Research work within each academic subject has its own characteristics and helps to solve specific problems. This type of activity in the field of literature teaches a high school student to independent work with the text, enriches the reader's experience, helps to form evaluative positions, make their professional choice.
Literary criticism considers the text in terms of its content, themes, ideas, etc. Literary analysis determines to which literary genus the work belongs, to the tradition of which literary movement it belongs, to which genre, etc.
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Municipal state educational institution
Toydin secondary school
Paninsky municipal district
Voronezh region
The topic of the speech at the August RMO of teachers of the Russian language and literature
"Literary analysis artistic text»
Teacher of Russian language and literature
MKOU Toydinskaya secondary school
T.S. Khrenova
year 2013
The development of society, its spiritual and material spheres make the problem of communication extremely relevant at the present time. The role of communication has increased in the process of formation and development of personality. In addition to this, in modern Russian school Much attention has been paid to the independent cognitive activity students, which is the basis for self-development, further active work of schoolchildren in higher educational institutions. At the same time, most high school teachers are faced with the inability of students to independently investigate a particular educational problem, select the necessary material, refer to the works of scientists, and express their point of view on an issue of interest with reason. Thus, schoolchildren are incapable of creative research activities whose skills become necessary when studying at universities.
Today the whole system literary education regardless of the program, it is based on the analysis of a literary text. This type of work is present at the All-Russian, regional Olympiads, in the formulation of essay topics at final and entrance exams. That is why there is a need to carry out at school in literature lessons complex analysis text, conduct search and research activities that help students interpret the work, deepen and expand the ability to understand it, and, most importantly, formulate their attitude towards it.
The use of the research method in the analysis of a literary text is the leading type of work in the process of studying literature in grades 5–11, as well as in extracurricular activities by subject.
The research method is designed to ensure, firstly, the creative application of knowledge, and secondly, the mastery of methods scientific knowledge in the process of finding these methods and applying them. Thirdly, it forms ... the features of creative activity. And, fourthly, it is a condition for the formation of interest, the need for this kind of activity.
When working with a literary text in literature lessons, I organize students' research activities, which include a level-by-level analysis of the work:
Cultural (place of work in literary process);
Literary analysis (analysis of linguistic means);
Linguistic analysis (analysis of syntax and morphology).
Work on the formation of the primary skills of literary analysis of the text begins with the 5th grade. Observation of the language and plot of fairy tales is the initial stage of learning to analyze a literary text. Also in the 5th grade, research work begins in the lessons devoted to the study of lyrical works.
Further analytical work with the text continues, deepening and becoming more complex. In high school, complex text analysis acquires the features of a research work.
In school research activities, the actual discovery does not occur. But this does not mean that the student and the teacher do not discover anything new. Final result- own interpretation literary material(themes, problems), a new look at works of art. In order for this interpretation to take place, to be justified, reasoned, it is important for the teacher to find a topic, a problem in the solution of which the student can say “his word”, direct the search by suggesting a research methodology. The success of the research is largely determined by the topic. Appeal to the topics studied by literary criticism, classical for literary criticism, is undoubtedly useful and interesting in terms of knowledge for a student who is passionate about literature.
Research work within each academic subject has its own characteristics and helps to solve specific problems. This type of activity in the field of literature teaches a high school student to work independently with the text, enriches the reader's experience, helps to form evaluative positions, and make his professional choice.
Literary criticism considers the text from the point of view of its content, themes, ideas, etc. Literary analysis determines to which literary genus the work belongs, to the tradition of which literary movement it belongs, to which genre, etc.
Within the framework of the literary approach, the means artistic expressiveness. Their absence can also be a means of expression.
The analysis of the structure of a literary work lies in how its composition is determined - that is, the plot structure, the arrangement of parts, their relationship, etc. In addition to the plot, extra-plot elements are also analyzed: lyrical digressions, inserted episodes.
When analyzing plot construction, special attention should be paid to the use of time and place in the narrative. The space in which the action takes place can be large, or it can narrow down to the tight boundaries of one room. Space can be real (as in a chronicle or historical novel) or imaginary. The writer also creates the time in which the action of the work takes place. It can span centuries or just hours. Time in a work can go quickly or slowly, intermittently or continuously. It can be intensively filled with events or be based on "empty", eventless. It is symbolic if the time in the work moves from spring and summer heyday to autumn sadness. Such a flow of time is typical, for example, for the world of Turgenev's prose.
Literary analysis considers the role of dialogues and monologues, portraits, landscapes, interiors, etc.
Character analysis, from this point of view, involves systematization, grouping. The simplest case is the division of all actors into friends and enemies of the protagonist. In more complex works There may be several such groups.
Lesson plan for literature in grade 7.
