Composition of a work of art

Composition- this is the construction of all elements and parts of a work of art in accordance with the author's intention (in a certain proportion, sequence; the figurative system of characters, space and time, the series of events in the plot is formed compositionally).

Compositional-plot parts of a literary work

Prologue- what led to the emergence of the plot, the previous events (not in all works).
exposition- designation of the original space, time, heroes.
tie- Events that give the development of the plot.
Development of action- development of the plot from the beginning to the climax.
climax- the moment of the highest tension of the plot action, after which it moves to the denouement.
denouement- termination of action in a given conflict direction, when contradictions are resolved or removed.
Epilogue- "announcement" of further events, summing up.

Composite elements

Compositional elements include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (off-plot images created by the author's imagination), dialogues, monologues, episodes, insert stories and episodes, letters, songs (Oblomov's dream in Goncharov's novel "Oblomov", Tatyana's letters to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin"); all artistic descriptions (portraits, landscapes, interiors).

Compositional techniques

Repeat (refrain)- the use of the same elements (parts) of the text (in poems - the same verses):
Keep me, my talisman,
Keep me in the days of persecution,
In the days of repentance, excitement:
You were given to me on a day of sorrow.
When the ocean rises
The waves are roaring around me,
When the clouds are storming -
Keep me, my talisman...
(A.S. Pushkin "Keep me, my talisman")

Depending on the position, frequency of appearance and autonomy, the following compositional techniques are distinguished:
Anaphora- repeat at the beginning of the line:
Past the lists, temples,
past temples and bars,
past chic cemeteries,
past the big bazaars...
(I. Brodsky "Pilgrims")

Epiphora- repeat at the end of the line:
My horse does not touch the ground,
Don't touch my forehead stars
Sigh my lips do not touch,
The rider is a horse, the finger is a palm.
(M. Tsvetaeva "Khansky full")

simplock- the subsequent part of the work begins in the same way as the previous one (usually found in folklore works or stylizations):
He fell on the cold snow
On the cold snow, like a pine
(M.Yu. Lermontov “Song about Tsar Ivan Vasilievich ...”)

Antithesis- opposition (works at all levels of the text from the symbol to the character):
I swear on the first day of creation
I swear by his last day.
(M.Yu. Lermontov "Demon")
They agreed. Wave and stone
Poetry and prose, ice and fire...
(A.S. Pushkin "Eugene Onegin")

Compositional techniques associated with time shifts(combination of time layers, retro jump, insertion):

Retardation- stretching the unit of time, slowing down, braking.

Retrospection- the return of the action to the past, when the reasons for the current narrative were laid down (the story about Pavel Petrovich Kirsanov - I.S. Turgenev "Fathers and Sons"; the story about Asya's childhood - I.S. Turgenev "Asia").

Change of "points of view"- a story about one event from the point of view of different characters, character and narrator (M.Yu. Lermontov "A Hero of Our Time", F.M. Dostoevsky "Poor People").

Parallelism- the location of identical or similar in grammatical and semantic structure of speech elements in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words.
Your mind is as deep as the sea
Your spirit is as high as the mountains
(V. Bryusov "Chinese verses")
An example of compositional parallelism in a prose text is the work of N.V. Gogol "Nevsky Prospekt".

The main types of composition

1. Linear composition: natural time sequence.
2. Inversion (retrospective) composition: reverse chronological order.
3. Ring composition: repetition of the initial moment in the final of the work.
4. concentric composition: plot spiral, repetition of similar events in the course of the development of the action.
5. Mirror composition: combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite.

Olga Valentinovna VIKTOROVA - senior lecturer at the Moscow State University of Culture and Arts.

Literary composition on the school stage

The most common theatrical genre on the school stage is, of course, literary composition. It is popular because it is the most accessible to work, as many teachers believe. The form of literary composition allows you to react vividly to events taking place in the modern world, to speak out, as they say, “on the topic of the day.” The idea, the main idea can be expressed especially clearly and concisely precisely by means of literary and artistic composition, which allows it to be used as an effective pedagogical technique in solving the problems of school education. It is believed that the literary composition is more accessible in work and more preferable for staging, as it does not require a lot of rehearsal work with performers, allows you to combine almost any literary material and not “fence a garden” of scenery on the stage, as when staging a dramatic performance. This is roughly the general opinion. All this is so... and not so. Let's try to figure it out.

Features of the genre of "artistic reading" were formed for a long time. Among the ancient Hellenes, the art of declamation was especially respected - a genre in which a rigid framework of the melody of speech and obligatory conditional gestures were defined. The form of the pronunciation of the text was obligatory and subjugated the content. Some ideal classical role model was created. Declamatory rules evolved over several centuries. Thus, a special theatrical performing genre was formed. However, the strictness of the canon greatly limited the creative nature of the actor, since deviation from the rules was considered a rebellion against culture. Only at the beginning of the 19th century, the lifeless rules of declamation began to recede under the onslaught of the new theatrical truth, the basis of which was laid by the great French tragedian Talma. Having begun his studies at the Royal School of Recitation and Singing, he subsequently overcame the established rules of melodiousness of speech and external gesture. Formalism and illustrativeness were replaced by emotionality and passion, a varied intonation of life. The content of the spoken text has become no less important for the performer than the form.

The foundation of the Russian school of artistic expression was laid in the 1830s at the first public readings of writers and actors. At the origins of this undertaking were A.S. Pushkin and N.V. Gogol, recognized as gifted readers. They also made the first theoretical generalizations in the art of the artistic word. Simplicity and truthful intonation of life - this is what should underlie the art of sound literature. In the book “Selected passages from correspondence with friends,” Gogol wrote in the chapter “Reading Russian poets to the public”: “We are somehow more willing to act together, even to read ... flaunt in chambers and parliaments, but there are many people who are capable of everything sympathize”.

Here, it turns out that there is the main thing in the sounding word - not an ideal role model, empty and cold, but a living word that can evoke sympathy from the audience, the author's thoughts and feelings lived by the performer on stage, as if they were their own. Only through a natural lively intonation can one achieve a reciprocal empathy of the listener.

In the 20th century, the genre of the artistic word reached its apogee and multiplied into a number of related performing genres. First of all, this is the author's reading at meetings with readers, which was very fond of, for example, Yesenin and Mayakovsky. At the beginning of the 20th century, reading evenings by A.Ya. Zakushnyak and V.I. Kachalov, where the actors acted as readers-storytellers. A little later, the “one-actor theater” genre emerged, one of the founders of which was the actor V.N. Yakhontov, and the genre of “living portrait” by I.L. Andronikov. "The Theater of one actor" combined the features of artistic reading, artistic storytelling and, in part, the laws of dramatic theater. Within this genre, a literary and artistic composition appeared, wedged between literature and the theater.

Irakli Andronikov wrote about Vladimir Yakhontov: “What Yakhontov did was fusion of artistic reading with theatrical action". That is, the composition should combine simplicity and vitality of intonation with theatrical action, built according to the laws of dramatic art. Only if this symbiosis is observed, the literary and artistic composition will be integral and influencing the viewer. Thus, the myth about the simplicity of staging a literary composition has been noticeably shaken. Still, you will have to “enclose the garden”, only more thoughtful and selected than in a dramatic performance, and there is no less work with the performers than with the role. The search for that very natural intonation, understanding and living the events of the composition by the student, and not by the teacher - the work is very painstaking and not fast.

“The art of expressive reading” as an academic subject was introduced in the 19th century into the curricula of gymnasiums and lyceums in Russia, France, Germany and America. His need was explained simply - he taught to express the content of what was said, he taught to draw sound pictures using words so that the audience could see them. For what? To evoke the expected response from the listener. This is our goal, our main task in staging the composition. How to achieve this? Create a “film reel of visions” of the events that are being narrated, as K.S. wrote. Stanislavsky, and convey it to the viewer, thereby evoking his emotion, his empathy for the events taking place in the composition. When studying artistic word with students, the teacher must certainly remember one interesting discovery - artistic word forms figurative thinking. Agree, this is especially important today, when the culture of reading is declining, being replaced by other forms of leisure - cinema, computer games, the Internet, where the video sequence is already set from the very beginning. Such a task will be more important than simply obtaining information about the author or about the time. Quite often, teachers take up the production of a literary composition, seeing in it only a continuation of the curriculum presented in an innovative form, and set only informational tasks.

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Now a few words about the ideological orientation in literary composition. The genre took shape in the 1920s and 1930s. In Russia, it was an era of rigid ideological priorities. The word expresses the spirit of the time and transmits it to the ages. The word in the artistic compositions of the 20-30s expressed the spirit of that time very definitely, categorically. Apparently, this served to ensure that the cliché “on the topic of the day” became attached to the genre of literary and artistic composition and became a kind of “classic ideal” of its time, to which one should strive. The ideological orientation in the composition became canonical, which eventually became a “noose” for the genre.

Let the artistic word in the composition express the spirit of its time, and not be a teacher's pointer, as is often the case today. The ideal cannot be imposed from the outside, it must be formed in a person independently, born in him through the development of empathy (feeling), through independent comprehension of good and evil with the help of good literature with a variety of vital intonation. So it turns out that the literary composition is not so accessible and easy to work with, as it seemed. Populism is not the popularity of the genre, and the harm from it is much greater than the supposed benefits, because clichéd judgments are no better than no judgments at all. Cliche in figurative thinking is no better than no figurative thinking at all. So why do we need school theatrical “achievements” that achieve nothing - neither speech hearing, nor taste for the artistic word and literature in general, nor developed figurative thinking, nor developed creative imagination of the student? We will remember these “pitfalls” and try to get around them, we will correctly determine priorities and choose really important goals when working with children, and not solve private educational problems.

