Analysis of a work of art 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 is a necessary beginning of the 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 a 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, lyrical 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 protagonist is involved. 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. In a good story, they are clearly readable. 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,
The analysis of any work begins with perception - the reader, the listener, the viewer. If a literary composition is considered, then it is opposed, rather, to other ideologies than to other arts. The word as such is a means not only of literature, but also human language generally. Thus, the main analytical load falls on the designation of the criteria of artistry. The analysis of a work is, first of all, drawing the boundaries between an artistic creation and a product of human activity in general, whether it be literature or any other art.
Planning
The analysis of a work of art requires a distinction between its form and ideological content. The ideological content is, first of all, the subject and problems. Then - pathos, that is, the emotional attitude of the artist to the depicted: tragedy, heroism, drama, humor and satire, sentimentality or romance.
Artistry lies in the details of subject representation, in the sequence and interaction of the internal and external activities of the depicted in time and space. As well as the analysis of a work of art requires accuracy in the coverage of compositional development. This is the observation of development in the order, methods, motivations of the narrative or description of the depicted, in stylistic details.
Schemes for analysis
First of all, the history of the creation of this work is considered, its subject and problems, ideological direction and emotional pathos are indicated. Then the genre is studied in its traditionality and originality, as well as these artistic images in all their internal connections. The analysis of the work brings to the fore the discussion and characterizes all central characters, while clarifying the storylines in the specifics of building conflicts.
Next, landscapes and portraits, monologues and dialogues, the interior and setting of the action are characterized. At the same time, it is imperative to pay attention to the verbal structure: the analysis of a literary work requires consideration of the author's descriptions, narratives, digressions, reasoning. That is, speech becomes the subject of study.
Details
In the analysis, both the composition of the work and the characteristics of individual images, as well as the general architectonics, are necessarily recognized. Finally, the place of this work in the artist's work and its significance in the domestic and world treasury of arts are indicated. This is especially important if an analysis is made of the works of Lermontov, Pushkin and other classics.
It is necessary to convey information about the main problems of the era and clarify the attitude of the creator towards them. Point by point to identify the traditional and innovative elements in the work of the author: what are the ideas, themes and problems, what is the creative method, style, genre. It is very useful to study the attitude towards this creation of leading critics. So, Belinsky turned out to be an almost exhaustive analysis of Pushkin's works.
Character Character Plan
In the introduction, it is necessary to determine the place of the character in common system images of this work. The main part includes, first of all, its characteristics and indication social type, material and social status. The appearance is considered in detail and no less thoroughly - his worldview, worldview, circle of interests, habits, inclinations.
The obligatory study of the nature of the character's activity and the main aspirations of the character greatly contributes to the full disclosure of the image. Its influence on the surrounding world is also considered - all types of influence.
The next stage is the analysis of the hero of the work in the field of feelings. That is, how he relates to others, his inner experiences. The attitude of the author to this character is also analyzed. How is personality revealed in the work. Is the characterization given directly by the author himself, or did he do it with the help of a portrait, background, through other characters, through the actions of the researcher or his speech characterization, using the environment or neighbors. The analysis of the work ends with the designation of the problem in society, which led the artist to create just such an image. Acquaintance with the character will turn out to be quite close and informative if the journey through the text is interesting.
Analysis of a lyrical work
You should start with the date of writing, then give a biographical commentary. Designate the genre and note its originality. Further, it is advisable to consider the ideological content in as much detail as possible: to identify the leading theme and convey the main idea of the work.
Feelings and their emotional coloring expressed in a poem, dynamics or static dominates in it - all this is the most important part that the analysis of a literary work should contain.
It is important to pay attention to the impression of the poem and analyze the internal reaction. Note the predominance of public or private intonations in the work.
Professional Details
Further analysis lyrical work enters the sphere of professional details: the structure of verbal images is specifically considered, their comparison, and then development. What path did the author choose for comparison and development - by contrast or by similarity, by association, by contiguity or by inference.
Figurative means are considered in detail: metonymy, metaphor, allegory, comparison, hyperbole, symbol, sarcasm, paraphrase, and so on. It is especially necessary to identify the presence of intonational-syntactic figures, such as anaphoras, antitheses, epithets, inversions, rhetorical questions, appeals and exclamations.
An analysis of the works of Lermontov, Pushkin, and any other poet is impossible without characterizing the main features of rhythm. First of all, it is necessary to indicate what exactly the author used: tonic, syllabic, syllabo-tonic, dolnik or free verse. Then determine the size: iambic, trochee, peon, dactyl, anapaest, amphibrach, pyrrhic or sponde. The method of rhyming and strophic is considered.
Scheme of analysis of a painting
First, the author and title of the painting, the place and time of its creation, the history and embodiment of the idea are indicated. The reasons for choosing a model are considered. The style and direction of this work are indicated. The type of painting is determined: easel or monumental, fresco, tempera or mosaic.
The choice of material is explained: oil, watercolor, ink, gouache, pastel - and whether it is typical for the artist. The analysis of a work of art also presupposes the definition of the genre: portrait, landscape, history painting, still life, panorama or diorama, marina, icon painting, household genre or mythological. It should also be noted its characteristic for the artist. To convey a picturesque plot or symbolic content, if any.
Scheme of Analysis: Sculpture
Just as the analysis of a painting provides, for a sculpture, the author and name, time of creation, place, history of the idea and its implementation are first indicated. The style and direction are indicated.
Now it is necessary to determine the type of sculpture: round, monumental or small plastic, relief or its varieties (bas-relief or high relief), herma or sculptural portrait, and so on.
The choice of a model is described - it is a person, an animal or its allegorical image that exists in reality. Or maybe the work is completely a fantasy of the sculptor.
For a complete analysis, it is necessary to determine whether the sculpture is an element of architecture, or whether it is freestanding. Then consider the author's choice of material and what caused it. Marble is granite, bronze, wood or clay. Reveal the national characteristics of the work and, finally, convey personal attitudes and perceptions. The analysis of the sculptor's work is over. Architectural objects are considered in a similar way.
Analysis of a musical work
Musical art has specific means for revealing life phenomena. This is where the links between figurative sense music and its structure, as well as the means used by the composer. These special features expressiveness and is intended to indicate the analysis of a musical work. Moreover, it should itself become a means for the development of the aesthetic and ethical qualities of the individual.
First you need to clarify musical content, ideas and concepts of the work. As well as its role in education sensory knowledge complete picture of the world. Then you need to determine which expressive means musical language formed the semantic content of the work, what intonation finds the composer used.
How to make a qualitative analysis
Here is an incomplete list of questions that a qualitative analysis of a musical work should answer:
- What is this music about?
- What name can you give her? (If the essay is not programmatic.)
- Are there any heroes in the story? What are they?
- Is there action in this music? Where do conflicts occur?
- How do climaxes manifest? Do they grow from peak to peak?
- How did the composer explain all this to us? (Voices, tempos, dynamics, etc. - that is, the nature of the work and the means of creating this character.)
- What impression does this music make, what mood does it convey?
- What feelings does the listener experience?
When analyzing a work of art, one should distinguish between ideological content and artistic form.
BUT. Idea content includes:
1) subject matter works - socio-historical characters chosen by the writer in their interaction;
2) issues- the most essential properties and aspects of the already reflected characters for the author, singled out and strengthened by him in artistic image;
3) pathos works - the ideological and emotional attitude of the writer to the depicted social characters(heroism, tragedy, drama, satire, humor, romance and sentimentality).
Pathos - highest form ideological and emotional assessment of the writer's life, revealed in his work. The statement of the greatness of the feat of an individual hero or a whole team is an expression heroic pathos, and the actions of the hero or the collective are distinguished by free initiative and are aimed at the implementation of high humanistic principles. The prerequisite for the heroic in fiction is the heroism of reality, the struggle against the elements of nature, for national freedom and independence, for the free labor of people, the struggle for peace.
When the author affirms the deeds and experiences of people who are characterized by a deep and ineradicable contradiction between the desire for a lofty ideal and the fundamental impossibility of achieving it, then we have tragic pathos. The forms of the tragic are very diverse and historically changeable. Dramatic pathos is distinguished by the absence of a fundamental nature of a person's opposition to impersonal hostile circumstances. The tragic character is always marked by exceptional moral loftiness and significance. The differences in the characters of Katerina in The Thunderstorm and Larisa in Ostrovsky's The Dowry clearly demonstrate the difference in these types of pathos.
Great importance in the art of the XIX-XX centuries acquired romantic pathos, with the help of which the significance of the individual's striving for an emotionally anticipated universal ideal is affirmed. close to romantic sentimental pathos, although its range is limited to the family sphere of manifestation of the feelings of the characters and the writer. All these types of pathos carry affirmative beginning and realize the sublime as the main and most general aesthetic category.
The general aesthetic category of negation of negative tendencies is the category of the comic. comic- this is a form of life that claims to be significant, but has historically outlived its positive content and therefore causes laughter. Comic contradictions as an objective source of laughter can be recognized satirically or humorously. An angry denial of socially dangerous comic phenomena determines the civic nature of the pathos of satire. A mockery of comic contradictions in the moral and domestic sphere of human relations causes a humorous attitude towards the depicted. Mocking can be both denying and affirming the contradiction depicted. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.
B. art form includes:
1) Details of subject figurativeness: portrait, actions of characters, their experiences and speech (monologues and dialogues), everyday environment, landscape, plot (sequence and interaction of external and internal actions of characters in time and space);
2) Composite details: order, method and motivation, narratives and descriptions of the depicted life, author's reasoning, digressions, inserted episodes, framing ( image composition- ratio and location subject details within a single image);
3) Stylistic details: figurative and expressive details of the author's speech, intonational-syntactic and rhythmic-strophic features of poetic speech in general.