Lesson topic: “Analysis of the poem by M.Yu. Lermontov "Prayer".
Goals:
- Educational:
- Develop the skills of literary analysis of a poetic text
- Through the analysis of poems, discover new features in the character of M.Yu. Lermontov - a poet and a person
- Developing:
- continue the formation of monologue speech;
- realize mental activity, the ability to compare, generalize, analyze;
- develop cognitive activity.
- Educational:
- education of the ability to navigate in additional literature;
- nurturing the skills and abilities of a respectful attitude towards classmates, the opinions of others, an objective approach to assessing other people's knowledge, observing disciplinary guidelines.
Equipment : portrait of M.Yu. Lermontov, handout manual, reproduced for the lesson, (attached), prayer book.
During the classes.
- Organizing time.
Let's write in the notebook the topic of the lesson, the epigraph to which are the lines of M.Yu. Lermontova: “My soul, I remember, from childhood I was looking for the miraculous…”
In addition to the textbook and notebook, today we will need teaching aids that lie in front of everyone on the table.
- Actualization.
We start the conversation with the topic of the lesson, where there are two keywords that are familiar to us: Lermontov and the poem.
- Recall what a poem is as a genre of literature? (children's answers) Now let's turn to the literary dictionary (2-page method. manual) and read what a poem is
To understand and then expressively read a lyrical work, you need to explore it: analyze its form and content. Let us turn to the analysis scheme of the poem on page 2 of the manual.
- What should we analyze in order to understand the feelings and thoughts of the author?
(artistic means)
- What artistic means help the author convey his feelings and thoughts? The literary dictionary on 2 pages of the manual will help you answer this question.
So, exploring artistic means, we will understand the feelings and thoughts of the author, in other words, the author's intention.
- Whose plan are we to understand today? (M.Yu. Lermontova)
- What can you say about the personality of the poet? (lonely, sad, pensive, conflicted...)
Task for the guys: let's continue to draw a portrait of Lermontov for ourselves. Let's see what made the poet say: "My soul, I remember from childhood
I was looking for a wonderful ... ".
To do this, we study the poem "Prayer".
- Analysis of the poem.
- What is the theme of the title of the poem?
- What will the poem be about? (about prayer, about God, about faith ...)
- What is prayer? (man's appeal to God, see manual)
On the desk : According to the Bible (Christian book) is
God | Devil |
|
Good Light | Evil Dark |
- Why does a person turn to God? (To find goodness, light, peace of mind, to purify the soul ...)
- Why is it necessary to purify the soul? (see training manual) According to the Bible, a person has
form | |
Body | Soul |
mortal | Immortal |
will die | Will live forever |
↓ Will go to heaven or hell |
To get to heaven, you need to cleanse the soul of sins!
Write down in your notebook:Prayer is an appeal to God for the purification of the soul.
Here is one of these cleansing prayers that children used to memorize in the gymnasium.
(prayer "Our Father", see manual) Draw the attention of the guys to the prayer book, which is at the exhibition. Read the prayer aloud.
- What does a person ask for in this prayer? (bread today, forgiveness of sins, not to lead into temptation (into sin, into an unclean deed)
- From whom does he ask to be delivered? (from the evil one, i.e. the devil)
On the board: So, From darkness to light
(pursuit)
Prayer is a talisman that protects a person from adversity.
Listen to "Prayer" by M.Yu. Lermontov (p. 93 of the textbook) and think:
- What is the intonation of the poem?
- What feelings does it evoke in us?
On the desk:
- What are the main words in this poem? (which express the theme of faith)
Write quotes in your notebook:
- What mood do these words convey? (bright, joyful, tenderness)
- Do you understand the word "gracious"? (bringing good, good)
See training manual: Grace (according to the Bible).
The power of grace is the power, carrying a person hope for the salvation of the soul.
- Line analysis.
- What state of the human soul is reflected in it? What feelings are more? (sadness, sadness, difficult moment)
- What artistic means convey these feelings? (metaphor: " sadness crowds ”, epithet: “in a minute of life difficult")
But there is a gap - "wonderful prayer."
- When does the lyrical hero of Lermontov turn to God? (in Hard time when it's dark inside)
b) Read the second stanza of the poem.
- What mood are we seeing here? (more light, joy)
- What literary means of expression does the author use? (epithets: blessed, consonance of living words, incomprehensible holy charm)
- What is described by these epithets? (the power and charm of the "living word" - prayers) Or maybe poems?
So, the "living word", according to Lermontov, purifies, leads to God, to the light.
On the board: from darkness to light
in) Let's read the third stanza.
- What is she telling us? What is the mood? (joy, light, light) Longing and languor leave, they are replaced by faith, hope, tears of relief.
- What artistic means convey this state?