If, nevertheless, you decide to take on the production of a literary composition, then knowledge of some theatrical laws and rules for creating a literary and artistic composition will help you. You need to treat them as recommendations that do not limit your creative nature, but, on the contrary, help to reveal it.

What is literary composition? This is an independent work of art created by the director on the basis of non-dramatic material used in whole or in part, such as: poetry, prose, journalism, memoirs, excerpts from plays (as an addition, a shade of thought), scientific literature, criticism, documents. The composition may include music, songs, photos and videos.

Do not confuse staging and editing with composition. Dramatization is the translation of prose literary material into the language of dramaturgy, that is, the writing of a play. Montage is a way of selecting, building and connecting parts of a composition through which the action develops. Montage is a special method of artistic thinking, a way of creating a work of art. As an example, the novel "The Master and Margarita" can be cited: here the chapters, where the events of modern history unfold, are mounted with chapters that tell about the events of Sacred History. With this method of constructing a literary text, the smooth development of the storyline is interrupted. Why did Bulgakov need this? By answering this question, we will understand why montage is needed in a work of art. This is a clash of through and counter-through action, this is also a way to turn on the associative series in the viewer (this method was often used by F. Fellini and A. A. Tarkovsky in their films), it can also be a way of constructing an event series when the event is not directly called, but is embodied in another musical or literary material. For example: a documentary chronicle of the events of Pushkin's duel is interrupted by a poetic text - this is not an illustration of the event, but its understanding. The verse used is the author's position in relation to the event, a judgment.

The first to use the method of artistic montage in composition was V.N. Yakhontov and brought it to the highest level of artistry - he synthesized modern and historical material, combined various authors and various genres. You can read about how he created his compositions from the choice of material to the embodiment on stage in his book One Actor Theatre.

How to start composing? With the choice and precise definition of the topic and the selection of material. To decide on a theme, first of all, you need to analyze the capabilities and interests of your future performers and the audience to whom you will show it. The formulated theme and the selected material should correspond to the age of the performers, the depth of understanding of the problem, the complexity of the literary material, and their interests. The language of the composition must correspond to the language of the audience, it must be understood by this audience and find an internal response from it. Your technical capabilities when arranging a composition are also important: how many people can fit on your stage without compromising perception? What are the capabilities of your sound, lighting and video equipment? All these little things can be decisive in the implementation of an already written literary script. If your solution is based on lighting or video effects, and there is no possibility for implementation, then the solution will have to be changed during rehearsals, which is not always possible.

When selecting material, we should already have a general idea of ​​the structure of the future composition, its storyline. Try to answer yourself the question: “What will I talk about history? And why am I going to tell it here, today, to these people?” An example of the plot of one composition: a girl lives in her beloved city, which she is proud of, among her beloved people. The war begins, and everything that was dear and loved since childhood begins to collapse before our eyes. To stop the destruction, the girl and all the remaining residents of the city are doing everything possible and impossible. As a result, by common efforts they stop the enemy and win. The theme of the composition is the Leningrad blockade. The composition used blockade diaries, poems by A. Akhmatova and O. Berggolts.

When working on one author, it is better to limit the topic to a problem. It often happens that the exact theme (about what?) and the idea (for what?) are formulated only in the process of working with the composition, and not in advance, they are refined and checked. When working with many authors and diverse works, the selection will depend on your construction. The composition should have a dramatic development, it will depend on your plot. From the abundance of selected material, we begin to assemble the composition, taking into account the pieces-events, using the method of artistic editing: exposition - the beginning of beginnings, the ancients called it attack, it reveals your inner motives for addressing this topic; plot - this is the event from which the intrigue begins to develop; action development - this is the development of the narrative, a series of events and their consequences, obstacles to the development of the plot, which lead to the highest point of intensity in the composition, that is, to the climax; climax - this is the highest point of tension of the conflict, after which life cannot go on as before and tends to denouement conflict; conclusion - this is your position, your assessment of what happened. The composition does not always have a plot, but in a plotless associative composition, the load on the performer increases. He must carry the development of intrigue, and only a good, experienced actor can do this. But in any case, without taking into account the dramatic construction, the composition may turn out to be “about nothing”. Using the montage method, we build not only events and facts, but also confront conflicting views and thoughts with each other. Consistent and peacefully developing events can be combined with episodes that are contrasting in form and content. V.N. Yakhontov in the composition "Petersburg" combined excerpts from Pushkin's poem "The Bronze Horseman", Gogol's story "The Overcoat" and Dostoevsky's "White Nights". Thanks to the combination of the images of Bashmachkin, Evgeny and the Dreamer, opposing the “elements”, each with his own, a generalized image of the Little Man was fashioned.

In from some basic ways of constructing material in literary compositions. They do not necessarily exist separately, most often they are mixed with each other.

• Historical (chronological) way of constructing the material. It is more common in biographies or when reporting events of a historical nature. The link here is dates or significant events. With such a construction of the material, there is a causal relationship.
• Spatial way of construction. There is a wide temporal or geographical scope of events here. One of the compositions on the theme of love and creativity was built from the Song of Songs, included the love story of Dante and Beatrice (Boccaccio's commentary and Dante's sonnets were used), the love story of Mayakovsky and Lily Brik (Mayakovsky's letters and poems were used) and ended with Shakespeare's sonnet.
• The stepwise method of construction uses a consistent presentation of the topic - a chain of premises and consequences, when one follows from the other. Often this is a combination of external speech (letters and memories) with internal speech (poems as the experience of a lyrical hero).
• Construction based on the principle of repetition. In poetry, this is a single image or rhythmic figure, a plot or melodic element is used several times, develops and emphasizes the significance of the problem posed. In cinema, this is the repeated repetition of a plot or frame.
• The concentric way of presenting material is when the presentation is built around a single center. Other used literary works are perceived through the prism of one work. Through B. Pasternak's poem "Hamlet", which was the basis of the literary composition, a story was told about the events and poets of that era, poems and documentary materials were used.
• The deductive way of presenting the material is built from general provisions to particular examples and conclusions. Many reading agitations of the Soviet era were based on this principle, for example, Yakhontov's composition about Lenin: the actor began the narration with documents - the first decrees of the Bolsheviks, and ended with excerpts from Mayakovsky's poem "Vladimir Ilyich Lenin".
• The inductive way of presenting material is built, on the contrary, from particulars to general conclusions.

The idea of ​​constructing a composition is born from the idea of ​​composition, the goal set by the director. You also need to remember the proportionality of the parts of your composition. The exposition and conclusion (ending) are the shortest parts, and the climax (main event) is most often located a little further than the middle of your composition. When compiling a composition, it is often necessary to sacrifice some selected material in the name of the integrity and completeness of the work.

The literary material is collected, you can proceed to its embodiment on the stage. The performer in the composition is not a dramatic actor, but an actor-reader. He does not reincarnate as the characters of the composition, but talks about them and the events taking place, living the thoughts and feelings of the author in his own way, drawing his own conclusions and placing his own accents. The task of the director is to correctly determine the position of the reader: maybe reader-author who is in the center of events and evaluates them in his own way; reader-character , standing on the positions of one of the heroes, interpreting the events taking place from the position of the character; or reader - lyrical hero narrating about his personal experiences, reflections.

For the performer, the action in the composition develops before the beginning of the narrative. In a dramatic performance, the actor “does not know” what will happen to him in a minute and how the performance will end, his reaction is immediate and momentary; the performer in the composition knows what will happen next and how it will all end, thereby putting accents in the events taking place and leading the viewer to the logical conclusion of the stage action. The performer does not reincarnate into an “image”, that is, he does not play a character, but conveys his author's attitude towards him, since reincarnation will not allow him to express the author's idea. Such unnecessary reincarnation in "images" is often found in the inept reading of fables. The performer, it seems, played for all the characters, but what the fable is about is not clear. Communication with the audience in a literary composition takes place directly, in contrast to a dramatic performance, in which there is a “fourth wall”, that is, the auditorium is not combined with the stage into a single playing space. The viewer in the composition becomes an interlocutor and partner, a participant in the action.

We talked about speech work with performers and priorities at the beginning of the article, now let's talk about non-verbal means of expression: music, mise-en-scene, gesture, costume, props and stage lighting. Careful selection of expressive means is important here. The composition requires the utmost conciseness of means with their maximum expressiveness. Unskillfully or excessively used means become your enemies, interfere with the performer and the spectator, distracting them from the main thing, from the main stage action. Here is how the master of creating literary compositions V. Yakhontov says about this: “The essence of theatrical charm and the mechanics of illusions, sometimes the most unpretentious, I already held in my hands - based on that great law that a boy’s wand turns into a war horse, and he convinces This is not only about myself, but, even more surprisingly, about the audience around me... By embarking on this path, I forced my simple, unremarkable objects to create a series of additional representations. I had to assure the audience that I was not raising a stick, but the pistol of Dantes, who killed Pushkin ... The viewer was convinced by my acting faith in these transformations.

mise-en-scene in literary composition is the meanest, but also the most expressive and precise means. The figure of a person on the stage is very expressive in itself, and there is no need to add unnecessary fussy movements. Often only a change in the performer's gesture is akin to changing a major mise-en-scène in a dramatic performance. Remember how the heroine Viya Artmane, actress Julia Lambert, spoke about this in the film "Theater", based on the novel by S. Maugham. A change in mise-en-scene can lead to a change in the idea of ​​a production. And, of course, the stage pause, which is often more eloquent than subtext, is the main means of expression in verbal action. In life, we are used to fussing in words and gestures, and they sometimes reveal the inner state of the performer and are very important for understanding what is happening. Let the viewer see and understand them, take your time.