Scheme of analysis of a literary and artistic work.
1. History of creation.
2. Subject.
3. Issues.
4. Ideological orientation works and its emotional pathos.
5. Genre originality.
6. The main artistic images in their system and internal connections.
7. Central characters.
8. The plot and features of the structure of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting of the action.
11. The composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the work of the writer.
13. Place of the work in the history of Russian and world literature.
General plan for answering the question about meaning writer's work.
A. The place of the writer in the development of Russian literature.
B. The place of the writer in the development of European (world) literature.
1. The main problems of the era and the attitude of the writer to them.
2. Traditions and innovation of the writer in the field:
b) topics, problems;
c) creative method and style;
e) speech style.
B. Evaluation of the writer's work by the classics of literature, criticism.
Sample Plan characteristics of the artistic image-character.
Introduction. The place of the character in the system of images of the work.
Main part. Characterization of a character as a certain social type.
1. Social and financial situation.
2. Appearance.
3. The peculiarity of world perception and worldview, the range of mental interests, inclinations and habits:
a) the nature of the activity and the main life aspirations;
b) impact on others (main area, types and types of impact).
4. Area of feelings:
a) the type of relationship to others;
b) features of internal experiences.
6. What personality traits of the hero are revealed in the work:
c) through the characteristics of other actors;
d) with the help of background or biography;
e) through a chain of actions;
e) in speech characteristics;
g) through "neighborhood" with other characters;
h) through the environment.
Conclusion. Which public problem led the author to create this image.
Plan for the analysis of a lyric poem.
I. Date of writing.
II. Real-biographical and factual commentary.
III. Genre originality.
IV. Idea content:
1. Leading theme.
2. The basic idea.
3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of public or private intonations.
V. The structure of the poem:
1. Comparison and development of the main verbal images:
a) by similarity;
b) in contrast;
c) by adjacency;
d) by association;
d) by inference.
2. The main figurative means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litote, irony (as a trope), sarcasm, paraphrase.
3. Speech Features in terms of intonation-syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. The main features of the rhythm:
a) tonic, syllabic, syllabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhic, sponde, dactyl, amphibrach, anapaest.
5. Rhyme (masculine, feminine, dactylic, exact, inaccurate, rich; simple, compound) and rhyming methods (pair, cross, ring), rhyme game.
6. Strophic (double-line, three-line, five-line, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.
How to keep a short record of the books you read.
2. The exact title of the work. Dates of creation and appearance in print.
3. The time depicted in the work, and the place of the main events taking place. Public environment, whose representatives are displayed by the author in the work (nobles, peasants, urban bourgeoisie, petty bourgeoisie, commoners, intelligentsia, workers).
4. Epoch. Characteristics of the time in which the work was written (from the side of economic and socio-political interests and aspirations of contemporaries).
5. Brief outline of the content.
Analysis of a work of art
Approximate scheme analysis of a literary and artistic work,
when analyzing a work of art, one should distinguish between the ideological content and artistic form,
an approximate plan for characterizing an artistic image-character,
possible plan for parsing a lyric poem,
a general plan for answering the question about the significance of the writer's work,
How to keep a short record of the books you read.
When analyzing a work of art, one should distinguish between ideological content and artistic form.
A. Idea content includes:
1) the theme of the work - the socio-historical characters chosen by the writer in their interaction;
2) problematics - the most essential for the author of the properties and aspects of the already reflected characters, singled out and strengthened by him in the artistic image;
3) the pathos of the work - the ideological and emotional attitude of the writer to the depicted social characters (heroism, tragedy, drama, satire, humor, romance and sentimentality).
Paphos is the highest form of ideological and emotional assessment of life by a writer, revealed in his work. The statement of the greatness of the feat of an individual hero or a whole team is an expression of heroic pathos, and the actions of a hero or a team are distinguished by free initiative and are aimed at the implementation of high humanistic principles. The prerequisite for the heroic in fiction is the heroism of reality, the struggle against the elements of nature, for national freedom and independence, for the free labor of people, the struggle for peace.
When the author affirms the deeds and experiences of people who are characterized by a deep and ineradicable contradiction between the desire for a lofty ideal and the fundamental impossibility of achieving it, then we face tragic pathos. The forms of the tragic are very diverse and historically changeable. Dramatic pathos is distinguished by the absence of a fundamental nature of a person's opposition to impersonal hostile circumstances. The tragic character is always marked by exceptional moral loftiness and significance. The differences in the characters of Katerina in The Thunderstorm and Larisa in Ostrovsky's The Dowry clearly demonstrate the difference in these types of pathos.
In the art of the 19th-20th centuries, romantic pathos acquired great importance, with the help of which the significance of the individual's striving for an emotionally anticipated universal ideal is affirmed. Sentimental pathos is close to the romantic, although its range is limited by the family and everyday sphere of manifestation of the feelings of the characters and the writer. All these types of pathos carry an affirmative principle and realize the sublime as the main and most general aesthetic category.
The general aesthetic category of negation of negative tendencies is the category of the comic. The comic is a form of life that claims to be significant, but has historically outlived its positive content and therefore causes laughter. Comic contradictions as an objective source of laughter can be perceived satirically or humorously. An angry denial of socially dangerous comic phenomena determines the civic nature of the pathos of satire. A mockery of comic contradictions in the moral and domestic sphere of human relations causes a humorous attitude towards the depicted. Mocking can be both denying and affirming the contradiction depicted. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.
B. Art form includes:
1) Details of subject depiction: portrait, actions of characters, their experiences and speech (monologues and dialogues), everyday environment, landscape, plot (sequence and interaction of external and internal actions of characters in time and space);
2) Compositional details: order, method and motivation, narratives and descriptions of the depicted life, author's reasoning, digressions, inserted episodes, framing (image composition - the ratio and location of subject details within a separate image);
3) Stylistic details: figurative and expressive details of the author's speech, intonational-syntactic and rhythmic-strophic features of poetic speech in general.
Scheme of analysis of a literary and artistic work.
1. History of creation.
2. Subject.
3. Issues.
4. The ideological orientation of the work and its emotional pathos.
5. Genre originality.
6. The main artistic images in their system and internal connections.
7. Central characters.
8. The plot and features of the structure of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting of the action.
10. The speech structure of the work (author's description, narration, digressions, reasoning).
11. The composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the work of the writer.
13. Place of the work in the history of Russian and world literature.
The general plan for answering the question about the significance of the writer's work.
A. The place of the writer in the development of Russian literature.
B. The place of the writer in the development of European (world) literature.
1. The main problems of the era and the attitude of the writer to them.
2. Traditions and innovation of the writer in the field:
a) ideas
b) topics, problems;
c) creative method and style;
d) genre;
e) speech style.
B. Evaluation of the writer's work by the classics of literature, criticism.
An approximate plan for characterizing an artistic image-character.
Introduction. The place of the character in the system of images of the work.
Main part. Characterization of a character as a certain social type.
1. Social and financial situation.
2. Appearance.
3. The originality of the worldview and worldview, the range of mental interests, inclinations and habits:
a) the nature of the activity and the main life aspirations;
b) impact on others (main area, types and types of impact).
4. Area of feelings:
a) the type of relationship to others;
b) features of internal experiences.
6. What personality traits of the hero are revealed in the work:
a) with the help of a portrait;
c) through the characteristics of other actors;
d) with the help of background or biography;
e) through a chain of actions;
e) in speech characteristics;
g) through "neighborhood" with other characters;
h) through the environment.
Conclusion. What social problem led the author to create this image.
Plan for the analysis of a lyric poem.
I. Date of writing.
II. Real-biographical and factual commentary.
III. Genre originality.
IV. Idea content:
1. Leading theme.
2. Main idea.
3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of public or private intonations.
V. The structure of the poem:
1. Comparison and development of the main verbal images:
a) by similarity;
b) in contrast;
c) by adjacency;
d) by association;
d) by inference.
2. The main figurative means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litote, irony (as a trope), sarcasm, paraphrase.
3. Speech features in terms of intonation-syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. The main features of rhythm:
a) tonic, syllabic, syllabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhic, sponde, dactyl, amphibrach, anapaest.
5. Rhyme (masculine, feminine, dactylic, exact, inaccurate, rich; simple, compound) and rhyming methods (pair, cross, ring), rhyme game.
6. Strophic (double-line, three-line, five-line, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.
How to keep a short record of the books you read.
2. The exact title of the work. Dates of creation and appearance in print.
3. The time depicted in the work, and the place of the main events taking place. The social environment, the representatives of which are displayed by the author in the work (nobles, peasants, urban bourgeoisie, philistines, raznochintsy, intelligentsia, workers).
4. Epoch. Characteristics of the time in which the work was written (from the side of economic and socio-political interests and aspirations of contemporaries).
5. Brief outline of the content.
METHODOLOGY FOR ANALYSIS OF A LITERARY WORK
Stepanyan Arega Sergeevna,
teacher of Russian language and literature
MBOU secondary school No. 66 of Krasnodar
Introduction
The main thing that is the condition and basis of all studies in literature is the reading of a work. The success of all work on literary theme.
Whether the book will capture the student, whether he will plunge into the world created by the artist, or the thoughts and feelings of the author will leave him indifferent, or even cause internal rejection - the teacher always thinks about this when preparing the first meeting of the student with the work. How should she go? Should students be asked to think about certain questions during their first reading, to make notes and notes, or is it better to make this first encounter with the book free and not complicate it with analytical work? At first glance, it seems tempting to layer reading with retellings, drawing up plans, conversations into analytical work; time is saved, which means additional opportunities for deeper analysis open up.