From the soul as a burden rolls down - a metaphor
Doubt is far away - an epithet
Easy, easy - an epithet
Believe.cry - impersonal reflexive verbs
- So what is the poet talking about in these three stanzas? (about the purification of the soul by prayer, about the movement of the human soul from Darkness to Light (to God), from Evil to Good)
And besides these thoughts transmitted to our mind, Lermontov also addresses our feelings, he wants us to empathize with this movement with the lyrical hero.
- How do feelings change? (from sadness and longing to faith and joy)
- How does this movement of the soul convey the structure of sentences? (Each stanza is one complicated complex sentence. A comma moves forward - from darkness to light. The same opposition of darkness and light is conveyed by antonyms (in stanzas 1 and 3: it is difficult-easy, sadness is crowded, the burden will roll down)
- What is the name of this artistic technique? (antithesis)
- So, what feelings and thoughts does the author convey to us through the form?
- Now let's expressively read the poem, trying to convey thoughts and feelings lyrical hero.
- What new did we learn about the personality of M.Yu. Lermontov? What features can we add to his portrait? (Believing in God, in Good, in Light)
Why does he turn to God? (does not find faith in himself, in others, in life - “acutely lonely.” No wonder in 1831 Lermontov wrote:
My soul, I remember from childhood
I was looking for a wonderful ...)
And he finds the “wonderful” in the “living” word of prayer and verse!
The "living" word of Lermontov's poems is still being talked about. Before you are the words of D.S. Merezhkovsky (see the training manual)
Those who are interested in the portrait of Lermontov, a poet and a man, can read books about him (Lermontov's Encyclopedic Dictionary).
- Homework: the poem "Prayer" expressively read by heart.
The performance of a literary work requires
special training. Before voicing
literary text, you need to find answers to the following
questions:
1.
Do I like the literary work that I
going to read to the kids? What attracted me to it?
What is special about it?
2.
Why do I want to read this to children?
work? What should happen to them after
reading this work? What feelings do I want
call them? What do I want to think about with them?
The answers to these questions must be sought in the work itself.
But until you ask yourself specific questions, your
impressions will not be clear. Just by translating them into
linguistic form, having formulated in a word, you really
start thinking, and therefore, comprehend the subtext. Process
pondering the work will lead you to the need
his literary analysis, i.e. to more detailed
consideration of the work.
Questions about the author of the work
QUESTIONS ABOUT THE AUTHORFolklore or literary in front of you
work? It is important to immediately understand whether
copyrighted work. If it belongs to
folklore, then you need to work with it according to the laws
folklore. How to do this, we
consider in the next chapter.
2.
If the work is literary, then who is its author,
where and when did he live and when was this created
work?
The creation time does not have to be set from
accurate to a year, but the period of time is a century and its
a quarter is important because literature is always
reflects a specific era, even if it wears
timeless character. Also important is the country
which the writer lived and lives. Life of a person
is necessarily reflected in the work, and he, as
known to carry national traits and wherein
changes over time.
1.
Theoretical and literary questions
THEORETICAL AND LITERARY QUESTIONSEach literary genre has its own
specifics to be taken into account
parsing the work.
Genre is always a specific point of view
author to the world. Each genre requires a special
intonation: the reader looks at the world through the eyes of the author.
Every genre has its own voice
their special intonations, which should
know the artist. Focusing on the genre
the reader will be able to accurately select the necessary
expressive means. Each type of speech requires a special pronunciation -
You can't read poetry the way you read prose.
Poetic speech is organized more complex,
than prose, it is more figurative and therefore
harder to comprehend. But at the same time she
easier to remember, more powerful
affects human emotions
its distinct rhythm, rhyme, imagery.
Features of poetic works
FEATURES OF POETRYWORKS
Let's name the laws of the verse:
1. Compliance with the interlinear pause: in
the poem contains special pauses,
which are not in prose speech; they
mark the end of a line of poetry
set the rhythm. Such pauses are called
interverse.
2. The unity of the poetic line: everything
words in a line of poetry are closely "soldered"
among themselves, so the longest
pauses can be inter-linear. If a
need to make a logical pause inside
line, then it should be replaced
intonation. 3.
4.
Compliance with author's stresses: rhythm
poem tells the reader which
the syllable of each word is stressed. Sometimes
author's accents do not match
orthoepic norm, but replace them with
cannot be correct, since such substitutions
destroy the rhythm of the poem. Pyrrhic omissions of stress on a strong place - attach
colloquial sound to the verse.
Compliance with the number of syllables in a line: in
each line of the poem
number of stops with a certain alternation
stressed and unstressed syllables. The Art of the Reader
poetry is to
combine in reading the word, feeling, thought of the author
and the melody of the verse.