Props in the composition it does not carry the meaning of everyday things, as in a dramatic performance (just like a costume). It carries a deep image, a certain meaning, a generalization. In one of the compositions about the life of A.S. Pushkin's libel, written on the poet, rolls up into a tube and becomes the muzzle of a pistol, from which the poet is killed. In V. Yakhontov's composition "Petersburg" different colors of umbrellas designate male and female characters. He often has one object throughout the entire composition is transformed into various images.

music should be used very carefully in the composition. It focuses the viewer's attention on the main theme. In musical selection, it is better to adhere to a single style and solution - it can be illustrative, it can reveal internal or upcoming events, it can be used, on the contrary, in contrast with ongoing events and maintain the internal rhythm of the production. Often the music performs the function of an internal monologue and leads the action. One of the most common mistakes new filmmakers make is using music while reading. Music, by its nature, can be stronger than the semantic load in the word, or the performer turns out to be insolvent with strong musical accompaniment, and the word becomes small and unnecessary. Reading music is very difficult.

As the ancients said, the road will be mastered by the walking one. Understanding comes with experience, and mistakes cannot be avoided the first time. But experience is gained not only with independent productions. Read more special literature - books by Vladimir Yakhontov, Suren Kocharyan, Sergei Yursky, Alexander Kravtsov ... See more literary and artistic productions in professional and amateur theaters. Learn from your own and others' experiences.

There are three levels of literary work:

Subject figurativeness - vital material

Composition - the organization of this material

Artistic language is the speech structure of a literary work, at all four levels of artistic language: phonics, vocabulary, semantics, syntax.

Each of these layers has its own complex hierarchy.

The seeming complexity of a literary work is created by the hard work of the writer on all three levels of the artistic whole.

Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to various features and indicators.

A literary text is a communicative, structural and semantic unity, which is manifested in its composition. That is, it is the unity of communication - structure - and meaning.

The composition of a literary text is "mutual correlation And location units of depicted and artistic and speech means. The units depicted here mean: theme, problem, idea, characters, all aspects of the depicted external and internal world. Artistic and speech means are the entire figurative system of the language at the level of its 4 layers.

Composition is the construction of a work, which determines its integrity, completeness and unity.

The composition is "system connections" all of its elements. This system also has an independent content, which should be revealed in the process of philological analysis of the text.

Composition, or structure, or architectonics is the construction of a work of art.

Composition is an element of the form of a work of art.

Composition contributes to the creation of a work as an artistic integrity.

The composition unites all the components and subordinates them to the idea, the idea of ​​the work. Moreover, this connection is so close that it is impossible to remove or rearrange any component from the composition.

Types of compositional organization of the work:

Plot view - that is, plot (epos, lyrics, drama)

Non-plot type - plotless (in lyrics, in epic and drama, created by the creative method of modernism and postmodernism)

The plot view of the compositional organization of a work can be of two types:

Eventive (in epic and drama)

Descriptive (in lyrics)

Let's consider the first type of plot composition - event. It has three forms:

Chronological form - events develop in a straight line of time movement, the natural time sequence is not violated, there may be time intervals between events

Retrospective form - deviation from the natural chronological sequence, violation of the linear order of the passage of events in life, interruption by the memories of the heroes or the author, familiarizing the reader with the background of events and the life of the characters (Bunin, "Easy breathing")

Free or montage form - a significant violation of the spatio-temporal and causal relationships between events; the connection between individual episodes is associative-emotional, not logical-semantic (“A Hero of Our Time”, Kafka’s “Trial” and other works of modernism and postmodernism)

Consider the second type of composition - descriptive:

It is present in lyrical works, they basically lack a clearly limited and coherently developed action, the experiences of a lyrical hero or character are brought to the fore, and the whole composition is subject to the goals of his image, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of a lyrical hero .

Composition is external and internal

External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes, their arrangement may be different depending on the methods of creating the plot chosen by the author.

External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.

External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in the drama, etc.), this organizes and directs the reader's perception. The architectonics of the text serves as a way of "portioning" the meaning; with the help of ... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of the elements of the text (and hence its content).

External composition: no less significant is the absence of division of the text or its extended fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the non-differentiation, the fluidity of the picture of the world of the narrator or character (for example, in the literature of the “stream of consciousness”).

Internal composition : this is the composition (construction, arrangement) of images - characters, events, action settings, landscapes, interiors, etc.

Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.

Not to be confused: the plot has elements plot, the composition has tricks(internal composition) and parts(external composition) compositions.

The composition includes, in its construction, both all the elements of the plot - plot elements, and extra-plot elements.

Techniques of internal composition:

Prologue (often referred to as the plot)

Epilogue (often referred to as the plot)

Monologue

Character portraits

Interiors

landscapes

Extra-plot elements in the composition

Classification of compositional techniques for the selection of individual elements:

Each compositional unit is characterized by extension techniques that provide emphasis the most important meanings of the text and engage the reader's attention. This:

geography: various graphic highlights,

repetitions: repetitions of language units of different levels,

amplification: strong positions of the text or its compositional part - promotional positions associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful links between adjacent and distant elements belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningAndend works (parts, chapters, chapters). With their help, the author emphasizes the most significant elements of the structure for understanding the work and at the same time determines the main "semantic milestones" of one or another compositional part (the text as a whole).

Widespread in Russian literature of the late XX century. montage and collage techniques, on the one hand, led to increased fragmentation of the text, on the other hand, opened up the possibility of new combinations of "semantic planes".

Composition in terms of its connectedness

In the features of the architectonics of the text, such its most important feature is manifested as connectivity. The segments (parts) of the text selected as a result of segmentation correlate with each other, “link” on the basis of common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)

cohesion (from Latin - “to be connected”), or local connectivity, is a connection of a linear type, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.

coherence(from lat. - “linkage”), or global connectivity, is a connection of a non-linear type that combines elements of different levels of the text (for example, the title, epigraph, “text in the text” and the main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.

In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as "mean increments".

Any literary text is permeated with semantic roll calls, or repetitions. Words related on this basis can take different positions: they can be located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradation series, etc.

Consideration of the semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of "plotless" texts, texts with weakened cause-and-effect relationships of components, texts saturated with complex images. The identification of semantic chains in them and the establishment of their connections is the key to the interpretation of the work.

Extraplot Elements

insert episodes,

lyrical digressions,

artistic advance,

artistic framing,

dedication,

Epigraph,

header

Insert episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are remembered in connection with the current events of the work (“The Tale of Captain Kopeikin” in “Dead Souls”)

Lyrical digressions- are lyrical, philosophical, journalistic, express the writer's thoughts and feelings directly, in the direct author's word, reflect the author's position, the writer's attitude to the characters, some elements of the theme, problem, idea of ​​​​the work (in "Dead Souls" - about youth and old age , about Rus' as a bird - a troika)

Artistic lead - depiction of scenes that are ahead of the further course of events (

Artistic framing - scenes that begin and end a work of art, most often this is the same scene, given in development, and creating ring composition(“The Fate of a Man” by M. Sholokhov)

Dedication - a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated

Epigraph - an aphorism or a quotation from another famous work or folklore, located before the entire text or before its individual parts (proverb in The Captain's Daughter)

header- the name of the work, which always contains the theme, problem or idea of ​​the work, a very brief formulation with deep expressiveness, figurativeness or symbolism.

The object of literary analysis in the study of composition different aspects of the composition can become:

1) architectonics, or the external composition of the text, - its division into certain parts (chapters, subchapters, paragraphs, stanzas, etc.), their sequence and interconnection;

2) a system of images of characters in a work of art;

3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that makes "the central problem of composition»; consideration in the structure of the text of different points of view in relation to the architectonics of the work allows us to identify the dynamics of the deployment of artistic content;

4) the system of details presented in the text (composition of details); their analysis makes it possible to reveal ways of deepening the depicted: as I.A. Goncharov, “details that appear fragmentarily and separately in the long term of the general plan”, in the context of the whole, “merge in a common system ... as if thin invisible threads or, perhaps, magnetic currents are operating”;

5) correlation with each other and with other components of the text of its extra-plot elements (inserted novels, stories, lyrical digressions, "scenes on the stage" in the drama).

Compositional analysis thus takes into account different aspects of the text.

The term "composition" in modern philology is very ambiguous, which makes it difficult to use.

To analyze the composition of a literary text, you need to be able to:

To single out repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence;

Detect semantic overlaps in parts of the text;

Highlight markers - separators of different compositional parts of the work;

Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units in the whole;

Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.

Determine all the methods of external and internal composition in F. Tyutchev's poem "Silentium" (namely: parts of the composition, plot type - non-plot, event - descriptive, vision of individual elements, type of their connection, - NB

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

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Composition of a work of art

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

climax

Development Fall

action actions

Exposition Ending Ending Epilogue

Extraplot Elements

1.Description:

Scenery

Portrait

3.Insert episodes

Strong positions of the text

1.Name.