Literature is able to reflect the diversity of human life and society. And in this regard, the leading role belongs to prose. It is prose that reveals, on the one hand, all the depths and all the diversity human psychology, and on the other hand, all the richness and complexity of human ties with the world, with society, with history.
Prose itself is extremely diverse: from short miniatures and small sketches to multi-volume epics or cycles of novels, from descriptive essays and action-packed stories to complex philosophical and psychological works. All this diversity is characteristic of Russian classical and Soviet literature.
The writer does not just describe life. literary image and artwork in general complex act reflections of reality. Life in a literary work is a life comprehended by the artist, experienced and felt by him. Hence the obligatory attention to the views of the artist, his personality.
Prose works occupy great place in school curriculum senior classes and by the number of titles, and by the number of hours that are allotted for their study. The analysis of prose at first glance is easier than the analysis of works of other genres, especially poetry: the language is more accessible, it is easier to carry on a conversation.
But in connection with the study of prose, some additional difficulties arise in the work of a teacher of literature. It is here that, most often, it is allowed to reduce the meaning, the content of the work to a superficial retelling, not even of the plot, but simply of the event outline; the conversation about the heroes of the work is conducted not as about artistic images, but as about living familiar people; formal characterizations of the characters are drawn up, divorced from the artistic fabric of the work, and talking about the artistic features of the work sometimes looks like an optional addition to the main material.
Large prose works have to be studied in fragments, which makes it even more difficult to analyze a novel or short story as a whole. The methodology for analyzing a literary work has been widely developed in literary criticism. This analysis includes a large set of questions that link the problems of content and form, revealing the role of each element of a work of art and their close relationship in the creation of an artistic whole. To analyze a work means not only to understand the characters of individual characters and the relationship between them, to reveal the plot mechanism and composition, to see the role of a separate detail and the features of the writer's language, but most importantly, to find out how all this is determined by the writer's idea, by what Belinsky called " pathos of the work. The more significant the work of art, the more inexhaustible the possibilities of its analysis.
Therefore, the purpose of our work is to identify the features of the study epic work large form on the example of M. Bulgakov's novel "The Master and Margarita". The subject of the study is the methodology for studying the novel "The Master and Margarita". The object of research is the novel itself. Research objectives: to get acquainted with the methodological literature, to characterize the methods and techniques of analyzing the work, to develop a methodology for studying this novel.
Chapter 1. Features of the study of the epic work
1.1. Ways of studying the analysis of an epic work
The effectiveness of studying literature by students is largely determined by the variety of ways of studying works and systems of lessons in the course of literature in general and for each year of study in particular. There are several ways: the study of the work according to the images of the characters, the study of the work in the course of the development of the action, the study of themes and problematic issues. The selection and sequence of studying topics, images or scenes within each path can be varied, that is, different systems of lessons are possible with one path.
The next one is the problem-thematic way of studying. This path is designed for students who are fluent in the text. The prototype path of study attracts with its emphasized attention to the humanistic content of literature, the interest of students in specific heroes of books, the great - often too - clarity and naturalness of breaking up the material into lessons, but with it insufficient attention is paid to the integrity of the work. However, with adjustments for the greater problematic nature and greater reliance on the text, for attention to the integrity of the work and the image of the author in it, it is quite acceptable in schools.
If the teacher analyzes the work in the course of the development of the action, this allows you to organically combine reading and studying the work, convey to the students the author's concept of life, the composition of the work, and finally master the text itself. But in practice, the problematic nature of the lesson is far from always maintained; this path can easily turn into an amorphous commented reading.
The problem-thematic way, making it possible to enlarge the analysis, contributes to a more generalized perception of literature by students. But it contains the ease of replacing a specific artistic content general provisions. With it, a preliminary reading by students of the studied work is required.
At present, a complex, or mixed, way of studying is gaining more and more popularity, when, within the same system of lessons, work on scenes, work on images, and work on topics is combined, and all this from a certain point of view, with a certain pedagogical concept. Teachers find this way of learning the most flexible way to work with students different levels development, contributing to the preparation for self-education.
The teacher, choosing one of the ways to analyze a particular work, takes into account its correspondence to this work, the preparedness of students and the place of the work in the system of work in this class.
Let's show it on the example of class IX. Suppose that the first work - the drama "The Thunderstorm" - is studied through a holistic analysis. The analysis of the novel "Fathers and Sons" is based on the study of images. The novel "What to do?" will be studied by setting problematic questions that boil down to answering one general question “what to do?”. When analyzing the poem “To whom it is good to live in Russia”, it is easy to outline a system of lessons on the topics and individual images of the poem. When studying the novel "Lord Golovlevs", a problematic overview of the entire novel is given and several chapters are textually analyzed that depict the image of the protagonist.
Does this mean that the system of study paths in a year can only be
such? No, this is one of the options.
For the most reasonable and multifaceted impact on students, a flexible system of learning paths is needed, when the shortcomings of one are compensated by the merits of the other.
The combination of different ways of studying a work is also important from the point of view of the most appropriate organization of students' independent reading of large works, since this makes it possible to somewhat disperse the order in which students read works, this is largely determined precisely by studying.
Conducting classes depends mainly on the abilities of the students. The different preparedness of students determines both the choice of methods and their various combinations in any way of studying the novel.
So, depending on the readiness of students, you can outline the main options for work:
1st option - after the teacher's introductory, setting speech - a series of conversations about the work with reading and analysis of excerpts from it and the final lecture of the teacher, summing up the work. In this variant, mainly reading and reproduction of the text and the heuristic method of work are used. Other methods are used to a lesser extent. The option is most acceptable for students who are not immediately prepared for generalizing work. But with a greater saturation of conversations with serious questions, problematic situations, creative tasks, it can also be suitable for stronger classes.
Option 2 - a detailed introductory lecture by the teacher on the significance of this book in the history of literature and seminars with reports and speeches by students on specific topics. In this case, mainly the reproductive-creative and research methods of teaching are combined, others - to a lesser extent. This option is suitable for strong or medium-level classes, as well as for distance learning for adults, in order to make work more compact. Variants with a different combination of reading, reproduction and independent “discoveries” of students are also possible. This is determined directly in the course of studying the work.
When studying a work of a large form, the most effective, from our point of view, system of lessons is one that is built on the analysis of the work in the course of the development of the action, with the subsequent stage of work on images and generalizing themes. Such a complex, or mixed, path is applicable to Tolstoy's novel, firstly, because this work is the largest and most complex in the school course, and it is difficult for students to master it right away.
The percentage of students who read the novel before studying it in school, in whole or in part, is negligible. Therefore, gradual reading-research is needed, giving time and opportunity to read and ponder the book. Secondly, it is necessary to help students then summarize the material accumulated while reading the study.
A holistic study of the work does not cancel either introductory or final classes. It is necessary to prepare students for the perception of the work, and then give them a kind of afterword to the book, when the reader once again rises above the work, embraces it as a whole, compares it with other works and retrospectively solves a number of issues. Each stage of study, being independent, at the same time opens the way for the next one, not extinguishing, but arousing a deeper interest in the work than at the previous stage.
This path of analysis, when a holistic study is the central stage, is the interpenetration of all stages of the study of a work of art - its direct perception, analytical understanding and going beyond the work. To do this, it is especially important to set at the beginning of the study the central problem that is solved by all analysis and runs through all lessons. This task should cover the work as a whole, lead to an understanding of its ideological and artistic conception.
The central problem, which absorbs, in Tolstoy's words, "the unity of the original author's attitude to the subject," is the problematic question to the work. This basic question runs through the entire system of lessons, and each of them gives its own part of the answer. Each lesson should have its own problem related to the general one. Sometimes you can go from the topic of the lesson and the material to clarify a specific problem, sometimes, on the contrary, from the problem to the material. It should be understood that any analysis, including a holistic one, must now be a highly problematic analysis, and not just preparatory stage content acquisition work.
The system of questions of moral and aesthetic education is also determined in each of the classes. It is necessary to find out the maximum possibilities for the moral and ideological education of students, to promote the transformation of knowledge into communist convictions. To do this, two factors must be taken into account: a historical approach to the work and a modern solution to the same problems. First of all, one should find in the work of those heroes and those problems that coincide with the interests of our contemporaries.
The system of questions for aesthetic education in the study of this novel consists of the features of the writer's style, the pattern of development of the plot and composition of the work, as well as questions about beauty in life, in the appearance of heroes - questions of the moral and aesthetic ideal of the writer.
So, the choice of the way of studying an epic work depends on the degree of complexity of the work, the level of preparedness of students.
1.2. Methods and techniques for studying the epic work of a large form
The success of the study of the novel depends on the combination of various methods and techniques used in the lessons. The reproductive and creative method of work, which is manifested in the work of students on the textbook, and the assimilation of the teacher's lecture, and heuristic conversations, and independent tasks according to the model, and creative tasks, and elements of research work.
In addition, the heterogeneity in the pace of work on the text is very important, the optimal combination of “slow” textual work, in one case, and faster, overview coverage of the issue, in the other.
It is equally important to combine the generalization of conclusions and problems with the concreteness of facts. For some, the most productive move is from concreteness to generalizations, for others, from generalizations to concrete analysis that confirms the conclusions.