Features of prose works
FEATURES OF PROSEWORKS
Prose does not make children want to imitate
its form, create your speech works
Similarly. But at the same time, children love to play in
prose characters.
Prose speech is more fluid, because in
it has more long sentences. Content
prose works are perceived
easier, but the prose is not so good
remembered, often children's perception of prose
does not differ in integrity.
reading view
The modern study of the text has its own characteristics - the strengthening of the communicative orientation: the text is studied from the standpoint of the dialogue between the author and the reader. The communicative approach expands the idea of its properties, units and categories, structure, semantics, pragmatics.Allocate different kinds literary text analysis: philological, linguistic, stylistic, literary criticism.
The purpose of philological analysis is to show the meaning and cultural status. The features of philological analysis include: historicism, anthropocentricity, cultural orientation, attention to the form and content of the text and their mutual conditionality, lexical centricity. Philological analysis of the text includes linguistic, stylistic and literary analysis, as well as coverage of the cultural and historical context of the era.
The purpose of the linguistic analysis of the text is “to show the means by which the ideological and related emotional content of the work is expressed” (L.V. Shcherba).
Target stylistic analysis- consideration of the text from the point of view of linguistic and extralinguistic factors of style formation as a manifestation of stylistic usage and individual author's style.
The purpose of literary analysis is to reveal the content of a literary text as a work of art in the cultural and historical context of the era.
The purpose and objectives of literary analysis of the text
The text is considered as a work of art, formed in the literary and cultural-historical context of the era, reflecting the natural development of the literary process. The analysis includes textual and non-textual information: the study of the author's worldview, the process of formation creative personality, belonging to a certain literary direction, genre specifics of the text, features of the composition, figurative system, themes and problems of the work, its main pathos and artistic and aesthetic originality.
Text analysis is impossible without taking into account the relationship between form and content. In the unity of consideration of the form and content of the text, one can cognize its artistic meaning. Its definition is common goal different types text analysis.
Features of literary text analysis
Read the work and try to find out what the writer is talking about to you personally. This is followed by an interpretation in the first approximation and a purposeful analysis, which aims to expand the primary interpretation.
It is necessary to determine the dominants of the work, the properties of the artistic content that unite the elements, the problem-semantic core that ensures the unity of the content.
What are dominants? Content dominants include: artistic problems, varieties of pathos and the idea of the work. To objectify your impressions, you need to turn to the analysis of the linguistic form and stylistic features of the text. Literary analysis of the text requires additions and linguistic justification.
In the process of analysis, a reliance on the historical and literary context is needed. You need to know the history of the creation of the work and literary destiny the author, his worldview and creative credo; an idea of the literary process at the corresponding stage in the development of literature. This information will allow you to more accurately interpret the meaning of the text.
A literary text allows for many interpretations, depending on the text itself and on the level of spiritual, psychological and speech culture, the social experience of readers and other factors.
One way or another, the objective way to study a work lies through the analysis of its form, i.e. through linguistic analysis. An interesting method of analysis of the famous literary critic M. Gasparov, which is based on the identification of three levels of analysis:
1) the upper level of analysis - ideological and figurative(ideas and emotions, images and motives);
2) average level - stylistic(analysis of vocabulary and syntax);
3) lower - phonic(metrics, rhythm, rhyme, stanza).
Scheme of literary text analysis
The general scheme of analysis can include:
1. Time and circumstances of writing the work. When indicating the time and circumstances of writing the work, a brief description of the socio-historical situation in society should be given.
2. The place of the work in the work of the writer. It is necessary to rely on knowledge of his biography, as well as information about creative pursuits the author and his aesthetic credo.
3. Literary gender(epos, lyrics, drama). Information about the literary genre of a work is important due to its specificity and significance for understanding the ideological and artistic originality text.
4. The genre of the work. Genre is an important means of text formation, which determines the selection and organization of language means, as well as the aspect and scale of the reflection of the surrounding world in an artistic form.
5. The main problem of the work. Determination of the problems of a literary work, i.e. the statement in it of complex vital and socially important issues, tasks that need to be resolved, is the result of a generalization of the events, episodes, and situations reflected in the work. The choice of problems expresses the author's individuality, the worldview of the writer, his picture of the world.
To analyze the problems, it is important to identify the originality of the work, the given author; compare (at least in the process of preparing for analysis) the work under study with others and understand what is unique in it. It is important to find the "highlight" this work, and it often lies in the area of problems. Different types of problems are distinguished: national, socio-cultural, ideological and moral, philosophical.
6. Subject. The topic of a literary work is connected with the problematics of a literary work. The topic is judged by facts and events.
7. Composition. The composition itself can express a certain aesthetic meaning, determine the pragmatics of the text. Analysis of the composition reveals the principle that organizes the overall structure of the work. Distinguish between simple and complex composition.