2. Epigraph.

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

4. Words in the rhyme of the poem.

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

IPM - 2

Compositional analysis of a work of art

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

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

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

Composition anchor points

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

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

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

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

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

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

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

Compositional analysis of a poetic text

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

2. Language composition. Key words, word series.

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

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

Compositional analysis of prose text

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

2. Reference points of the composition.

3. Repetitions and oppositions.

4. Compositional techniques, their role.

5. Strong positions of the text.

6. Language composition. Key words, word series.

7. Kind and type of composition.

8. The role of the episode in the text.

9. The system of character images.

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

11. Temporary organization of the text.

1. External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6. Stage and off-stage characters.

Analysis of an episode of a prose text

What is an episode?

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

Concise retelling of the fragment.

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

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

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

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

What is the object world of the work? Landscape, interior, portrait. Why in this particular episode?

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

The role of the episode in the text

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

IPM - 3

Program

"Studying the composition of artistic

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

Explanatory letter

Relevance of the problem

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

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

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

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

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

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

Goal and tasks

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

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

5th grade

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

Verse and stanza.

Strong positions of the text: title, epigraph.

Plan of the text, micro-theme.

Compositional techniques: repetition, opposition.

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

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

"Propp's Maps"

1. Absence of one of the family members.

3. Violation of the prohibition.

4. Finding out.

5. Issue.

6. Trick.

7. Involuntary complicity.

8. Wreckers (or shortage).

9. Mediation.

10. Beginning opposition.

11. The hero leaves the house.

12. The donor tests the hero.

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

14. Obtaining a magical remedy.

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

16. The hero and the antagonist enter the fight.

17. The hero is being marked.

18. Antagonist defeated.

19. Trouble or shortage is eliminated.

20. The return of the hero.

21. The hero is persecuted.

22. The hero flees from persecution.

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

24. A false hero makes unfounded claims.

25. The hero is offered a difficult task.

26. The task is solved.

27. The hero will be recognized.

28. A false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

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

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

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

4.Climax: the hero between life and death.

5. Falling action: tense moments.

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

Ways of inventing stories (according to D. Rodari)

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

"Fantastic Hypothesis"

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

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

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

"Limerick"

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

The first line is a hero.

The second line is the description of the hero.

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

The fifth line is the final characteristic of the hero.

Once upon a time there lived an old marsh man,

Nonsensical grandfather and burdensome,

He was sitting on the deck

Sang songs to the frog

Corrosive old man swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the hero's choice.

The second line is the actions of the hero.

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

The fifth line is the output.

An old grandfather lived in Graniers,

He walked on tiptoe.

All vied with him:

Laugh with you!

Yes, a wonderful old man lived in Granieres.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

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

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

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

The fourth operation is an attractive form of puzzle.

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

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

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

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

Fourth operation.

He is on a white - white field

Leaves a black mark.

"Fairy Tales Inside Out"

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

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

"Continuation of the fairy tale"

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

"Salad from fairy tales"

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

"An old fairy tale in a new key"

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

"Character Material"

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

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

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

"Beanome Fantasy"

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

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

6th grade

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

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

Language composition: keywords.

Types of composition : circular, linear.

Plot elements: exposition, epilogue.

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

Plot scheme : plot elements and non-plot elements.

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

7th grade

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

Language composition: verbal thematic series.

Compositional techniques: Gain.

Types of composition : mirror, flashback.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

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

8th grade

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

Compositional techniques: antithesis, montage.

Types of composition: free.

plot and motive.

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

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

Grade 9

Types of composition: open, default.

Extraplot Elements: author's digressions, inserted episodes.

Composition types

Episode Matching.

Justify the role of the episode in the text.

Subject of speech : point of view bearer.

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

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

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

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

10 - 11 grades

Deepening the concept of composition.

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

Compositional forms: narration, description, characterization.

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

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

Strong positions of the text: title, epigraph,

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

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

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

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

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of the poetic text.

Compositional analysis of dramatic text.

IPM - 4

The system of methodological techniques for teaching compositional

Analysis of a work of art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In the lessons, you can use different forms of working with "Propp's cards": compose a fairy tale based on the proposed situations, write a fairy tale formula, write a fairy tale formula, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM - 8).

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

Summary

Methodological techniques

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

1. External plot.

2. Fantasy and reality.

3. Nature and man.

4. World and man.

5 people.

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

IPM - 5

Subject

A.A. Fet "Whisper, timid breathing ..."

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

Reflection of amber

And kisses, and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What was unusual about the text?

What's not clear?

What did you see?

What did you hear?

What did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

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

II. Language composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

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

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

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

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

III. compositional analysis.

First stanza

What is a micro theme?

Date of lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

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

Second stanza

What is it about?

A night spent in love.

What sounds?

Silence.

What colors? Why?

There are no color definitions.

What is the role of epithets?

Third stanza

What is a micro theme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of means of artistic expression?

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

IV. Time and action.

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

Most nouns contain movement - trills, swaying.

What is the time characteristic?

Evening, night, morning.

v. The rhythmic pattern of the poem.

Work in pairs or groups.

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

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

VI. Features of the composition of the poem.

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

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

Literature

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

IPM - 6

Literature lesson summary in grade 9

Subject

"Darling" A. Chekhov. Who is Dushechka?

I. Individual task.

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

II. Two views on Chekhov's heroine.

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

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

Whose side are you on? Why?

III. Checking homework.

2 group. Reading of written works “My attitude to Darling”.

1 group. Plan of the story, compositional techniques.

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

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

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

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

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

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

The heroine of the story is deprived of the ability to independently choose her life position, she uses other people's self-determinations. Chekhov's irony develops into sarcasm.

V. Conclusions.

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

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

Bibliography.

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

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Installation.

Strong positions of the text.

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

The main types of composition

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

Plot elements

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

1. The meaning of the title of the work.

IPM - 7

Literature lesson summary in grade 10

Subject

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

Goals:

1. Cognitive:

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

2. Developing:

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

Equipment

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

Preparing for the lesson

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

During the classes

I. Motivation of cognitive activity.

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

II. Goal setting.

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

III. Updating what has been learned.

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

2. Checking homework.

Reading and discussion of story plans.

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

Chapter 2 Love (?) and parting.

Chapter 3 Meeting of heroes in the city of S.

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

What is each chapter about? Brief summary of the plot.

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

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

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

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

Chapter 3. The student expressively reads the fragment “But more than a month has passed ...”. What happened to the hero?

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

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

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

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

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

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

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

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

V. Reflection.

Write a miniature "Grey people and gray everyday life" in "Lady with a Dog".

VI. Homework.

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

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

Bibliography.

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

Application

Composition

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

Language composition

Comparison or opposition of verbal series.

Compositional techniques

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

Strong positions of the text.

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

Scheme of compositional analysis of prose text

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

IPM - 8

Bibliography

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42. Bakhtin M.M. Aesthetics of verbal creativity. - M., 1979.

43. Granik G., Bondarenko S.M., Kontsevaya L.A. When the book teaches - M., 1988.

44. Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach mindful reading to students. - Education of schoolchildren, 1991, No. 5, 6, 1992, No. 5-6.

45. Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach to work with a book. - M., 1995.

46. ​​Granik G.G. The role of attitude in the process of text perception. - Questions of psychology, 1993, No. 2.

47.Granik G.G. Study of the reader's position of schoolchildren. - Questions of psychology, 1994, No. 5.

48. Granik G.G. Perception of schoolchildren of a literary text. - Questions of psychology, 1996, No. 3.

49. Granik G.G. How to teach to understand literary text. - Russian language, 1999, No. 15.

50. Granik G.G. and others. Literature. Learning to understand literary text. Task book - practice. - M., 2001.

General concept of composition. Composition and architectonics

The concept of "composition" is familiar to any philologist. This term is constantly used, often taken out in the title or in the subtitles of scientific articles and monographs. At the same time, it should be noted that it has too wide tolerances of meaning, and this sometimes hinders understanding. “Composition” turns out to be a term without shores, when almost any analysis, with the exception of the analysis of ethical categories, can be called compositional.

The insidiousness of the term lies in its very nature. Translated from Latin, the word "composition" means "composition, connection of parts." Simply put, composition is way of building, way of doing works. This is an axiom that any philologist understands. But, as in the case of theme, the stumbling block is the following question: the construction of what should be of interest to us if we are talking about the analysis of the composition? The simplest answer would be “the construction of the whole work”, but this answer will not clarify anything at all. After all, almost everything is built in a literary text: the plot, the character, the speech, the genre, etc. Each of these terms implies its own logic of analysis and its own principles of "construction". For example, plot construction involves an analysis of the types of plot construction, a description of the elements (the plot, the development of the action, etc.), the analysis of plot-plot inconsistencies, etc. We discussed this in detail in the previous chapter. A completely different perspective on the analysis of the "construction" of speech: here it is appropriate to talk about vocabulary, syntax, grammar, types of text connections, the boundaries of one's own and another's word, etc. The construction of the verse is another angle. Then you need to talk about rhythm, about rhymes, about the laws of constructing a line of verse, etc.

As a matter of fact, we always do this when we talk about the plot, about the image, about the laws of verse, etc. But then the question naturally arises about own meaning of the term composition, which does not coincide with the meanings of other terms. If there is none, the analysis of the composition loses its meaning, completely dissolving in the analysis of other categories, but if this independent meaning exists, then what is it?

To make sure there is a problem, it is enough to compare the "Composition" sections in the manuals of different authors. We can easily see that the emphasis will be noticeably shifted: in some cases, the emphasis is on the elements of the plot, in others - on the forms of organization of the narrative, in the third - on spatio-temporal and genre characteristics ... And so on almost ad infinitum. The reason for this lies precisely in the amorphousness of the term. Professionals understand this very well, but this does not prevent everyone from seeing what they want to see.