The most effective method is conversation. When analyzing a large epic work at school, it is necessary to acquaint students with a system of questions and tasks, the implementation of which ensures a consistent study of the topic. With their help, students will learn the theme, ideological meaning, artistic originality and place of the work in the history of literature, as well as creative look the writer as a whole. Questions and assignments should be designed for the comprehensive work of students on the text of the work (first of all), on the relevant chapters of the textbook on literature, on critical literature, indicated by the teacher and in the textbook, over information gleaned from the lips of the teacher. Only such work can provide students with deep and solid knowledge.
A number of questions will require students to simply reproduce knowledge gained from various sources. Heuristic and exploratory questions are predominant in teaching. These are tasks that require comparing various assessments of a work, proving or refuting certain points of view, and analyzing the figurative structure of a work.
Many tasks should be addressed directly to the personal opinion of the student, the definition of his personal position; however, each time the student should be led to this by serious work on arguing his opinion, based primarily on a deep analysis of the work itself, and comparing “his” conclusions with those already available.
It is necessary to lead all students through different types of tasks, but by no means through all specific tasks, gradually, increasing the degree of difficulty. You can vary the questions, of course, you can simplify them if necessary. But it cannot be considered correct if weak students are offered tasks only for simple reproduction of the plot, the text of a work or textbook, or the simplest questions for analysis. In this way, you will never cultivate either love for literature and a desire to read it, or knowledge; so it is impossible to develop students, and they will remain at the same level of literary development at which they came to school, even if they received some specific knowledge.7
At the same time, the difficult task of individualizing learning must be realized. In frontal work in the classroom, it is installed
spontaneously, by the students themselves: everyone answers those questions that he can, and in the way he can. The selection of tasks for independent individual work students should be done according to the more strict calculation of the teacher.
The most difficult for students are questions that require the student to make comparisons (works with works, themes with themes), as well as knowledge of a wide material for argumentation, requiring an understanding of the aesthetic criteria for evaluating a work, as well as the development of a recreative imagination. In these cases, the difficulty is created by the need for developed, complex, multi-stage skills.
The highest degree of difficulty also includes those questions where the material itself is complex (contradictory phenomenon, different assessments of the same fact, philosophical richness of the material). Difficult questions are also called those that require a good concrete knowledge of generally simple specific episodes or words (this involuntarily affects the tendency of students to superficial knowledge). Knowing something outside of the program is also a hard task.
The least degree of difficulty includes questions that require the analysis of specific scenes or many images, relatively simple problematic tasks, questions about the moral and psychological essence of the characters' behavior, in most cases about their speech characteristics.
The students also consider the retelling-analysis of the supporting chapters and questions on knowledge of the basic facts of the writer's creative life to be the same. The rest of the questions are of medium difficulty.
Of course, for all questions, both the easiest and the most difficult, knowledge of the book itself and the participation of the student in its analysis are necessary. Determining the degree of difficulty will allow the teacher to more accurately navigate in the submission of a number of questions for independent homework of students, with the ability to give individual tasks to individual students along with the general class.
When organizing a lesson, it is advisable to create working groups, entrusting them with various tasks. In groups, the guys will distribute responsibilities among themselves, here there may be feasible work for students of different levels, in the process - it reveals abilities that the teacher might not have been aware of. When collectively prepared answers or reports are discussed, competition arises, reminiscent of the competition of KVN teams, the prepared answer is perceived by the group members as their own personal, suffered, they defend their opinion.
It is useful, in addition to the speakers, to single out a group of opponents who are familiar with the main provisions of the speech in advance, think over the topic on their own, raise questions that require additional solution, review the performance. And a group of arbitrators can also be appointed, which will look for a solution to the disputed issues. Their task is to carefully study the text of the work, to compare each judgment with it.
The lesson usually begins with an introductory speech by the teacher, where problems are posed that need to be solved in the lesson. The introduction can be prepared not necessarily by the teacher, but also by an initiative group of students - the organizers of the seminar. Then comes the main part of the lesson - a discussion of the problems. In the final speech, the teacher will draw conclusions that are not needed in order to once and for all resolve all issues that often do not have an unambiguous solution. It is necessary to highlight major achievements participants, evaluate the work of each.
So, in the arsenal of a teacher there are many active forms learning. Building a lesson
the teacher involves everyone in the work. Similarly, when studying an epic work, there are several ways of analysis. We found out that there are such types of studying an epic work. The first way - keeping the path of following the author, you can trace the problems, composition, style, main groups of heroes of the work. The next one is the problem-thematic way of studying. This path is designed for students who are fluent in the text. The imaginative way of studying attracts the children with the emphasized attention to the human content of literature throughout the lesson.
Holistic study is the central stage, it represents the interpenetration of all stages of the study of a work of art - its direct perception, analytical understanding and going beyond the work. To do this, it is especially important to set at the beginning of the study the central problem that is solved by all analysis and runs through all lessons.
The combination of various forms of student activity in the classroom, such as conversation, messages, expressive reading, dramatization, and many others, allows you to avoid monotony and increase interest, maintain the performance of the children.
Chapter 2. Methods of studying the novel by M.A. Bulgakov "The Master and Margarita"
2.1. Two points of view on the method of teaching the novel
Of particular importance has recently acquired the problem of works related for the most part to the problems of themes. There is no doubt that this literature is now in the field of view of high school students and cannot be ignored by the teacher.
Much in the era of the 1920s we now see differently and in additional coverage of such works as the stories of Babel, Doctor Zhivago by Pasternak, The Old Man by Trifonov and others, including M. Bulgakov’s novel The Master and Margarita ".
An analysis of these works should help students to comprehend from the height of our current knowledge the path traversed by our country and literature. In these works, the author poses very serious philosophical and social problems, so for many students to understand and
it will be very difficult to understand it, it all depends on the level of preparedness of the class. Therefore, the teacher must choose the most appropriate way to analyze the work.
So, in one class, when studying the novel The Master and Margarita, the main method of analysis can be a conversation, during which the teacher poses a problematic question, the answer to which can cause a discussion.
In another class, choose the method of an overview lecture with a conversation that accompanies students' messages.
Consider both ways of studying the novel by M. Bulgakov "The Master and Margarita"
2.2. Conversation, turning into a discussion, as the main form of teaching
So, when conducting a conversation, it is very important to ensure that the exchange of views on the novel by M.A. Bulgakov was held in the form of a discussion, which allows you to develop the skills of competent polemics, the ability to freely exchange thoughts.
At the first introductory lesson, you can prepare a journey "Through the pages of the writer's books." In order to organize it, a council is being created, which determines the range of M.A. Bulgakov, which the class will get acquainted with, the form of presentation of the material is determined, creative groups are created. Each of the groups studies the works recommended for reading and prepares their own report about them in accordance with the chosen form: either it will be a report by one student, supplemented by reading individual episodes in faces, or literary dramatizations of excerpts from works are being prepared, and so on. The preparation of each creative team led by consultants in literature from among the students. The lesson is preceded by a teacher's lecture on the historical situation in Russia.
What main storylines can you name?
At the end of the conversation, the teacher does not refute the opinions expressed, does not give preference to any of them, but notes the most interesting and meaningful speeches, invites you to think about the novel in order to compare the initial impressions with what will result from the analysis in the last lesson. Then the teacher moves on to the problems of artistic creativity, which are touched upon in the book. It is necessary to immediately draw the attention of students to how satirically acutely M. Bulgakov portrayed the literary and writing environment. The following questions are used for analysis:
Expressively read the comic dialogue between Koroviev and Behemoth about the writers before setting fire to the restaurant in Griboyedov's house from chapter 28.
- Why did M. Bulgakov put words of denunciation into the mouth of evil spirits?
Summing up the work, the teacher says that the morals prevailing in the writing environment are subjected to especially sharp and merciless criticism in the novel. Paradoxically, but the writers, who are called upon to reflect on the highest things in life - on the purpose of a person, on his place in the world around him, on the ways of the development of society, Bulgakov is concerned about something completely different: they achieve profitable business trips, high fees, expansion of living space, obtaining a garden garden plots and so on. None of them ever reflect on literature, except for the very first conversation between Berlioz and Ivan Bezdomny. Members of MASSOLIT are mediocre and soulless philistines and townsfolk who dream of benefits and material goods and for their sake they are ready to slander and slander anyone. This is what happened to the Master: critics Latunsky, Ahriman and others like them defame his book even before it was published and brought the author to a psychiatric hospital, to a mental breakdown, when he destroyed his own offspring with his own hands.
2.3. Conversation and lecture with student messages
The use of an educational lecture when studying a work in senior
classes has its own characteristics. When studying a work, the teacher reveals the content of the most significant phenomena in the development of literature certain period, in the work of an individual writer, highlighting only the most important and characteristic moments. Lectures involve the most active independent work of students, require the joint creativity of the teacher and students.
According to some teachers, a school lecture is, on the one hand, a work of art, and on the other, a strict didactic form. The lecture involves the participation of students in solving the problem, allows them to continue its study. This makes a system of active forms of learning necessary. Single, random lectures or seminars without a certain logic will not bring any benefit.
The experience of many teachers and methodologists suggests that the purpose of such lessons cannot be limited to recreating the "background" against which the writer's creative individuality will then emerge. The saturation of that material, a lot of ideas, events and the limited hours intended for their assimilation, give rise to the problem of selecting information, their clear systematization, as well as the use of techniques for mobilizing the knowledge that students already have, preparing reports, messages in advance, expressive reading of works and fragments that included in the lecture.12
Among the typical shortcomings in conducting lectures on review topics, the following should be singled out: knowledge is acquired at the level of abstract concepts without relying on a literary text, on emotional impressions; reviews often lack a concept, a leading idea; through lines, ideas, problems that can combine review and monographic topics into a coherent picture of the historical and literary process are not distinguished.