A system-logical, or retrospective, presentation is singled out. It is divided into three types: linear, parallel and multidimensional. Linear composition reflects the natural sequence of facts. Parallel composition is marked by additional relations of compared facts and events. Multidimensional Composition implies the presence of various spatial, temporal, conditional connections, includes elements of generalization. Along with the noted phenomena, in the study of composition, montage is important, reflecting the method of constructing a work, which is characterized by discontinuity (discreteness) of the image, its fragmentation, the presence of comparisons and oppositions that are not dictated by the logic of the depicted, directly imprint the author's train of thought and associations. Such a composition is called a montage composition.
8. The main pathos of the work and emotional tone. An important element of the analysis is the definition of pathos. Belinsky associated pathos with the features of the work and creativity of the writer, with the "idea-passion". In modern literary criticism, the types of pathos include heroics, tragic, romantic, etc. The pathos of a work is largely determined by the author's belonging to a particular direction in literature.
The pathos of a literary work is correlated with its emotional tone, which can vary, reflecting the dynamics of the artistic development of the text. There are minor, major, pathetic, lyrical and other types of emotional tonality of the text.
9. Figurative system. The realities of the artistic world, related to the subject-logical level of the text, reflected in the mind of the reader, form specific sensory representations (images) and concepts. Artistic images of time and space, images of the narrator and lyrical heroes, images of characters, etc. stand out. In creating images, lexical means are especially important: in philology, a word is considered as a form of an image.
10. Idea. Revealing the idea of a work is the result of the analytical generalizing work of the reader's consciousness. Sometimes, however, the idea is explicated by the author in the form of a maxim at the beginning or at the end of the work. More often, the idea is indicated by the structure of the text, in which the various elements and the nature of their relationship are important. The idea is interpreted as "basic, the main idea, the idea that determines the content of something. This is what the writer wanted to express in his work, what he calls for and what he claims.
11. Artistic Features(paths, figures, tricks). Artistic features include figurative and expressive means used by the author. Not only their types and quantity are important, but also the specificity of the individual author's understanding and organization, as well as aesthetic functions.
Literary analysis of a lyrical work
As an example of literary analysis, let us turn to the poem by M.Yu. Lermontov "Goodbye, unwashed Russia...»:
Farewell, unwashed Russia,
Country of slaves, country of masters.
And you, blue uniforms,
And you, their devoted people.
Perhaps behind the wall of the Caucasus
I will hide from your pashas,
From their all-seeing eye
From their all-hearing ears.
1. The poem was written in 1841 before the second exile of the poet to the Caucasus. 40s of the XIX century. are characterized as a time of social passivity of society, which replaced the national upsurge of the people in the Patriotic War of 1812 and the Decembrist uprising of 1825.
2. The work belongs to the mature stage in the work of Lermontov. In the 40s, such masterpieces of the poet's civil lyrics were written as "January 1st", "Both boring and sad ...", "Motherland", "Clouds", etc. The poem "Farewell, unwashed Russia ... ”reflects the traditions of Decembrist poetry with its high civic pathos and call for social protest. This stage of Lermontov's work is characterized by a sharply critical perception of reality, bitterness and the motive of loneliness, a feeling of inconsistency between dreams and real life. These features are reflected in the poem under consideration.
3. The work belongs to the lyrics and is characterized by a pronounced subjective attitude to the described reality. This is a lyrical monologue of the author, which contains a challenge to autocratic Russia. The work is characterized by limited descriptiveness, rhetoric, conventionality (for example, a hint of surveillance, eavesdropping, suppression of freedom - thanks to hyperbolization and the ability to turn a detail into a symbol: from their all-seeing eye, from their all-hearing ears).
4. The work belongs to the genre of a lyrical poem — this is an appeal to "the country of slaves, the country of masters." The accusatory pathos of the work, its angry intonation and clear rhythm are formed not only thanks to the vocabulary and syntax, but also due to the poetic meter chosen by the author - iambic tetrameter.
Semantic richness, conciseness, lack of verbosity, rhetoric make up important features poems.
5. The problematic of the poem can be described as anti-serfdom . This is a work about the Motherland, full of pain and bitterness for the people, who are passive and oppressed by the autocracy. The poem is characterized by monologism, a tendency towards expressiveness and open appraisal.
6. The main theme in the work is the theme of the Motherland and the fate of the Russian people. Unlike other works of Lermontov, where there is a contrast between the heroic past of Russia and gloomy reality, the poem in question presents contemporary to the poet Russia with its despotic orders worthy of denunciation.
7. The composition of a small poem, consisting of two stanzas, is simple. The key statement - a maxim, reflecting the theme and idea of the work, opens the work, built in the form of a monologue-reflection of the lyrical hero. The following presentation reveals and complements the meaning of the key statement. Thus, the general logical scheme of a poetic text includes a thesis and arguments.