It is hardly worth dramatizing the situation, but it would be better if compositional analysis suggested some kind of understandable and more or less unified methodology. It seems that the most promising would be to see in compositional analysis precisely the interest in ratio of parts, to their relationships. In other words, the analysis of the composition involves seeing the text as a system and aims to understand the logic of the relationships of its elements. Then indeed the conversation about composition will become meaningful and will not coincide with other aspects of the analysis.

This rather abstract thesis can be illustrated with a simple example. Let's say we want to build a house. We will be interested in what kind of windows it has, what walls, what ceilings, what colors what is painted, etc. This will be an analysis individual parties. But it is equally important that all this together harmonized with each other. Even if we really like large windows, we cannot make them higher than the roof and wider than the wall. We cannot make vents larger than windows, we cannot put a closet wider than the room, etc. That is, each part affects the other in one way or another. Of course, any comparison sins, but something similar happens in a literary text. Each part of it does not exist on its own, it is "demanded" by other parts and, in turn, "demands" something from them. Compositional analysis is, in essence, an explanation of these "requirements" of the elements of the text. The famous judgment of A.P. Chekhov about a gun that should fire if it is already hanging on the wall illustrates this very well. Another thing is that in reality not everything is so simple, and not all of Chekhov's guns fired.

Thus, composition can be defined as a way of constructing a literary text, as a system of relations between its elements.

Compositional analysis is a fairly voluminous concept that relates to different aspects of a literary text. The situation is further complicated by the fact that in different traditions there are serious terminological discrepancies, and the terms not only sound differently, but also do not mean exactly the same thing. Especially it concerns analysis of the structure of the narrative. In Eastern European and Western European traditions, there are serious differences here. All this puts the young philologist in a difficult position. Our task also turns out to be very difficult: in a relatively short chapter, to talk about a very voluminous and ambiguous term.

It seems that it is logical to start understanding composition by defining the general scope of this concept, and then move on to more specific forms. So, compositional analysis allows the following models.

1. Analysis of the sequence of parts. It assumes an interest in the elements of the plot, the dynamics of the action, the sequence and relationship of plot and non-plot elements (for example, portraits, lyrical digressions, author's assessments, etc.). When analyzing a verse, we will definitely take into account the division into stanzas (if any), we will try to feel the logic of the stanzas, their relationship. This type of analysis is primarily focused on explaining how deployed work from the first page (or line) to the last. If we imagine a thread with beads, where each bead of a certain shape and color means a homogeneous element, then we can easily understand the logic of such an analysis. We want to understand how the overall pattern of the beads is consistently laid out, where and why repetitions occur, how and why new elements appear. Such a model of compositional analysis in modern science, especially in Western tradition, is usually called syntagmatic.Syntagmatics- This is a branch of linguistics, the science of how speech unfolds, that is, how and according to what laws speech develops word by word and phrase by phrase. We see something similar in such an analysis of the composition, with the only difference that the elements are most often not words and syntagmas, but pieces of the same type of narration. For example, if we take the famous poem by M. Yu. Lermontov “Sail” (“The lonely sail turns white”), we will easily see that the poem is divided into three stanzas (quatrains), and each quatrain is clearly divided into two parts: the first two lines - a landscape sketch, the second - the author's comment:

A lonely sail turns white

In the blue mist of the sea.

What is he looking for in a distant country?

What did he throw in his native land?

The waves are playing, the wind is whistling,

And the mast bends and creaks.

Alas! .. He is not looking for happiness

And not from happiness runs.

Under it, a stream of lighter azure,

Above him is a golden ray of sunshine,

And he, rebellious, asks for a storm;

As if there is peace in the storms.

As a first approximation, the composition scheme will look like this: A + B + A1 + B1 + A2 + B2, where A is a landscape sketch, and B is the author's remark. However, it is easy to see that elements A and elements B are built according to different logic. Elements A are built according to the logic of the ring (calm - storm - calm), and elements B - according to the logic of development (question - exclamation - answer). Thinking about this logic, the philologist can see something in Lermontov's masterpiece that will be missed outside of compositional analysis. For example, it will become clear that “the desire for a storm” is nothing more than an illusion, the storm will not give peace and harmony in the same way (after all, there was already a “storm” in the poem, but this did not change the tone of part B). A classic situation for the artistic world of Lermontov arises: the changing background does not change the feeling of loneliness and longing of the lyrical hero. Let us recall the poem “In the Wild North” already quoted by us, and we will easily feel the uniformity of the compositional structure. Moreover, on another level, the same structure is found in the famous "Hero of Our Time". Pechorin's loneliness is emphasized by the fact that the "backgrounds" are constantly changing: the semi-wild life of the highlanders ("Bela"), the gentleness and cordiality of a simple person ("Maxim Maksimych"), the life of people from the bottom - smugglers ("Taman"), the life and customs of high society ( "Princess Mary"), an exceptional person ("Fatalist"). However, Pechorin cannot merge with any background, he feels bad and lonely everywhere, moreover, he voluntarily or involuntarily destroys the harmony of the background.

All this becomes noticeable precisely in compositional analysis. Thus, a sequential analysis of the elements can be a good tool for interpretation.

2. Analysis of the general principles for constructing a work as a whole. It is often referred to as analysis. architectonics. The term itself architectonics is not recognized by all experts, many, if not most, believe that we are talking simply about different facets of the meaning of the term composition. At the same time, some very authoritative scientists (for example, M. M. Bakhtin) not only recognized the correctness of such a term, but also insisted that composition And architectonics have different meanings. In any case, regardless of the terminology, we must understand that there is another model of compositional analysis that differs markedly from the one presented. This model assumes a view of the work as a whole. It focuses on the general principles of constructing a literary text, taking into account, among other things, the system of contexts. If we recall our bead metaphor, then this model should give an answer to how these beads look in general and whether they are in harmony with the dress and hairstyle. Actually, this “double” look is well known to any woman: she is interested in how finely the parts of the jewelry are woven, but no less interested in how it all looks together and whether it is worth wearing with some kind of suit. In life, as we know, these views do not always coincide.

We see something similar in a literary work. Let's take a simple example. Imagine that a writer decides to write a story about a family quarrel. But he decided to build it in such a way that the first part is the husband’s monologue, where the whole story looks in one light, and the second part is the wife’s monologue, in which all events look different. In modern literature, such techniques are used very often. And now let's think about it: is this work monologue or is it dialogical? From the point of view of the syntagmatic analysis of the composition, it is monologue, there is not a single dialogue in it. But from the point of view of architectonics, it is dialogical, we see controversy, a clash of views.

This holistic view of composition (analysis architectonics) turns out to be very useful, it allows you to abstract from a specific fragment of the text, to understand its role in the overall structure. M. M. Bakhtin, for example, believed that such a concept as a genre is architectonic by definition. Indeed, if I write a tragedy, I All I will build it differently than if I wrote a comedy. If I write an elegy (a poem filled with sadness), All it will not be the same as in a fable: the construction of images, and rhythm, and vocabulary. Therefore, the analysis of composition and architectonics are concepts related, but not coinciding. The point, we repeat, is not in the terms themselves (there are many discrepancies), but in the fact that it is necessary to distinguish principles of construction of the work as a whole and the construction of its parts.

So, there are two models of compositional analysis. An experienced philologist, of course, is able to “switch” these models depending on his goals.

Now let's move on to a more specific presentation. Compositional analysis from the point of view of the modern scientific tradition involves the following levels:

Analysis of the form of organization of the narrative.

Analysis of speech composition (construction of speech).

Analysis of techniques for creating an image or character.

Analysis of plot construction features (including non-plot elements). This has already been discussed in detail in the previous chapter.

Analysis of artistic space and time.

Analysis of the change of "points of view". This is one of the most popular methods of compositional analysis today, little known to a novice philologist. Therefore, it is worth paying special attention to it.

The analysis of the composition of a lyrical work is characterized by its own specificity and its own nuances, so the analysis of a lyrical composition can also be distinguished as a special level.

Of course, this scheme is very conditional, and much does not fall into it. In particular, one can speak of genre composition, rhythmic composition (not only in poetry, but also in prose), etc. In addition, in real analysis these levels intersect and mix. For example, the analysis of points of view concerns both the organization of the narrative and speech patterns, space and time are inextricably linked with the methods of creating an image, etc. However, in order to understand these intersections, you first need to know What intersects, therefore, in the methodological aspect, a consistent presentation is more correct. So, in order.

For more details, see, for example: Kozhinov V.V. Plot, plot, composition // Theory of Literature. The main problems in historical coverage. Types and genres of literature. M., 1964.

See, for example: Revyakin A.I. Decree. cit., pp. 152–153.