The specifics of the literature program in and classes is the presence individual works reviewed. You can determine the approximate sequence in guiding the activities of students in the study of such topics:
1. Organization of preliminary reading of the work and preparation of the necessary messages by students, their expressive reading, etc. on the basis of group and individual assignments(before starting work on the topic).
2. Introductory (setting) lecture of the teacher, which determines the plan of work on the topic, organizing independent work of students with a work of art, a textbook, critical articles, outlining problematic issues and tasks. Determination of the composition of the work, its problem-thematic content.
3. Selection of individual scenes, chapters, sections for textual study.
4. Preparation of reports and messages of students, organization of a seminar, debate (on exemplary questions and assignments).
5. Conducting a final seminar based on the most important problematic issues. General lecture, recommendation of literature for extracurricular reading.
The nature of the study determines the need for advanced preparation for the lecture and individual groups assistant students who read the text in depth in advance, prepare its fragments for reproduction.
One should not be afraid that the installation lecture, as it were, predetermines the students' perception of a work that most of them have not read: “As experience shows, the perception of a work, the analysis of which precedes reading, has its own merits, especially when students are somewhat behind in the level of development of abstract logical thinking. Analysis of the work before reading it contributes to a deeper perception of the work, since analysis in the lesson outlines the approach to it, on which students will naturally rely on subsequent reading, with a review study this path has the right to exist.
Review topics in the course of literature and the class are diverse in content and in the principles on the basis of which they are distinguished. In this course, as you know, the role of retrospective connections increases, the implementation of which allows you to organize repetition, to some extent rethink familiar facts anew.
In review classes, a lecture is almost always combined with a passing analysis of specific episodes of works chosen by students at will.
The analysis of the work in the senior class of high school acquires to a greater extent the features of an aesthetic order. M.A. Bulgakov is an author already familiar to schoolchildren. At the nine-year school, they read and pondered the story " dog's heart". Many in the theater and cinema watched The Days of the Turbins and other plays by Bulgakov, a film adaptation of the satirical fantasy Fatal Eggs. However, the study of the novel "The Master and Margarita" requires the integrity of the characterization of the writer's worldview and a generalized view of the development of Russian and world literature, the successor of the traditions of which was Bulgakov, who boldly opposed millennia of Christian culture to the pragmatism of the 20th century. The novel-myth for the writer was a way of artistic opposition between pagan barbarism and Christian humanism.
In this regard, we propose to build a problematic analysis of The Master and Margarita as a comparison of Pushkin and Gogol traditions in the work of a writer of the 20th century, as a duel of skeptical irony and faith in a person in the mind of an artist who saw how easily society is freed from layers of culture and causal consciousness , as in periods of social upheaval, the animal nature in a person comes through. The central question posed by the teacher and which can cause a dispute: good or evil rules the world? This is a complex question and without prior preparation and knowledge it will be difficult to answer. Therefore, teacher lectures are designed to help students.
The first lesson "The satirist and the lyricist" plays the role of setting for the study of the novel. Reviewing the life and creative path of Bulgakov, including students' reports about the writer's already studied and read works, the teacher concentrates the lesson around the problematic question: "Irony or lyricism lead Bulgakov through life and sound more distinct in his work?"
During the conversation, the teacher invites the students to comprehend the first impressions of the novel "The Master and Margarita".
1. Which of the characters in the novel seems to you the most beautiful and the most disgusting? Which of them do you sympathize with the most?
2. Why original titles"The Black Magician", "Woland's Tour" Bulgakov replaced by calling his work "Master and Margarita"?
3. Whose portrait: the master, Margarita, Woland, Ivan Bezdomny, Pilate, Yeshua - is it easier for you to draw with words? Try it.
4. How do you imagine Margarita and Woland on their last flight (Chapter 82) or the master when he shouts to the seated procurator: “Free! Free! He is waiting for you!"?
5. Did you read the Yershalaim or Moscow chapters of the novel with great excitement? How are these chapters connected by events, characters, thoughts, and how do they differ from each other?
6. Why do the words “stone”, “stone” accompany the description of Yerushalayim and the people living in it? Explain the metaphors and comparisons in the sentences describing the conversation between the procurator and Yeshua: “The wings of a swallow snorted over the very head of the hegemon, the bird rushed to the bowl of the fountain and flew free. The procurator raised his eyes to the prisoner and saw that dust had ignited near him like a pillar... No one knows what happened to the procurator of Judea, but he allowed himself to raise his hand, as if shielding himself from the sunbeam, and behind this hand, as if behind a shield, send the prisoner some kind of hinting look.
7. Who was convicted and for what, and who and why was saved in Bulgakov's novel?
8. What works of Pushkin and Gogol did you remember while reading The Master and Margarita?
9. K " Divine Comedy» Dante or Goethe's Faust is close to the meaning of Bulgakov's novel?
10. What questions do you have when reading the novel?
The second lesson "Between Faith and Doubt" can begin with a conversation with a comparison of the reader's impressions of the students and the formation of a general problematic question for the novel, creating a perspective of its study in the classroom. This general question in different classes can appear in many ways: “Is good or evil endowed with omnipotence in Bulgakov’s novel?”, “Which of the heroes of the novel: Woland, Yeshua or the master - is more approved by the author?” In the Yershalaim chapters, he only observes the events, but in Moscow he manages them?”, “What are the masks and true faces of the heroes of the novel?”, “What crimes do the heroes of the novel commit and which of them and why is forgiveness given?”, “To the Pushkin or Gogol tradition closer to the author of the novel?”, “Faith in man and the miracle of life, or do irony and skepticism win in the novel?”
Each of these problems requires a comprehensive analysis of the work and raises other questions that create a continuous series of problem situations. The resolution of one of them leads to the emergence of another and leads to an answer to the general problematic question for the novel.
Having chosen a promising question for analysis that interested the class the most, the teacher characterizes Bulgakov's attitude to Pushkin and Gogol in order to deepen problem situation lesson on material familiar to students in the previous course of literature.
The teacher's word includes the following content:
M.A. Bulgakov, who survived the tragic turning points in his life at the beginning of the 20th century, in his last, as he said, “sunset” novel, tried to comprehend the world as a whole and find the fundamental foundations of nature and man.
For such a global goal, it was necessary to compare historically different layers of life, a kind of projection of eternity into modernity. This artistic move was characteristic of European literature of the 20-30s (D. Joyce "Ulysses"; T. Mann "Doctor Faustus"). Bewilderment before the swiftness and cruelty of the century, its scope and insignificance has always led the artist to turn to the historical perspective, and this characteristic property culture-based thinking. Therefore, Shakespeare needed Antony and Cleopatra, Timon of Athens, and Pushkin needed Boris Godunov and The Bronze Horseman.
The novel "The Master and Margarita" belongs to this deep layer of the most essential phenomena of literature that determine the position of man in the world. In an era when once again in Russia "everything turned upside down", when in
Fascism becomes impudent in Europe, when a person is reduced by dictatorial regimes to a “trembling creature”, Bulgakov writes a novel that is included in the great debate about human nature.
In Russian literature, two opposite assessments of the possibilities of the individual have developed; Pushkin, knowing all the abysses of darkness that fills the human soul, following Dante and the Renaissance, considered goodness to be the basis of human nature. And therefore, for him, "genius and villainy are two incompatible things." Gogol, poisoned by the lack of confidence in the realization of a dream and the fear of the ugliness of life, showed to a greater extent to what "insignificance, pettiness, nastiness a person could descend." Pushkin's direction, represented by Herzen and Ostrovsky, Goncharov and Turgenev, Fet and L. Tolstoy, Garshin and Chekhov, was permeated with faith in man and goodness as the foundation of life. The Gogol trend, from Dostoevsky to Saltykov-Shchedrin, doubted the justification of this belief and, without losing the humanistic ideal, was angry and mourned the crushing of hopes. Of course, between these directions there were no Chinese wall. And in the works of Turgenev and L. Tolstoy we will find bitter pages and thoughts in the spirit of Dostoevsky, who himself did not escape the emotion of daydreaming. However, the dominant attitude of the world existed. Bulgakov, depicting a world in which all the old foundations of life have been destroyed and human existence has become illogical, cannot but follow the brilliant paradoxicalist Gogol. But Bulgakov retains the values of culture, and Pushkin's faith in the significance of man, his good opportunities, his ability to reach the height of tragedy, and not the madness of farce, pervades the novel The Master and Margarita.
Bringing together and separating the Yershalaim and Moscow chapters, Bulgakov confronts both himself as an author and the reader with a cruel choice of two dimensions of life. Good and evil are crucified on the wings of one cross, and in this conjugation and confrontation between the Pushkin and Gogol trends within one work, there is the audacity and novelty of The Master and Margarita.
We will introduce students to how the names of Pushkin and Gogol were perceived by Bulgakov and what they meant to him. Satire for Bulgakov - a form of expression of reality, repulsion from it.