8. The pathos of the analyzed poem can be defined as a combination of the tragic and the satirical with elements of irony.
The pathos of the work is associated with the poet's characteristic state of "transition" from romanticism to realism, their peculiar combination. The text shows the reflection of the author, his immersion in himself, the tragic discord with surrounding reality, longing for a high, perfect, characteristic of romance . At the same time, the poem embodies specific historical details of a certain stage in the development of society, expressed in artistic form, the author openly criticizes the existing order of things in the spirit of realism . In the work under consideration, conditional forms characteristic of a satirical image are presented: paraphrase blue uniforms(about the royal gendarmes - the guardians of the autocratic order, who wore blue uniforms); Pasha(their ironic designation by the name of Turkish military dignitaries); all-seeing eye, all-hearing ears symbols that personify the brutal order in the country, based on denunciations and surveillance. rhetoric, which distinguishes the poem, is expressed by the excited appeal "Farewell, unwashed Russia ...", the use of vivid epithets, synecdoches and paraphrases (blue uniforms) metaphors (unwashed Russia, the wall of the Caucasus), hyperbole (From their all-seeing eye, / From their all-hearing ears).
9. General emotional tone works - indignant, painted with pain and bitterness for the desecrated people. Estimated epithet "unwashed", i.e. dirty,- in the context of the poem, it has the actual meaning of “trans. immoral, immoral." The following exposition reveals the essence of this through the device of contrast: land of slaves, land of masters. In shaping the image of the people, silently remaining in slavery, an important role belongs to the epithet "devotee" . Devotee - i.e. "full of love and fidelity", resigned. It is this circumstance that deeply revolts the lyrical hero.
The images of gendarmes are expressive, formed on the basis of the associative-semantic connection of lexical means: blue uniforms, pashas, all-seeing eye, all-hearing ears. The image of the lyrical hero in this work is painted tragically. This is a brave, proud person, deeply suffering for his Motherland, denying the obedience and humility of the people and the royal order. Regarding the chronotope, it is interesting to note that the poem presents images of the present time (“here” and “now”) - Farewell, unwashed Russia... and future: - Perhaps, behind the wall of the Caucasus, I will hide from your pashas ... The image of space as visible and imaginary, large-scale and remote (wall of the Caucasus) actualized in the reflections of the lyrical hero. In general, the figurative structure of the poem is aimed at expressing his idea.
10. The idea of the work can be defined as a condemnation of the autocracy and the social passivity of the people.
11. The artistic features of the poem are determined by its ideological and thematic originality and high civic pathos. All figurative and expressive means are aimed at creating a revealing tone, being focused on key images. Techniques of rhetorical appeal and contrast at the beginning of a poem (Goodbye, unwashed Russia, Country of slaves, / country of masters) determine the subsequent artistic development of the text. The contrast is enhanced by contrasting images people and royal gendarmes due to synecdoche, periphrase and expressive epithet:
And you, blue uniforms, And you, the people devoted to them.
Use of metaphors , hyperbole in the formation of a generalizing image of autocratic despotism, total surveillance and eavesdropping is very expressive and pragmatically effective.
Thus, the system of bright artistic means and techniques forms the figurative structure of the work, expressing its ideological content.
The poem is typical of Lermontov's late lyrics and reflects his individual author's stylistic features: romantic pathos combined with historically specific realistic authenticity in describing the social realities of the 40s of the 19th century, open social protest and rejection of the autocratic system; increased expression and variety of figurative and expressive means.
When compiling the text, "Introduction to the Theory of Literature" O.L. Sizykh was used.
Copyright Contest -K2
Table of contents:
1. Techniques for analyzing a literary text
2. Criteria for the artistry of a work (general and particular)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narrative, description, reasoning as ways of presentation
7. Evaluation of language and style. Speech errors.
8. Character evaluation
9. Evaluation of artistic details
10. Features of the analysis of the story as a form of fiction
A literary text is a way of perceiving and recreating the reality surrounding it by the author.
The author reflects the world in a special artistic and figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, allows us to understand the development of human characters, connections and relationships.
A literary work should be considered as a systematic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When evaluating, the main thing is to catch the originality of the structure of a particular work and show where the solution of images, situations does not correspond to the plan, creative manner writer, the general structure of the work.
TECHNIQUES FOR ANALYSIS OF ARTISTIC TEXT
Analyzing the text, it is always necessary to correlate the whole with the particular - that is, how the general idea of the work, its theme, structure, genre are realized through the plot, composition, language, style, images of characters.
The task is not simple.
To solve it, you need to know some tricks.
Let's talk about them.
The first technique is the PLANNING of the work, at least mentally.