Analysis of the form of organization of the narrative

This part of compositional analysis involves an interest in how storytelling. To understand a literary text, it is important to consider who and how the story is told. First of all, a narrative can be formally organized as a monologue (the speech of one), a dialogue (the speech of two), or a polylogue (the speech of many). For example, a lyric poem, as a rule, is monologue, while a drama or a modern novel tends to dialogue and polylogue. Difficulties begin where clear boundaries are lost. For example, the outstanding Russian linguist V. V. Vinogradov noted that in the genre of a tale (let us recall, for example, Bazhov’s “The Mistress of the Copper Mountain”), the speech of any character is deformed, actually merging with the style of the narrator’s speech. In other words, everyone starts talking the same way. Therefore, all dialogues organically merge into a single author's monologue. This is a clear example genre storytelling distortions. But other problems are also possible, for example, the problem of one's own and another's word when other people's voices are woven into the monologue of the narrator. In its simplest form, this leads to the so-called non-author's speech. For example, in A.S. Pushkin’s “The Snowstorm” we read: “But everyone had to retreat when the wounded hussar colonel Burmin appeared in her castle, with George in his buttonhole and Withinteresting pallor(italics by A. S. Pushkin - A. N.), as the young ladies there said. Words "with an interesting pallor" Pushkin does not accidentally highlight in italics. Neither lexically nor grammatically for Pushkin they are impossible. This is the speech of provincial young ladies, evoking the soft irony of the author. But this expression is inserted into the context of the narrator's speech. This example of "violation" of the monologue is quite simple, modern literature knows much more complex situations. However, the principle will be the same: someone else's word, which does not coincide with the author's, is inside the author's speech. Understanding these subtleties is sometimes not so easy, but it is necessary to do this, because otherwise we will attribute to the narrator judgments with which he does not associate himself in any way, sometimes he secretly argues.

If we add to this the fact that modern literature is completely open to other texts, sometimes one author openly builds a new text from fragments of already created ones, then it becomes clear that the problem of text monologue or dialogue is by no means as obvious as it might seem on the surface. first glance.

No less, and perhaps even more, difficulties arise when we try to define the figure of the narrator. If at first we talked about How many narrators organize the text, now you need to answer the question: a Who these narrators? The situation is further complicated by the fact that different models of analysis and different terms have become established in Russian and Western science. The essence of the discrepancy is that in the Russian tradition the most relevant question is whether Who is the narrator and how close or far he is to the real author. For example, is the story being told from I and who is behind it I. The relationship between the narrator and the real author is taken as a basis. In this case, four main variants are usually distinguished with numerous intermediate forms.

The first option is a neutral narrator(it is also called the narrator proper, and this form is often not very accurately called third person narration. The term is not very good, because there is no third person here, but it has taken root, and there is no point in abandoning it). We are talking about those works where the narrator is not identified in any way: he has no name, he does not take part in the events described. There are a lot of examples of such an organization of the narrative: from the poems of Homer to the novels of L. N. Tolstoy and many modern novels and short stories.

The second option is the narrator. The narration is conducted in the first person (such a narration is called i-form), the narrator is either not named in any way, but his closeness to the real author is implied, or he bears the same name as the real author. The narrator does not take part in the events described, he only talks about them and comments. Such an organization was used, for example, by M. Yu. Lermontov in the story "Maxim Maksimych" and in a number of other fragments of "A Hero of Our Time".

The third option is the hero-narrator. A very often used form when a direct participant tells about events. The hero, as a rule, has a name and is emphatically distanced from the author. This is how the “Pechorinsky” chapters of “A Hero of Our Time” (“Taman”, “Princess Mary”, “Fatalist”) are constructed, in “Bel” the right of narration passes from the author-narrator to the hero (recall that the whole story is told by Maxim Maksimovich). Lermontov needs a change of narrators to create a three-dimensional portrait of the main character: after all, everyone sees Pechorin in his own way, the assessments do not match. We encounter the hero-narrator in A. S. Pushkin's The Captain's Daughter (almost everything is told by Grinev). In a word, the hero-narrator is very popular in modern literature.

The fourth option is the author-character. This variant is very popular in the literature and very tricky for the reader. In Russian literature, it manifested itself with all distinctness already in the Life of Archpriest Avvakum, and the literature of the 19th and especially the 20th centuries uses this option very often. The author-character bears the same name as the real author, as a rule, is close to him biographically and at the same time is the hero of the events described. The reader has a natural desire to "believe" the text, to put an equal sign between the author-character and the real author. But that is the insidiousness of this form, that no equal sign can be put. Between the author-character and the real author there is always a difference, sometimes colossal. The similarity of names and the closeness of biographies in themselves do not mean anything: all events may well be fictitious, and the judgments of the author-character are not at all obliged to coincide with the opinion of the real author. When creating an author-character, the writer to some extent plays both with the reader and with himself, this must be remembered.

The situation is even more complicated in lyrics, where the distance between the lyrical narrator (most often I) and a real author and it’s hard to feel at all. However, this distance is preserved to some extent even in the most intimate poems. Emphasizing this distance, Yu. N. Tynyanov in the 1920s in an article about Blok proposed the term lyrical hero which has become commonplace today. Although the specific meaning of this term is interpreted differently by different specialists (for example, the positions of L. Ya. Ginzburg, L. I. Timofeev, I. B. Rodnyanskaya, D. E. Maksimov, B. O. Korman and other specialists have serious differences), everyone recognizes the fundamental discrepancy between the hero and the author. A detailed analysis of the arguments of various authors within the framework of our brief guide is hardly appropriate, we only note that the problematic point is the following: what determines the character of a lyrical hero? Is it a generalized face of the author that appears in his poetry? Or only unique, special author's features? Or a lyrical hero is possible only in a particular poem, and lyrical heroat all just doesn't exist? These questions can be answered in different ways. We are closer to the position of D. E. Maksimov and, in many respects, the concept of L. I. Timofeev, which is close to it, that the lyrical hero is the generalized I of the author, one way or another felt in all his work. But this position is also vulnerable, and opponents have strong counterarguments. Now, we repeat, a serious discussion on the problem of the lyrical hero seems premature, it is more important to understand that the equal sign between I in the poem and the real author can not be put. The well-known satirist poet Sasha Cherny wrote a playful poem "Criticism" back in 1909:

When a poet, describing a lady,

Begins: “I was walking down the street. A corset dug into the sides, ”-

Here "I" do not understand, of course, directly,

That, they say, a poet is hiding under the lady ...

This should be remembered even in cases where there are no generic differences. The poet is not equal to any of his written 'I's.

So, in Russian philology, the starting point in the analysis of the figure of the narrator is his relationship with the author. There are many subtleties, but the principle of the approach is clear. Another thing is the modern Western tradition. There, the typology is based not on the relationship between the author and the narrator, but on the relationship between the narrator and "pure" narration. This principle at first glance seems vague and needs to be clarified. In fact, there is nothing complicated here. Let's clarify the situation with a simple example. Let's compare two sentences. First: "The sun is shining brightly, a green tree is growing on the lawn." Second: “The weather is wonderful, the sun shines brightly, but not blindingly, the green tree on the lawn is pleasing to the eye.” In the first case, we simply have information in front of us, the narrator is practically not manifested, in the second we can easily feel his presence. If we take “pure” narrative as a basis with the formal non-interference of the narrator (as in the first case), then it is easy to build a typology based on how much the presence of the narrator increases. This principle, originally proposed by the English literary scholar Percy Lubbock in the 1920s, is now dominant in Western European literary criticism. A complex and sometimes contradictory classification has been developed, the basic concepts of which are actant(or actant - pure narration. Although the term "actant" itself suggests a doer, it is not revealed), actor(the object of the narrative, deprived of the right to interfere in it), auditor(“intervening” in the narrative character or narrator, the one whose consciousness organizes the narrative.). These terms themselves were introduced after the classical works of P. Lubbock, but they suggest the same ideas. All of them, together with a number of other concepts and terms, define the so-called narrative typology modern Western literary criticism (from English narrative - narration). In the works of leading Western philologists devoted to the problems of narration (P. Lubbock, N. Friedman, E. Leibfried, F. Stanzel, R. Barth, etc.), an extensive toolkit has been created, with the help of which one can see various shades of meanings in the fabric of narration, hear different voices. The term voice as a significant compositional component also became widespread after the work of P. Lubbock.

In a word, Western European literary criticism uses somewhat different terms, while the accents of analysis are also shifting. It is difficult to say which tradition is more adequate to an artistic text, and the question can hardly be posed in such a plane. Every technique has strengths and weaknesses. In some cases, it is more convenient to use the developments of the narrative theory, in others it is less correct, since it practically ignores the problem of the author's consciousness and the author's idea. Serious scientists in Russia and the West are well aware of each other's work and are actively using the achievements of the "parallel" methodology. Now it is important to understand the principles of the approach themselves.

See: Tynyanov Yu. N. The problem of poetic language. M., 1965. S. 248–258.

The history and theory of the issue is described in sufficient detail in the articles by I. P. Ilyin devoted to the problems of narration. See: Modern foreign literary criticism: Encyclopedic reference book. M., 1996. S. 61–81. Read original works by A.-J. Greimas, who introduced these terms, it will be too difficult for a novice philologist.

Analysis of speech composition

The analysis of speech composition implies an interest in the principles of speech construction. Partly it intersects with the analysis of "one's own" and "foreign" words, partly with the analysis of style, partly with the analysis of artistic devices (lexical, syntactic, grammatical, phonetic, etc.). We will talk about all this in more detail in the chapter. "Artistic speech". Now I would like to draw attention to the fact that the analysis of speech composition is not limited to description tricks. As elsewhere in the analysis of the composition, the researcher must pay attention to the problem of the relationship of elements, to their interdependence. For example, it is not enough for us to see that different pages of The Master and Margarita are written in different stylistic manners: there are different vocabulary, different syntax, different rates of speech. It is important for us to understand why this is so, to catch the logic of style transitions. After all, Bulgakov often describes the same hero in different stylistic terms. A classic example is Woland and his retinue. Why stylistic drawings change, how they are connected with each other - this, in fact, is the task of the researcher.