During interrogation at the OPTU in 1926, Bulgakov justified the direction of his work in this way: “I see many shortcomings in modern life: thanks to the turn of my mind, I treat them satirically and depict them in my works ... I am a satirist ”(Mikhail Bulgakov. Diary. Letters. 1914 -1940. - M .: Modern writer, 1997 - 151, 153)
“My teacher is Gogol,” Bulgakov said more than once. Having read the book by V. Veresaev, in a letter to him dated August 2, 1933, in the midst of work on the "Novel of the Devil", Bulgakov says; “... spent two nights over your Gogol. God! What a figure! What a personality! The commitment to Gogol was so great that at the moment of a spiritual crisis, when Bulgakov, harassed by prohibitions on printing and putting his works on stage, writes a letter to Stalin in 1931, asking permission to travel abroad, the satirist writer tries to repeat the model of behavior of his famous predecessor: “.. It always seemed to me that in my life I would have some kind of great self-sacrifice and that it was precisely for the service of my fatherland that I would have to wander somewhere far from it. I only knew that I was not going at all
then, in order to enjoy foreign lands, but rather to endure, as if I had a presentiment that I would know the price of Russia only outside Russia and get love for her away from her. It is difficult to consider these words as a stylization of Gogol, here sounds a sincere attempt to repeat his path.
The real closeness of Bulgakov's writing and personal behavior to
Gogol is also noticeable in the burning of his works. Pushkin, however, also burned his diary and the tenth chapter of Onegin, having previously encrypted it. But Pushkin was forced to burn it because of possible accusations of unreliability and the desire to hide the names of his friends - the Decembrists from a hostile gaze. Bulgakov and Gogol burned manuscripts because of dissatisfaction with themselves, because of the discrepancy between intent and implementation. However, here too Bulgakov, in the end, follows Pushkin and restores, reworking, the text of the novel about the devil, carefully writing out The Master and Margarita. The repetition of the Latin proverb "Manuscripts do not burn" was gained by the author of the novel.
A repetition of Gogol's behavior was impossible not only because historical circumstances had changed, but also because Bulgakov did not resemble Gogol in many ways. The satire that Bulgakov appreciated was not as pathetic and solemn as Gogol's. In a letter to P.S. Popov dated October 23, 1939, Bulgakov speaks of the “Archive of Countess D.”: “... this is a magnificent satire on high society. In general, Apukhtin is a subtle, soft, ironic prose writer...” Pushkin's elegance of irony captivates Bulgakov more than Gogol's caustic sarcasm.
Taking order Art Theater for staging" dead souls”, On May 7, 1932, Bulgakov wrote to P.S. Popov: “Dead Souls” cannot be staged. Take it as an axiom from a person who knows the work well. What made Bulgakov say this? Probably the lack of dynamism in Gogol's prose and the absence of light, which upset Pushkin so much when reading the first chapters of Gogol's poem. And Bulgakov decisively intrudes into Gogol's plot, dramatizing it, bringing it to the vastness of history and culture: “My first plan: the action takes place in Rome (don't make big eyes!). Once he sees her from a "beautiful distance" - and so we will see! This plan was rejected by the theatre, and Bulgakov was in despair: "I'm madly sorry for my Rome!" In essence, here Bulgakov finds artistic opportunities to open the space of life narrowed to the negative. And this is rather Pushkin's and Chekhov's freedom to compare the high possibilities of life and its miserable or sad realities. In The Master and Margarita, this structure will find its place in the comparison of the Yershalaim and Moscow chapters.
In Pushkin, Bulgakov felt an artist and a person who was close to himself in terms of attitude and passions in art. The writer associated his duel with Soviet society with the name of Pushkin. And although Bulgakov is not a poet: “From childhood I could not stand poetry (I’m not talking about Pushkin, Pushkin is not poetry!)”, but a satirist, Pushkin’s trusting attitude to life is an internal norm for him. Therefore, the alienation of people in modern life is unbearable for Bulgakov: “From childhood I hate these words: “who will believe?”. Where it is "who will believe?" - I don’t live, I don’t exist ”(letter to V.V. Veresaev dated July 22, 1931).
Bulgakov is closer to Pushkin's position of accepting life, rather than Gogol's repulsion from it. Having decided together with Veresaev to write a play about the last days of Pushkin, Bulgakov painfully and passionately argues with the co-author, following Pushkin's manner of a complex, rather than one-line image of a person: “... I consider your image of Dantes to be stage-impossible. He is so poor
trivial, emasculated, which cannot be put into a serious play. It is impossible for the tragically deceased Pushkin to be given an operetta ballroom officer as a murderer ... Dantes cannot exclaim "Oh, la la!" It is about Pushkin's life in this play. If he is given frivolous partners, this will humiliate Pushkin. For Bulgakov, everything around Pushkin takes place at the level of a high tragedy, not a vulgar farce. But Bulgakov is lucky with Gogol: “... over the past few years I have done 16 things, and all of them died, except for one, and that was Gogol’s staging!” (letter to Veresaev dated October 5, 1937). The complications with the play about Pushkin are so great that Bulgakov is in despair when, because of the ban on playing the play, the theaters demand a penalty from the author: "Pushkin". Now I can’t hear the word Pushkin without a shudder, and every hour I curse myself for the unfortunate thought that came to me to write a play about him ”(letter to P.S. Popov dated March 24, 1937).
Nevertheless, the attitude towards Pushkin in Bulgakov always won over all threatening circumstances. Retribution for love for Pushkin is inevitable in an environment that is hostile to the poet. In essence, Bulgakov, following Gogol, fixes the distance between the public and Pushkin, but in the writer of the 20th century, not only bitter laughter sounds at the vulgarity, which is fundamentally inaccessible to poetry, but indignation, mockery, pain for the misunderstood height of the tragedy.
In the same "Notes on the Cuffs" Bulgakov talks about Pushkin's
evening crowned with a portrait of the poet: “Nozdryov looked at me from a golden frame. He was amazingly good. The eyes are cheeky. Convex. And even one sideburn is thinner than the other. Bulgakov protests, throwing to the artist: “Excuse me, you are mocking me. After all, your Pushkin has robber eyes! The transformation of the poet into Gogol's hero outrages Bulgakov, he is so acutely aware of the opposition of these elements. But nothing can be explained to the public, which is given over to evil: “... when Salieri poisoned Mozart in a staging, the theater expressed its pleasure on this occasion with approving laughter and thunderous cries.
Thus, although the names of Pushkin and Gogol always stood side by side for Bulgakov, the satirist helped to realize and show the ugly realities modern life, the poet - its eternal values.
Then the class is divided into groups, each must find places in the text of the novel that are reminiscent of the works of Pushkin and Gogol. Comparison of reminiscences, situations, meanings and style of Bulgakov's novel and texts classics XIX century leads students to the idea that in the mind of the author of "The Master and Margarita" throughout the novel there is a struggle between Pushkin's and Gogol's views on life, its different dimensions: ironic and lyrical. The resolution of the question of which Bulgakov is inclined to depends on the duel of good and evil in the novel. Naturally, the problematic question of the next lesson arises: “Does good or evil rule the world?”
In the homework task, students are asked to think about this issue, pick up episodes and quotes that argue for and against in solving it.
Lesson 5
Comprehending the path of the earthly, and not the biblical heroes of the novel: the master, Margarita, Ivan Nikolaevich Ponyrev, who became Homeless, the students are convinced that good, according to Bulgakov, is indestructible, just as life is incessant, that only true love for a person, truth, art despite all the torments, it can preserve goodness in the human soul.
Putting the question before the class: “Destroyed or saved in Bulgakov’s novel” kind people": master, Margarita, Homeless?", - the teacher organizes a debate, during which the results of the study of a complex work are summed up.
2.4. The system of lessons based on the novel by M.A. Bulgakov "The Master and Margarita"
The program on Russian literature aims teachers at a deep and comprehensive analysis of the famous book by M.A. Bulgakov, its correlation with the traditions of world literature, the disclosure of allegorical and symbolic content, the complexity of philosophical, moral and social issues. Based on the requirements of the program, we can offer the following system of lessons.
Lesson 1. Biography of the writer. Analysis of the reader's perception of the novel "The Master and Margarita". The originality of the composition of the work.
Lesson 2 The satirical skill of the writer.
Lesson 3. The problem of artistic creativity in the novel. MASSOLIT. Writer's tragedy of the Master. The fate of Ivan Homeless.
Lesson 4 Woland, Master and Margarita. Faust and the Master. Woland and Mephistopheles.
Lesson 5 Yeshua Ganotsri and Pontius Pilate.
Lesson 6. Theme and idea of the novel. General lecture of the teacher. Preparation for writing.
Considering that in last years there were numerous publications about the novel by M.A. Bulgakov, we make the main emphasis in the article on the organization of research and analytical work with class; teachers will select materials for generalizations on their own from those available sources that are recommended by the author.
The first lesson should begin with an introductory speech about the fate of Mikhail Bulgakov as a writer, emphasizing that most of his works reached the reader only in the 60s-80s, since they were banned until that time. Messages about the life and work of the writer can be prepared by students, for which one should use the “Biography of Mikhail Bulgakov” by M. Chudakova, an article by N.D. Boborykin or a book by L. Yanovskaya.
During the lesson, a filmstrip "Mikhail Bulgakov" is viewed. You can also prepare a journey "Through the pages of the writer's books." In order to organize it, a council is being created, which determines the range of M.A. Bulgakov, which the class will get acquainted with, the form of presentation of the material is determined, creative groups are created.
Each of the groups studies the works recommended for reading and prepares their own report about them in accordance with the chosen form: either it will be a report by one student, supplemented by reading individual episodes in faces, or literary dramatizations of excerpts from works are being prepared, and so on. The preparation of each creative group is led by consultants in literature from among the students.
After the reports of each creative group, the teacher sums up the trip and marks the most interesting posts. Then a conversation is organized with the students about the impact the book had on them. The following questions are used:
What is your impression of the novel "The Master and Margarita"? How did you understand it?
What pages do you like?
When reading which episodes of the novel did you find it difficult to keep from laughing?