I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If you describe his actions in clever words, then Alex highlights the supporting semantic points in the text and reveals their subordination. This helps to see and correct factual and logical errors, contradictions, unsubstantiated judgments, etc.
The “translation” of the text into “their” language works very well. This is the criterion for understanding the text.
There is also an ANTICIPATION technique - anticipation, anticipation of the subsequent presentation.
When the reader understands the text, he kind of assumes. Foresees the direction of development, anticipates the thoughts of the author.
We understand that everything is good in moderation. If the plot and actions of the characters are easily viewed, reading such a work is not interesting. However, if the reader cannot follow the author's thought at all and guess at least the general direction of its movement, then this is also a signal of trouble. The process of anticipation is violated when the logic of presentation is violated.
There is one more technique - this is the STATEMENT OF PRELIMINARY QUESTIONS, which our dear Boa constrictor loves so much.
What happened to this minor character? Why did the other character do this? What is hidden behind the mysterious phrase of the heroine?
It is essential that the necessary majority of such questions be answered in the text. All storylines must be completed, mutually linked or logically cut off.
Curious is the fact that the reader and the author seem to be moving in opposite directions. The author goes from idea to structure, and the reader - on the contrary - evaluating the structure, must get to the bottom of the idea.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "Kitten named Woof"? When did a kitten and a puppy eat a sausage and meet exactly in the middle? You will laugh, but in literature everything is exactly the same.
What dangers lie in wait for the authors = the most vulnerable link in the process. Reader what? He snorted, closed the book and went on, and the author suffers.
Oddly enough, there are two dangers. First, the reader did not understand the author's intention at all. The second is that the reader put in his own idea (instead of the author's, which turned out to be on the side). In any case, there was no communication, no emotional transmission either.
What to do? Analyze text! (we return to the beginning of the article). Look where the miscoordination took place, and the idea (theme \ structure \ genre) diverged from the embodiment (plot \ composition \ style \ images of characters).
CRITERIA FOR ARTISTICITY OF A WORK
They are divided into public and private.
GENERAL CRITERIA
1. The unity of the content and form of the work.
The artistic image does not exist outside of a certain form. An unsuccessful form discredits the idea, may raise doubts about the validity of what has been said.
2. The criterion of artistic truth = undistorted recreation of reality.
The truth of art is not just the truth of fact. Often we see how the author, defending his work (usually unsuccessful), puts forward an iron (in his opinion) argument - I described everything as it really happened.
But a work of art is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince with their aesthetic power. The critic does not assess the authenticity of the realities - he assesses whether the author has managed to achieve the necessary emotional impact with the facts and images presented.
The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and is reflected in the content, which the author reveals in an original form that is inherent in him. This is the attitude of the author, his special vision, which is expressed in special stylistic techniques of writing.
4. Emotional capacity, associative richness of the text.
The reader wants to empathize with the events along with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creation is the main purpose of the artistic image in literature.
The reader's emotions should be evoked by the image itself, and not imposed by the author's statements and exclamations.
5. The integrity of the perception of the narrative.
The image appears in the mind not as a sum of individual elements, but as an integral, unified poetic picture. M. Gorky believed that the reader should perceive the images of the author immediately, as a blow, and did not think about them. A.P. Chekhov added that fiction should fit into a second.
The criterion of integrity applies not only to elements designed for simultaneous perception - comparisons, metaphors - but also to those components that can be located in the text at a considerable distance from each other (for example, portrait strokes).
This is important when analyzing the characters of the characters. It is not uncommon for novice authors when descriptions of the actions, thoughts of a character do not create in the reader's imagination a picture of him. spiritual world. Facts are full of eyes and imagination, and the whole picture does not work.
SPECIAL CRITERIA
They relate to individual components of the work - themes, plot, characters' speech, etc.
EVALUATION OF THE PLOT OF THE WORK
The plot is the main means of recreating the movement of events. The optimal option can be considered when the intensity of the action is determined not only by unexpected events and other external methods but also by the internal complexity, deep disclosure of human relationships, the significance of the problems posed.
It is necessary to understand the relationship between the plot and the images of the characters, to determine the significance of the situations created by the author in order to reveal the characters.
One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes sketchy and far-fetched. The author builds the narrative freely, but he must achieve persuasiveness so that the reader believes him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the former hero in the new adult.
The plot is the concept of reality (E.S. Dobin)
Plots arise, exist, are borrowed, translated from the language of one type of art to another (staging, film adaptation) - and thus reflect the norms of human behavior inherent in a particular type of culture. But this is only the first side of the relationship between life and art: plots not only reflect the cultural state of society, they form it: “By creating plot texts, a person has learned to distinguish plots in life and, thus, interpret this life for himself” (c)
The plot is an essential quality of a work of art; it is a chain of events that are inevitably present in this type of work. Events, in turn, are made up of the actions and deeds of the characters. The concept of an act includes both externally tangible actions (came, sat down, met, went, etc.), and internal intentions, thoughts, experiences, sometimes resulting in internal monologues, and all sorts of meetings that take the form of a dialogue of one or more characters.
