of the first and last sentences in each chapter. Comparative characteristics Gurov and Startsev.

Bibliography.

1. Tyupa V.I. The art of Chekhov's story. M., 1989, p. 44-45.
2. Kataev V.B. Literary connections of Chekhov. M., 1989, p. 101.

Application

Composition

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

Language composition

Comparison or opposition of verbal series.

Compositional techniques

1. Repeat.
2. Gain.
3. Opposition (opposition).
4. Mounting.

Strong positions of the text.

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

Scheme of compositional analysis of prose text

1. Make a text plan (micro-topics) or plot scheme(plot elements and non-plot elements).
2. Detect composition anchor points.
3. Highlight repetitions and oppositions in the structure.
4. Discover compositional techniques. Determine the role of these techniques.
5. Analysis of the strong positions of the text.
6. Find keywords. Build word thematic series.
7. Determine the type and type of composition.
8. Justify the role of a particular episode in the text.
9. The meaning of the title of the work.

IPM - 8

Bibliography

1. Lazareva V.A. Principles and technology literary education schoolchildren. Article one. - Literature at school, 1996, No. 1.
2. Collection of normative documents. Literature. Federal component state standard. - M., 2004.
3. Lavlinsky S.P. Technology of literary education. Communicative-activity approach. - M., 2003.
4. Loseva L.M. How the text is built. - M., 1980.
5. Moskalskaya O.I. Grammar of the text. - M., 1981.
6. Ippolitova N.A. Text in the system of studying the Russian language at school. - M., 1992.
7. Vinogradov V.V. On the theory of artistic speech. - M., 1971.
8. Russian writers about literary work. - L., 1956, vol. IV.
9. Uspensky B. Poetics of composition. - St. Petersburg, 2000.
10. Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of Literature. In 2 volumes. - M., 2004, v.1.
11. Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964.
12. Esin A.B. Principles and methods of analysis of a literary work. - M., 2000.
13. Khalizev V.E. Theory of Literature. - M., 2005.
14. Nikolina N.A. Philological analysis of the text. - M., 2003.
15. Great Soviet Encyclopedia - M., 1973. T.12. Art.1765.-p.293.
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Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. A work of art should have as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.

The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take out one verse, one measure from its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.

A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.

There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).

V. Lesik notes that the essence of the chronological form of the event composition "consists in the fact that events ... go one after another in chronological order- as they happened in life. There may be temporal distances between separate actions or pictures, but there is no violation of the natural sequence in time: what happened earlier in life is presented in the work earlier, and not after subsequent events. Consequently, there is no arbitrary movement of events here, there is no violation of the direct movement of time.

The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.

The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. Editing composition characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.

A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,

The descriptive type of composition is characteristic of lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.

Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. The plot is closed, characteristic of folklore, works of ancient and classic literature (three repetitions, happy endings in fairy tales, alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, taking into account the genre and style opposition that arises in the specific historical conditions of the literary process. In particular, in sentimentalism (sternivska composition) and in romanticism, when open works became a negation of the closed, classic ... ".

What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landlords. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of ​​\u200b\u200bthe work, demanded complex composition, so the novel "Do oxen roar when the manger is full?"

Features of the composition are determined literary direction, Classicists demanded three unities from dramatic works (unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.

The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:

a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feelings);

b) development of feelings;

c) climax ( highest voltage in the development of feeling);

In the poem by V. Simonenko "Swans of motherhood":

a) starting point - to have a lullaby sung to the son;

b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;

c) climax - mother's opinion about possible death son in a foreign land;

d) summary - One does not choose one's homeland, love for one's native land makes a person a person.

The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.

An anaphoristic composition is characteristic of works that use anaphora.

You have renounced your native language. You

Your land will cease to give birth,

A green branch in a pocket on a willow,

Withered by your touch.

You have renounced your native language. Zaros

Your way and disappeared in a nameless potion...

You don't have tears at the funeral,

You don't have a song at your wedding.

(D. Pavlychko)

V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs" ". I. Kachurovsky finds an illustration of the amoebaic composition in the german romance Ludwig Ulanda:

Have you seen the castle high

A castle over the Sea Shire?

Silently floating clouds

Pink and gold over it.

In the mirror waters, peaceful

He would like to bow

And climb into the evening clouds

In their radiant ruby.

I saw a castle high

Castle over the sea world.

Hail fog deep

And the moon stood over him.

(Translated by Mikhail Orest)

Amebane composition is common in the troubadours' tentsons and pastorals.

An epiphoric composition is characteristic of poems with an epiphoric ending.

Breaks, breaks and fractures...

Our spines were broken in circles.

Understand, my brother, finally:

Before heart attacks

We had - so, do not touch!

Soul heart attacks... soul heart attacks!

There were ulcers, like infections,

There were images to disgust -

One bad thing, my brother.

So drop it, go and don't touch it.

We all have, mind you:

Soul heart attacks... soul heart attacks!

In this bed, in this bed

In this scream to the ceiling

Oh don't touch us my brother

Don't touch paralytics!

We all have, mind you:

Soul heart attacks... soul heart attacks!

(Yu. Shkrobinets)

The refrain composition consists in the repetition of a group of words or lines.

How quickly everything in life passes.

And happiness only flickers with a wing -

And he's no longer here...

How quickly everything in life passes,

Is this our fault? -

It's all about the metronome.

How quickly things go by...

And happiness only flickers with a wing.