What episodes did you find dramatic and even tragic?
How do you evaluate the figure of the Master? Did the writer succeed in his image?
- Which of the other characters in the novel do you remember?
Which characters are more in it - positive or negative? Why?
What makes it difficult to perceive the course of events in the novel?
What main storylines can you name? Make a plot plan.
It is very important to ensure that the exchange of views on the novel by M.A. Bulgakov was held in the form of a discussion, which allows you to develop the skills of competent polemics, the ability to freely exchange thoughts. At the end of the conversation, the teacher does not refute the opinions expressed, does not give preference to any of them, but notes the most interesting and meaningful speeches, invites you to think about the novel in order to compare the initial impressions with what will result from the analysis in the last lesson.
As homework for the second lesson, students reread
chapters 4, 7, 9, 12, 17, 27 and choose episodes from them that characterize the life of Moscow in the 30s of the XX century.
The second lesson begins with a test of how well the material about
the life and work of the writer. test questions:
Tell us about the writer's childhood and youth. Why did M. Bulgakov decide to choose the profession of a doctor?
What was the attitude of the future writer to the February and October revolutions? How did he end up in the Volunteer Army?
Tell us about the beginning of M. Bulgakov's literary activity.
How was his fate? dramatic works?
What forced M. Bulgakov to write a letter to the Government of the USSR? What was Stalin's reaction to this message?
When did the writer start work on The Master and Margarita?
- What was the path of M. Bulgakov's books to the general reader?
- What is the attitude towards the writer's work today?
Then the teacher says that the image of Moscow in the novel by M. Bulgakov
is one of the most important. Students analyze episodes selected at home using the following questions and tasks:
What characteristic episodes of Soviet life are present in M. Bulgakov's novel?
What meaning does the writer put into the name "bad apartment"?
Who is called "Woland's henchmen"? What happens to Styopa Likhodeev and Nikanor Ivanovich, Varenukha and Rimsky? Why is none of them capable of resisting evil?
Pay attention to chapter 12 "Black magic and its exposure".
- Read expressively Woland's words about Soviet people. How do you understand his reasoning? How do Muscovites behave in episodes with money and in the "fashionable ladies' store"? Why did Woland need to arrange such a performance?
What are the latest adventures of Koroviev and Behemoth in torgsin and restaurant MASSOLIT? How did you understand Koroviev's words about trade? Why did Behemoth and Koroviev destroy both the store and the restaurant?
We know the Petersburg of Pushkin, Gogol, Nekrasov and Dostoevsky, Griboyedov's Moscow. What is characteristic of Mikhail Bulgakov's Moscow?
The lesson ends with a generalization of what has been learned, for which the material about the adventures of Woland and his retinue in Moscow, presented in the article by A.K. Kiseleva.
At home, students should choose from chapters 5 and 28 a description of the morals of the contemporary writer's environment for M. Bulgakov. Particular attention should be given to chapter 13, which contains dramatic story Masters.
The third lesson should begin with a comparison of the writer's fate of the Master with the life of Mikhail Bulgakov himself. The source material can be the facts of the writer's biography already known to students, considered in the first lesson, and the content of the 13th chapter of the novel.
Then the teacher moves on to the problems of artistic creativity, which are touched upon in the book. It is necessary to immediately draw the attention of students to how satirically acutely M. Bulgakov portrayed the literary and writing environment. The following questions are used for analysis:
What are Woland and Berlioz arguing about in the 1st chapter? What prompted such a topic?
Why don't Berlioz and Ivan Bezdomny understand Woland?
- What was the "seventh proof"?
What happened to Ivan Bezdomny, who pursued Woland?
How does M. Bulgakov describe the house where MASSOLIT is located? Read this description out loud.
What problems are the members of MASSOLIT busy with?
How did Ivan Bezdomny behave in the restaurant? How did he later characterize Ryukhin? What thoughts awakened in Ryukhin under the influence of Homeless's words?
Expressively read the comic dialogue between Koroviev and Behemoth about the writers before the arson of the restaurant in Griboedov's house from Chapter 28. Why did M. Bulgakov put words of accusation into the mouth of evil spirits?
Tell the story of the Master. Why did he present it to Ivan Bezdomny?
Who organized the persecution of the Master?
How did Margarita take revenge on his persecutors?
About whom did the Master write his novel? What dictated the choice of plot and characters?
What drove the hero crazy? How did he get into the clinic?
What conclusions did Ivan Bezdomny make for himself after his meetings with Woland and the Master?
How do the stories of the Master and Ivan Bezdomny end in the novel?
Summing up the work, the teacher says that the morals prevailing in the writing environment are subjected to especially sharp and merciless criticism in the novel. Paradoxically, but the writers, who are called upon to reflect on the highest things in life - on the purpose of a person, on his place in the world around him, on the ways of the development of society, Bulgakov is concerned about something completely different: they achieve profitable business trips, high fees, expansion of living space, obtaining a garden garden plots and so on. None of them ever reflect on literature, except for the very first conversation between Berlioz and Ivan Bezdomny. MASSOLIT members are mediocre and soulless philistines and townsfolk who dream of benefits and material benefits and are ready to slander and slander anyone for their sake.
This is what happened to the Master: critics Latunsky, Ahriman and others like them defame his book even before it was published and brought the author to a psychiatric hospital, to a mental breakdown, when he destroyed his own offspring with his own hands.
The master who wrote about greatest event in the spiritual life of mankind - the crucifixion of Jesus Christ, turns out to be a stranger in the writer's environment. His contemporaries have renounced God - they don't need him, just as they don't need the Master's novel, and that's why they so unanimously pounce on him. Here we see a clear parallel of the own fate of Mikhail Bulgakov and the Master, because, as you know, out of almost two hundred articles and reviews about the writer's works published during his lifetime, only two were positive.
And it is quite natural that the life of the House of Writers is concentrated not in discussion rooms and literary studios, but in a restaurant in which Woland's henchmen set a fire at the end of their Moscow adventures, depriving artisans from literature of their most pleasant and convenient way pastime.
The only positive character belonging to the writing community is Ivan Bezdomny, who realized that high poetry was not for him, and therefore dropped his pseudonym and became professor Ivan Nikolaevich Ponyrev. But the collision with powerful mystical forces left its mark on his entire subsequent life, and from time to time he is subject to attacks of unusual melancholy, pulling him out of the captivity of everyday life.
After summarizing what has been learned, the teacher suggests re-reading chapters 19-24 and 29-31 of M. Bulgakov’s novel and the first part of Goethe’s Faust for the next lesson, paying special attention to scenes 7, 25 in which the story of Faust and Margarita is told.
In the introductory part of the fourth lesson, it is worth pointing out large volume analytical work to be done: students must compare the novel by M. Bulgakov with the greatest work of I.V. Goethe - philosophical tragedy "Faust". First of all, it makes sense to refer to the similarity of the characters and the situations in which they find themselves in both works. The lesson can be held in the form of a seminar, during which each group of students receives a problematic task.
What epigraph did the writer choose for his novel? Why exactly these words of Mephistopheles? What is the connection between Woland's actions and the epigraph?
How do you assess Margarita's self-sacrifice? Why did she enter into a deal with Woland? Why does he say the words: "Never ask for anything"?
Compare the characters of the main characters of Faust and The Master and Margarita. How does Bulgakov's Margarita differ from the meek Gretchen Goethe?
Compare Faust and the Master. What did they both devote their lives to? Why did Faust make a pact with Mephistopheles?
What episodes of "Faust" do the scene of the novel "Satan's Ball" echo? What is its ideological and artistic load?
Compare the appearance of Woland in M. Bulgakov's novel with the appearance of Mephistopheles before Faust in Goethe's tragedy. How Bulgakov Woland not like his predecessor Mephistopheles? At what point state of mind Faust appears Mephistopheles?
Why in Bulgakov's novel no one, except for the Master and Margarita, recognized Satan?
Compare Woland's words about man in chapters 1 and 12 of The Master and Margarita with the words of Mephistopheles from the Prologue in Heaven of Goethe's philosophical tragedy. What gives credibility to the reasoning of both characters?
The lesson-seminar ends with a summary of the work. Describing the role of Woland in Bulgakov's novel, it should be noted that he does not look like a traditional tempter, an enemy of the human race: he punishes sinners here, on earth, for the evil committed; Styopa Likhodeev, Varenukha, Rimsky and many other characters in the book become victims of the henchmen of the prince of darkness and himself. In this regard, we should once again return to the epigraph of the novel and clarify how the development of the action deepens and reveals its meaning.
Both Woland and Mephistopheles appear before the characters at the same time ~ at the hour of a severe mental crisis, when the whole previous life seems in vain: at such a moment Faust brings a goblet of poison to his lips, and the Master burns his creation. However, Faust, being a true son of the Age of Enlightenment, selflessly seeks the truth and fights Mephistopheles, having won this duel. The master, however, does not meet with Woland; instead, Margarita enters into an alliance with the dark forces.
The image of Margaret acquires independent meaning No wonder her name is in the title of the novel. This is a strong and purposeful person, going his own way. If the meek Gretchen Goethe flatly refused an alliance with Mephistopheles and saved her soul at the cost of her life, then Bulgakov's heroine voluntarily enters into a deal with Woland and is proud of it. Transformed into a witch, she plays the role of Satan's prom queen. Believing him, she drinks the goblet of drink and gives it to the Master, after which both fall dead. Here is the same motive as in Faust - both Margarita and Gretchen are unwitting poisoners of their loved ones: "Poisoner!" - the numb lips of the Master whisper. The hero calls himself not a writer, but a Master, and Margarita also calls him.