Analysis of character creation techniques

Although in a literary text, of course, every image is somehow constructed, however, compositional analysis as an independent one in reality is applied, as a rule, to images-characters (i.e., to images of people) or to images of animals and even objects that metaphorize human being (for example, "Strider" by L. N. Tolstoy, "White Fang" by J. London or M. Yu. Lermontov's poem "Cliff"). Other images (verbal, details, or, conversely, macrosystems such as "the image of the motherland"), as a rule, are not analyzed according to any more or less intelligible algorithms of composition. This does not mean that the elements of compositional analysis are not applied, it only means that there are no universal methods at all. All this is quite understandable in view of the vagueness of the very category of “image”: try to find a universal method for analyzing “construction”, for example, V. Khlebnikov’s linguistic images and A. S. Pushkin’s landscapes. We will only be able to see some of the general properties that have already been discussed in the chapter "Artistic image", but the method of analysis will be different each time.

Another thing is the character of a person. Here, in all its infinite variety, we can see repetitive devices that can be isolated as some generally accepted supports. It makes sense to dwell on this in a little more detail. Almost any writer, when creating a person's character, uses a "classical" set of techniques. Naturally, he does not always use everything, but in general the list will be relatively stable.

First, this is the behavior of the hero. In literature, a person is almost always depicted in actions, in deeds, in relations with other people. "Building" a series of actions, the writer creates a character. Behavior is a complex category that takes into account not only physical actions, but also the nature of speech, what and how the hero says. In this case, we are talking about speech behavior which is often of fundamental importance. Speech behavior can explain the system of actions, or it can contradict them. An example of the latter can be, for example, the image of Bazarov ("Fathers and Sons"). As you remember, there was no place for love in Bazarov's speech behavior, which did not prevent the hero from experiencing love-passion for Anna Odintsova. On the other hand, the speech behavior of, for example, Platon Karataev (“War and Peace”) is absolutely organic to his actions and life position. Platon Karataev is convinced that a person must accept any circumstances with kindness and humility. The position is wise in its own way, but threatening with facelessness, absolute merging with the people, with nature, with history, dissolving in them. Such is Plato's life, such is (with some nuances) his death, such is his speech: aphoristic, full of proverbs, smooth, soft. Karataev's speech is devoid of individual features, it is "dissolved" in folk wisdom.

Therefore, the analysis of speech behavior is no less important than the analysis and interpretation of actions.

Secondly, it is a portrait, landscape and interior, if they are used to characterize the hero. Actually, a portrait is always somehow connected with the disclosure of character, but the interior and especially the landscape in some cases can be self-sufficient and not considered as a method of creating the character of the hero. We encounter the classic series “landscape + portrait + interior + behavior” (including speech behavior), for example, in N. V. Gogol’s “Dead Souls”, where all the famous images of landowners are “made” according to this scheme. There are talking landscapes, talking portraits, talking interiors (remember at least Plyushkin's bunch) and very expressive speech behavior. The peculiarity of the construction of the dialogue is also in the fact that Chichikov each time adopts the manner of conversation of the interlocutor, begins to speak with him in his language. On the one hand, this creates a comic effect, on the other hand, which is much more important, it characterizes Chichikov himself as a person of an insightful, well-feeling interlocutor, but at the same time prudent and prudent.

If in a general way we try to outline the logic of the development of landscape, portrait and interior, we can see that a detailed description is being replaced by a laconic detail. Modern writers, as a rule, do not create detailed portraits, landscapes and interiors, preferring "talking" details. The artistic impact of the detail was well felt by the writers of the 18th and 19th centuries, but there the details often alternated with detailed descriptions. Modern literature generally avoids details, isolating only some fragments. This technique is often referred to as "close-up preference". The writer does not give a detailed portrait, concentrating only on some expressive sign (remember the famous twitching upper lip with a mustache from Andrei Bolkonsky's wife or Karenin's protruding ears).

Third, the classic method of creating character in the literature of modern times is internal monologue, that is, the image of the thoughts of the hero. Historically, this technique is very late, literature until the 18th century depicted the hero in action, in speech behavior, but not in thinking. Lyrics and partly dramaturgy can be considered a relative exception, where the hero often said “thoughts aloud” - a monologue addressed to the viewer or not having a clear addressee at all. Recall the famous "To be or not to be" by Hamlet. However, this is a relative exception, because it is more about talking to yourself than about the process of thinking as such. portray real the process of thinking by means of language is very difficult, since the human language is not very adapted for this. Much easier to convey in language What man does than What he thinks and feels. However, modern literature is actively looking for ways to convey the feelings and thoughts of the hero. There are many finds and many misses. In particular, attempts have been made and are being made to abandon punctuation, grammatical norms, etc., in order to create the illusion of “real thinking”. This is still an illusion, although such techniques can be very expressive.

In addition, when analyzing the “construction” of character, one should remember about grading system, that is, about how other characters and the narrator himself evaluate the hero. Almost any hero exists in the mirror of assessments, and it is important to understand who and why evaluates him so. A person who begins a serious study of literature should remember that narrator's score by no means always can be considered the relation of the author to the hero, even if the narrator seems to be somewhat similar to the author. The narrator is also "inside" the work, in a sense, he is one of the heroes. Therefore, the so-called "author's assessments" should be taken into account, but they do not always express the attitude of the writer himself. Let's say the writer play the role of a fool and create a narrator for this role. The narrator can evaluate the characters in a straightforward and shallow way, and the overall impression will be completely different. In modern literary criticism there is a term implicit author- that is, the psychological portrait of the author, which develops after reading his work and, therefore, created by the writer for this work. So, for the same writer, implicit authors can be very different. For example, many of Antosha Chekhonte's funny stories (for example, the "Calendar" full of careless humor) from the point of view of the psychological portrait of the author are completely different from "Ward No. 6". All this was written by Chekhov, but these are very different faces. AND implicit author"Chambers No. 6" would have looked at the heroes of the "Horse Family" in a completely different way. This young philologist should remember. The problem of the unity of the author's consciousness is the most difficult problem of philology and psychology of creativity, it cannot be simplified by judgments like: "Tolstoy treats his hero in such and such a way, because on page, say, 41, he evaluates him in such and such a way." It is quite possible that the same Tolstoy in another place or at another time, or even on other pages of the same work, will write in a completely different way. If, for example, we trust each According to Eugene Onegin, we will find ourselves in a perfect labyrinth.

Analysis of plot construction features

In the chapter "Story" we dwelled in sufficient detail on different methods of plot analysis. There is no point in repeating yourself. However, it should be emphasized that plot composition- this is not just the isolation of elements, schemes or analysis of plot-plot discrepancies. It is fundamental to understand the connection and non-randomness of storylines. And this is a task of a completely different level of complexity. It is important to feel behind the endless variety of events and destinies their logic. In a literary text, logic is always present in one way or another, even when outwardly everything seems to be a chain of accidents. Let us recall, for example, the novel "Fathers and Sons" by I. S. Turgenev. It is no coincidence that the logic of Yevgeny Bazarov's fate surprisingly resembles the logic of the fate of his main opponent, Pavel Kirsanov: a brilliant start - fatal love - a crash. In Turgenev's world, where love is the most difficult and at the same time the most decisive test of personality, such a similarity of destinies may indicate, albeit indirectly, that the author's position differs markedly from Bazarov's and from the point of view of his main opponent. Therefore, when analyzing the plot composition, one should always pay attention to mutual reflections and intersections of plot lines.

Analysis of artistic space and time

No work of art exists in a space-time vacuum. It always has time and space in one way or another. It is important to understand that artistic time and space are not abstractions and not even physical categories, although modern physics also gives a very ambiguous answer to the question of what time and space are. Art does deal with a very specific spatio-temporal coordinate system. G. Lessing was the first to point out the importance of time and space for art, which we already spoke about in the second chapter, and theorists of the last two centuries, especially the 20th century, proved that artistic time and space are not only a significant, but often defining component of a literary work.

In literature, time and space are the most important properties of the image. Different images require different space-time coordinates. For example, in F. M. Dostoevsky's novel "Crime and Punishment" we are confronted with an unusually compressed space. Small rooms, narrow streets. Raskolnikov lives in a room that looks like a coffin. Of course, this is no coincidence. The writer is interested in people who find themselves in an impasse in life, and this is emphasized by all means. When Raskolnikov gains faith and love in the epilogue, space opens up.

Each work of modern literature has its own spatio-temporal grid, its own coordinate system. At the same time, there are some general patterns in the development of artistic space and time. For example, until the 18th century, aesthetic consciousness did not allow the author to "intervene" in the temporal structure of the work. In other words, the author could not begin the story with the death of the hero, and then return to his birth. The time of the work was "as if real". In addition, the author could not disrupt the course of the story about one hero by an "inserted" story about another. In practice, this led to the so-called "chronological inconsistencies" characteristic of ancient literature. For example, one story ends with the hero returning safely, while another begins with loved ones mourning his absence. We encounter this, for example, in Homer's Odyssey. In the 18th century, a revolution took place, and the author received the right to “model” the narrative, not observing the logic of lifelikeness: a lot of inserted stories, digressions appeared, chronological “realism” was violated. A modern author can build the composition of a work by shuffling the episodes at his own discretion.