(Lyudmila Rzhegak)

The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he notes, “is a cyclic composition. The scientific name of this tool is anadiploic composition. Moreover, in cases where anadiplosis is limited to any one stanza, this does not refer to composition, but to style.” Anadiplosis as composite agent it can be complete or partial, when part of the stanza is repeated, when the same words are in a changed order, when part of them is replaced by synonyms. Such options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.

Evening sun, thank you for the day!

Evening sun, thank you for the fatigue.

The calm of the forests is enlightened

Eden and for the cornflower in the golden rye.

For your dawn, and for my zenith,

and for my burned zeniths.

Because tomorrow wants greenery,

For the fact that yesterday managed to oddzvenity.

Heaven in the sky, for children's laughter.

For what I can and for what I must

Evening sun, thank you all

who did not defile the soul.

For the fact that tomorrow is waiting for its inspiration.

That somewhere in the world blood has not yet been shed.

Evening sun, thank you for the day

For this need, words are like prayers.

(P. Kostenko)

The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.

The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three rhyming quatrains that go from quatrain to quatrain, the last verse of each of these twelve verses rhyming with the first verse as follows:

And home will step in here and time

Electricity: and the newspaper rustled

Where once the prophet and poet

The great spirit behind the darkness has dried up

And be reborn in millions of masses,

And not only look from the portrait,

Competition immortal symbol and omen,

Apostle of truth, peasant Taras.

And since my ten phrases

In the dull collection of an anchorite,

As for the times to come for show,

On the shores lies the indifferent Leta...

And the days will become like the lines of a sonnet,

Perfect...

The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. It could be unexpected turn thoughts or conclusion from the entire previous text. The means of pointe composition is used in the sonnet, the last poem of which should be the quintessence of the work.

Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.

A composition in the form of a symplok I. Kachurovsky calls symplokial.

Tomorrow on earth

Other people walking

Other loving people -

Kind, gentle and evil.

(V. Simonenko)

Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.

The gradation composition was used by V. Misik in the poem "Modernity".

Yes, perhaps, in the time of Boyan

Spring time has come

And the rains rained down on youth,

And the clouds were moving in from Tarashche,

And the hawks stole over the horizon,

And the cymbals resounded,

And blue cymbals in Prolis

Gazing into the heavenly strange clarity.

Everything is like then. And where is she, modernity?

She is in the main: in you.

The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.

In such works there can be several storylines. In small works (stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.

Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. AT dramatic works there are remarks that perform a service function - they give an idea of ​​the scene, the characters, advice to the artists, but are not included in the artistic fabric of the work.

The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, historical digressions. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.

The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is the same folklore plot, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:

The world has been going on for a long time,

The lower it bends before the higher,

And more than a smaller party and even beats

Significantly affects the expression of his ideas. The writer focuses his attention on the life phenomena that attract him at the present time and embodies them through the artistic depiction of characters, landscapes, and moods. At the same time, he seeks to connect them in such a way that they are truly convincing and really reveal what he wanted to show, so that they encourage the reader to think.

The fact that the composition in literature significantly influences the disclosure of the writer's ideological intent was constantly pointed out in his works by Belinsky. He believed that main idea the author must meet the following criteria: isolation and completeness of the whole, completeness, commensurate distribution of roles between the heroes of a work of art. Thus, the composition in literature is determined by the positions of the author: ideological and aesthetic. But the idea and the theme can be harmoniously combined only in mature work.

The composition of the text is considered by literary critics from different points of view. And on general definition they haven't gotten along to this day. Most often, the composition in the literature is defined as the construction of the correlation of all its parts with a single whole. It is known that it has many components that writers use in works to complete the image. life pictures. The main elements that make up the composition in literature are lyrical digressions, and portraits, and inserted episodes, epigraphs, titles, landscapes, and the environment.

Epigraphs and titles carry a special load.

The title, as a rule, indicates the following aspects of the work:

Subject (for example, Bazhov "Malachite Box");

Images (for example, George Sand "Countess Rudolfstadt", "Valentina");

Problematics (E. Rich "What Moves the Sun and the Luminaries").

An epigraph is a kind of additional name, which is usually associated with the main idea of ​​​​the work or hints at the bright features of the protagonist.

Lyrical digressions stand aside from the storyline. With their help, the author has the opportunity to express his own attitude to those events, phenomena and images that he depicts. There are also such lyrical digressions in which the experiences of several characters merge, but it is still clear that here the writer expressed his feelings and thoughts. For example, as in the digression about mother's hands in the novel "The Young Guard" by Fadeev.

Choosing the sequence of connecting the listed elements, their own principles of their "assembly", each author creates a unique work. And he uses the following:

• Ring composition, or frame composition. Writer repeats artistic descriptions, stanzas at the beginning of the work, and then at the end; the same events or characters at the beginning of the story and at the end. This technique is found in both prose and poetry.
• Reverse composition. When the author places the ending at the beginning of the work, and then shows how events developed, explains why it was that way and not otherwise.
• Using flashback technique - when the writer places readers in the past, when the causes of those events that happened at the moment were formed. Sometimes a flashback is presented in the form of reminiscences of the main character or his story (the so-called "story within a story").
• A compositional break in events, when one chapter ends at the most intriguing moment, and the next begins with a completely different action. This technique is more common in the works of the detective, adventurous genre.
• Using exposure. It may precede the main action, or it may be completely absent.