The word "master" in the novel is used in the sense of "creator" - it is in this capacity that the author of the book about Pontius Pilate and the crucifixion of Jesus Christ acts. In the secluded basement of the Master, Margarita learned not only happiness Great love, but also the joy of participation in creativity: the completion of the book that he created became the meaning of her life.
But the Master destroyed his creation with his own hands, betrayed himself. With this act, he summoned Woland, the prince of darkness. And he, in order to master the soul of the creator, chooses Margarita as his instrument. At the end of the novel, when the clownish masks are thrown off, Woland and his gloomy retinue race on horseback towards the approaching darkness, taking with them the souls of the Master and Margarita. The ending of the work is deeply pessimistic, it testifies that the person lost the duel to the forces of evil, and in this sense, the ending of The Master and Margarita is the exact opposite of Faust, which is imbued with faith in the strength and capabilities of man.
Materials for a generalizing description of the image of Woland can be taken from the article by M.A. Brodsky (3).
The fifth lesson opens with the students' reports about the history of the earthly life of Jesus Christ, which they prepared on the basis of the texts of the Gospels. The teacher may offer to compare the canonical gospel texts with the story of Yeshua Ha-Nozri, set forth in the novel by M. Bulgakov. (For comparison, it is advisable to use chapter 27 of the Gospel of Matthew, chapter 15 of the Gospel of Mark, chapter 23 of the Gospel of Luke, chapter 19 of the Gospel of John.)
The discrepancy between the novel and the canonical gospel texts is mentioned in the already mentioned article by M.A. Brodsky; the specified material can be used as a generalization to the first part of the lesson. Then work begins on the chapters of Bulgakov's novel with the help of the teacher's questions.
Compare the "gospel" chapters of Bulgakov's novel, telling the story of Yeshua Ha-Nozri, with the "Prologue in Heaven" from Goethe's tragedy. God giving Faust into the hands of Mephistopheles, and God giving his son to flour - is there a parallel here?
What is the place of Yeshua in the system of images of the novel? Why are the chapters about him the ideological and philosophical center of Bulgakov's novel?
How is the procurator of Judah depicted in chapter 2?
How does he feel about Yeshua?
What surprised the procurator in Yeshua's story?
What is Yeshua arguing with Pontius Pilate about? How do you understand Yeshua's words that it is not the procurator who has power over his life?
From what moment of the conversation did the procurator feel the danger?
- Why did he approve the death sentence of the Small Sanhedrin?
Why do Kaifa and Pontius Pilate hate each other? What relationship connects them?
How is the suffering of Matthew Levi described in chapter 16? How willing he was to help
Yeshua?
Why did Pilate not want to tell Aphranius directly about his desire to take revenge on Judas?
Read carefully chapter 2.6 "Burial". What does Pontius Pilate regret? What dream does he have on the night after the execution?
Why does the procurator want to show mercy to Matthew Levi? Why doesn't he accept it?
At what point does Matthew Levi soften?
- What is the final fate of Pontius Pilate?
Why do all the storylines converge in the last chapter of the novel?
Characterizing the Christian-evangelical storyline of Bulgakov's book, the teacher can use the articles of A. Korablev and
L.F. Kiseleva.
In preparation for the last lesson, students should think about the theme and idea of the novel by M.A. Bulgakov and define them in your own words.
The sixth and last lesson is built as a lesson-generalization. It begins with a conversation on the content of the entire work.
How did you understand the ending of Mikhail Bulgakov's novel?
What is main idea works?
How does the novel deal with the issue of eternal human values?
How is the problem of the artist and power solved in the novel?
What is the originality of the composition of the work?
What features of the writer's style can you list after reading the novel? - What are the features of the narrative in each storyline?
What vocabulary does the writer use when depicting Moscow in the 1930s? How does the writer's poetic syntax change when the narrative goes back to the distant past, to New Testament times?
Compare your initial impressions of the novel with what you discovered in it after completing the analysis. How has your perception of Bulgakov's book changed? What remains unclear?
After the conversation with the students, a general lecture by the teacher follows, which speaks about the originality of the composition of the novel, the skill of satirical generalizations, the richness of the subject matter and the depth of the ideological content.
The main book of M.A. Bulgakov is distinguished by the complexity of the plot structure, it intertwines the stories of Yeshua Ha-Nozri and Pontius Pilate, the Master and Margarita, Ivan Bezdomny, there are reminiscences from Goethe's Faust, describes the adventures of Woland and his retinue in Moscow and their influence on fate secondary characters. All this not only creates a unique image of the work, but also makes it difficult to perceive.
Bulgakov's mastery of satire was fully manifested in the novel.
Many of the book's scenes, in particular the antics of Koroviev, Behemoth, and Azazello, cause laughter, especially in chapter 12, where the scenes in the "fashionable ladies' store" are described in a magnificent grotesque manner.
No one is able to resist Woland's henchmen, because according to the dominant atheistic ideology, evil spirits simply do not exist. In addition, the overwhelming majority of the characters in The Master and Margarita can be called "dead souls" not without reason - they are petrified in the limitations of once and for all hardened dogmas.
It should be noted that Bulgakov's Woland is a curious figure, he is not devoid of nobility, acts as a defender of order, punishes the evil and unjust. This interpretation of the image of evil contains Bulgakov's great insight, he depicted a special world in the novel - order without mercy, strength without kindness, cruelty without justice.
The writer reveals the deep, satanic nature of Stalin's power, which is based on inhumane principles, and it took many, many years before its true essence was revealed. Tragically lonely in the novel is the figure of Yeshua Ha-Nozri, who embodies the good beginnings of life. There is a simple and firm strength in him, he rejects all compromises with the authorities, although he is well aware that this threatens him with death. His great example inspired the Master to create a novel, however human weakness prevented the hero from enduring his journey to Golgotha to the end, he is broken. He longs for only one thing - peace, and peace is graciously granted to him on the last pages of the novel.
The master is just as lonely among people as Yeshua, only Margarita and Ivan Bezdomny were able to understand him. Thus, Bulgakov's book is also a novel about the tragic loneliness of the master-creator in this world.
At the end of the lesson, after a general lecture by the teacher, the following are offered: sample topics essays:
1. The tragedy of the Master and Margarita.
2. The skill of Bulgakov the satirist in the novel The Master and Margarita.
3. As I understand the universal and philosophical meaning Bulgakov's novel The Master and Margarita.
4. Faustian theme in the novel "Master and Margarita".
5. The dialectic of good and evil in Mikhail Bulgakov's novel.
So, we found out that when analyzing the novel The Master and Margarita, the most common type of lesson that combines the word of the teacher with the independent work of students is a lecture with elements of conversation.
The teacher communicates new material, directs the thoughts of the students, encourages them to work, and the students solve specific problems, perform mental operations, discover something new for themselves.
The task of the teacher is to ensure that the questions addressed to the audience are born naturally, in the process of the movement of thought, the answers to them are necessarily included in the course of reasoning, and the children feel themselves participants in a joint search for truth.
It is important to take into account the psychological state of the children participating in such a lesson: for those who answer the question, this very question appears to be the most important. Therefore, during a lecture, the teacher has to remember all the time about the proportions, about the true place of each question.
The listeners should develop an understanding of the problem as a whole, in the correct ratio of the main provisions and points of argumentation, development, and illustration. Therefore, in this lesson, other types are needed. independent work: drawing up a plan or theses, answering questions, etc.
Related to this are the specific objectives of the lessons. Participation in such a lesson requires the student to determine his own position, personal opinion, and identify abilities. The main goal of the lessons on the study of the novel is the formation of the ability to work independently, to look for a solution to the problem, fully revealing one's personal qualities.
Of course, in other lessons we should also strive for this, but still the conversation in
to a greater extent than, for example, a lecture, it creates favorable conditions for the realization of the possibilities of each student, for independent knowledge and creativity.
There are three types of student activity in the lesson when analyzing a novel:
1) detailed speeches of students on pre-set questions and discussion of both the problems themselves and the speeches;
2) discussion of essays or reports of students;
3) dispute.
The lesson requires serious preliminary work from the teacher (think over the form of participation of each student, prepare questions, conduct consultations, etc.).
Conclusion
So we found out that:
1. For the most reasonable and multifaceted impact on students, a flexible system of learning paths is needed, when the shortcomings of one are compensated by the merits of the other. The combination of different ways of studying a work is also important from the point of view of the most appropriate organization of students' independent reading of large works, since this makes it possible to somewhat disperse the order in which students read works, this is largely determined precisely by studying.
2. When studying a work of a large form, the most effective, from our point of view, system of lessons is one that is built on the analysis of the work in the course of the development of the action, with the subsequent stage of work on images and generalizing themes. Methodically developed a way to analyze the novel by M. Bulgakov "The Master and Margarita" in two ways. Both ways can be applied to school learning depending on the readiness of the class.
Analysis of an epic work at school is difficult creative process, which is subject to many requirements coming from both literary criticism and pedagogical disciplines. This determines the dual nature of school analysis, a complex combination of subjectively significant for students and objectively significant issues.
Revealing the main issues of the novel analysis methodology, we subordinate them to the main, from our point of view, aspect - the task of shaping the need for students to read or reread the work, to understand its main problems, historical and universal significance. Only under this condition can literature influence the reader, educating and shaping the “man in man”.
It is especially important to determine the correct pedagogical concept of analysis, the most effective approach to
work.
Literature
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4) Questions of analysis of works of art. Ed. BUT.
Korst. M, 1969.
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