In addition, there are stable, culturally accepted spatial and temporal models. The outstanding philologist M. M. Bakhtin, who fundamentally developed this problem, called these models chronotopes(chronos + topos, time and space). Chronotopes are initially permeated with meanings, any artist consciously or unconsciously takes this into account. As soon as we say about someone: "He is on the verge of something ...", as we immediately understand that we are talking about something big and important. But why exactly on the doorstep? Bakhtin believed that threshold chronotope one of the most common in culture, and as soon as we “turn it on”, the semantic depth opens up.

Today term chronotope is universal and denotes simply the existing spatio-temporal model. Often at the same time, “etiquettely” refers to the authority of M. M. Bakhtin, although Bakhtin himself understood the chronotope more narrowly - precisely as sustainable model that occurs from work to work.

In addition to chronotopes, one should also keep in mind the more general patterns of space and time that underlie entire cultures. These models are historical, that is, one replaces the other, but the paradox of the human psyche is that a model that has “obsolete” its age does not disappear anywhere, continuing to excite a person and giving rise to artistic texts. In different cultures, there are quite a few variations of such models, but there are several basic ones. First, this is a model zero time and space. It is also called motionless, eternal - there are a lot of options here. In this model, time and space lose their meaning. There is always the same thing, and there is no difference between "here" and "there", that is, there is no spatial extension. Historically, this is the most archaic model, but it is still very relevant today. Ideas about hell and heaven are built on this model, it is often “turned on” when a person tries to imagine existence after death, etc. The famous “golden age” chronotope, which manifests itself in all cultures, is built on this model. If we remember the ending of The Master and Margarita, we can easily feel this pattern. It was in such a world, according to the decision of Yeshua and Woland, that the heroes ended up in the world of eternal good and peace.

Another model - cyclic(circular). This is one of the most powerful spatio-temporal models, supported by the eternal change of natural cycles (summer-autumn-winter-spring-summer...). It is based on the idea that everything returns to normal. There is space and time there, but they are conditional, especially time, since the hero will still come to where he left, and nothing will change. The easiest way to illustrate this model is Homer's Odyssey. Odysseus was absent for many years, the most incredible adventures fell to his lot, but he returned home and found his Penelope still just as beautiful and loving. M. M. Bakhtin called such a time adventurous, it exists, as it were, around the heroes, without changing anything either in them or between them. The cyclic model is also very archaic, but its projections are clearly felt in modern culture. For example, it is very noticeable in the work of Sergei Yesenin, in whom the idea of ​​the life cycle, especially in adulthood, becomes dominant. Even the well-known dying lines “In this life, dying is not new, / But living, of course, is not newer” refer to an ancient tradition, to the famous biblical book of Ecclesiastes, entirely built on a cyclic model.

The culture of realism is associated mainly with linear a model where space seems to be infinitely open in all directions, and time is associated with a directed arrow - from the past to the future. This model dominates the everyday consciousness of modern man and is clearly visible in a huge number of literary texts of recent centuries. Suffice it to recall, for example, the novels of Leo Tolstoy. In this model, each event is recognized as unique, it can only happen once, and a person is understood as a constantly changing being. Linear model opened psychologism in the modern sense, since psychologism presupposes the ability to change, which could not be either in the cyclic (after all, the hero must be the same at the end as at the beginning), and even more so in the model of zero time-space. In addition, the linear model is associated with the principle historicism, that is, a person began to be understood as a product of his era. An abstract "man for all time" simply does not exist in this model.

It is important to understand that in the mind of a modern person, all these models do not exist in isolation, they can interact, giving rise to the most bizarre combinations. For example, a person can be emphatically modern, trust a linear model, accept the uniqueness of every moment of life as something unique, but at the same time be a believer and accept the timelessness and spacelessness of existence after death. In the same way, different coordinate systems can be reflected in the literary text. For example, experts have long noticed that in the work of Anna Akhmatova there are two parallel dimensions, as it were: one is historical, in which every moment and gesture is unique, the other is timeless, in which any movement freezes. The "layering" of these layers is one of the hallmarks of Akhmatov's style.

Finally, modern aesthetic consciousness is increasingly mastering another model. There is no clear name for it, but it would not be a mistake to say that this model allows for the existence parallel times and spaces. The meaning is that we exist differently depending on the coordinate system. But at the same time, these worlds are not completely isolated, they have points of intersection. The literature of the twentieth century actively uses this model. Suffice it to recall M. Bulgakov's novel The Master and Margarita. Master and his beloved die in different places and for different reasons: Master in a lunatic asylum, Margarita at home from a heart attack, but at the same time they are die in each other's arms in the Master's closet from Azazello's poison. Different coordinate systems are included here, but they are interconnected - after all, the death of the heroes came in any case. This is the projection of the model of parallel worlds. If you have carefully read the previous chapter, you will easily understand that the so-called multivariate the plot - the invention of literature in the main twentieth century - is a direct consequence of the establishment of this new spatio-temporal grid.

See: Bakhtin M. M. Forms of time and chronotope in the novel // Bakhtin M. M. Questions of literature and aesthetics. M., 1975.

Analysis of changing "points of view"

"Point of view"- one of the basic concepts of the modern doctrine of composition. You should immediately beware of characteristic error inexperienced philologists: to understand the term "point of view" in the everyday sense, they say, each author and character has his own point of view on life. This is often heard from students, but it has nothing to do with science. As a literary term, "point of view" first appeared at the end of the 19th century in an essay by the famous American writer Henry James on the art of prose. The English literary critic Percy Lubbock, already mentioned by us, made this term strictly scientific.

"Point of view" is a complex and voluminous concept that reveals the ways of the author's presence in the text. In fact, we are talking about a thorough analysis mounting text and about trying to see in this montage their own logic and the presence of the author. One of the leading modern experts on this issue, B. A. Uspensky, believes that the analysis of changing points of view is effective in relation to those works where the plan of expression is not equal to the plan of content, that is, everything said or presented has second, third, etc. semantic layers. For example, in M. Yu. Lermontov's poem "The Cliff", of course, we are not talking about a cliff and a cloud. Where the planes of expression and content are inseparable or completely identical, the analysis of points of view does not work. For example, in jewelry art or in abstract painting.

As a first approximation, we can say that "point of view" has at least two ranges of meanings: first, it is spatial localization, that is, the definition of the place from which the story is being told. If we compare the writer with the cameraman, then we can say that in this case we will be interested in where the camera was: close, far, above or below, and so on. The same fragment of reality will look very different depending on the change of point of view. The second range of meanings is the so-called subject localization, that is, we are interested in whose consciousness the scene is seen. Summarizing numerous observations, Percy Lubbock identified two main types of storytelling: panoramic(when the author directly shows his consciousness) and stage(we are not talking about drama, it means that the consciousness of the author is “hidden” in the characters, the author does not openly show himself). According to Lubbock and his followers (N. Friedman, K. Brooks and others), the stage method is aesthetically preferable, since it does not impose anything, but only shows. Such a position, however, can be challenged, since the classical "panoramic" texts of Leo Tolstoy, for example, have a colossal aesthetic potential for impact.

Modern research, focused on the method of analyzing the change of points of view, convinces that it allows you to see even seemingly well-known texts in a new way. In addition, such an analysis is very useful in the educational sense, since it does not allow "liberties" with the text, it forces the student to be attentive and careful.

Uspensky B. A. Poetics of composition. SPb., 2000. S. 10.

Analysis of lyrical composition

The composition of a lyrical work has a number of its distinctive features. There, most of the angles we have identified retain their meaning (with the exception of plot analysis, which is most often inapplicable to a lyrical work), but at the same time, a lyrical work also has its own specifics. Firstly, the lyrics often have a strophic structure, that is, the text is divided into stanzas, which immediately affects the entire structure; secondly, it is important to understand the laws of rhythmic composition, which will be discussed in the chapter "Poetry"; thirdly, in the lyrics there are many features of figurative composition. Lyrical images are built and grouped differently than epic and dramatic ones. A detailed discussion of this is still premature, since understanding the structure of a poem comes only with practice. To begin with, it is better to carefully read the samples of analyzes. At the disposal of modern students there is a good collection "Analysis of one poem" (L., 1985), entirely devoted to the problems of lyrical composition. We refer interested readers to this book.

Analysis of one poem: Interuniversity collection / ed. V. E. Kholshevnikova. L., 1985.

Bakhtin M. M. Forms of time and chronotope in the novel // Bakhtin M. M. Questions of literature and aesthetics. M., 1975.

Davydova T. T., Pronin V. A. Theory of Literature. M., 2003. Chapter 6. "Artistic time and artistic space in a literary work."

Kozhinov V.V. Composition // Brief literary encyclopedia. T. 3. M., 1966. S. 694–696.

Kozhinov VV Plot, plot, composition // Theory of Literature. The main problems in historical coverage. Types and genres of literature. M., 1964.

Markevich G. Main problems of the science of literature. M., 1980. S. 86–112.

Revyakin AI Problems of studying and teaching literature. M., 1972. S. 137–153.

Rodnyanskaya I. B. Artistic time and artistic space // Literary Encyclopedic Dictionary. M., 1987. S. 487–489.

Modern foreign literary criticism. Encyclopedic reference book. Moscow, 1996, pp. 17–20, 61–81, 154–157.

Theoretical poetics: concepts and definitions: Reader for students of philological faculties / author-compiler N. D. Tamarchenko. M., 1999. (Themes 12, 13, 16–20, 29.)

Uspensky B. A. Poetics of composition. SPb., 2000.

Fedotov OI Fundamentals of the theory of literature. Part 1. M., 2003. S. 253–255.

Khalizev V. E. Theory of Literature. M., 1999. (Chapter 4. "Literary work".)