The assessment of the plot is very subjective, however, there are certain criteria for it:
- the integrity of the plot;
- complexity, tension of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.
Plot types
There are two types of plots - dynamic and adynamic.
Signs of a dynamic plot:
- the development of the action is intense and fast,
- in the events of the plot lies the main meaning and interest for the reader,
- the plot elements are clearly expressed, and the denouement carries a huge content load.
Signs of an adynamic plot:
The development of the action is slow and does not tend to a denouement,
- plot events do not include special interest(the reader does not have a specific tense expectation: “What will happen next?”),
- elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the denouement is either completely absent, or is purely formal,
- in the overall composition of the work there are many extra-plot elements that shift the center of gravity of the reader's attention to themselves.
Examples of adynamic plots - " Dead Souls» Gogol, «The Adventures of the Good Soldier Schweik» Hasek, etc.
There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be reread from any place, works with a dynamic plot - only from beginning to end.
Naturally, with an adynamic plot, the analysis of plot elements is not required, and sometimes it is completely impossible.
COMPOSITION EVALUATION
Composition is the construction of a work that unites all its elements into a single whole, it is a way of disclosing content, a way of systematic organization of content elements.
The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, a certain type of text.
Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- parts must be proportionate;
- Composition techniques should be determined by the content and nature of the work.
Depending on the relationship of the plot and plot in specific work talk about different types and techniques of plot composition.
The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called DIRECT or FABUL SEQUENCE.
More complicated is the technique in which we learn about an event that happened before the rest at the very end of the work - this technique is called DEFAULT.
This technique is very effective, because it allows you to keep the reader in ignorance and tension until the very end, and at the end to amaze him with the unexpectedness of the plot twist. Due to these properties, the default technique is almost always used in works detective genre.
Another method of violating the chronology or plot sequence is the so-called RETROSPECTIVE, when, in the course of the development of the plot, the author makes digressions into the past, as a rule, at the time preceding the plot and the beginning of this work.
For example, in "Fathers and Sons" by Turgenev, in the course of the plot, we encounter two significant flashbacks - the prehistory of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev's intention to start the novel from their youth, because it would clutter up the composition of the novel, and it seemed necessary to the author to give an idea of the past of these heroes - therefore, the technique of retrospection was used.
The plot sequence can be broken in such a way that events of different times are given mixed up; the narrative constantly returns from the moment of the ongoing action to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the characters. It's called FREE COMPOSITION.
When analyzing a literary text, one should consider the motivation for using each technique in terms of composition, which must be supported by the content and figurative structure of the text.
Many of the shortcomings of the composition are explained by the violation of the requirements of the basic laws of logic.
The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- go beyond the topic;
- incomplete disclosure of the topic;
- disproportion of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- Unsuccessful breakdown of the text into paragraphs.
It must be remembered that in fiction, following a phased logical plan is not at all necessary, sometimes in violation of the logic of the development of the plot one must see not a compositional flaw, but special reception compositional construction works designed to increase its emotional impact. Therefore, when evaluating the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.
OUTSIDE ELEMENTS
In addition to the plot, there are also so-called extra-plot elements in the composition of the work, which are often no less or even more important than the plot itself.
Extra-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions.
If the plot of a work is the dynamic side of its composition, then the extra-plot elements are the static side.
There are three main types of extra-plot elements:
- description,
- lyrical (or author's) digressions,
- insert episodes (otherwise they are called insert short stories or inserted plots).
DESCRIPTION is a literary depiction of the outside world (landscape, portrait, world of things, etc.) or a sustainable way of life, that is, those events and actions that occur regularly, day after day and, therefore, also have nothing to do with movement plot.
Descriptions are the most common type of non-plot elements; they are present in almost every epic work.
LYRICAL (or AUTHOR'S) RETRACTS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; at the same time, these statements do not characterize individual characters or the relationship between them.
Authorial digressions are an optional element in the composition of a work, but when they nevertheless appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play the most important role and are subject to mandatory analysis.
INSERT SCENES are relatively completed fragments of the action in which other characters act, the action is transferred to a different time and place, etc.
Sometimes insert episodes start to play and the work even big role than the main plot: for example, in Gogol's "Dead Souls" or Hasek's "Adventures of the Good Soldier Schweik".
ASSESSMENT OF SPEECH STRUCTURES
Fragments are distinguished in the work by belonging to any type of text - narrative, descriptive or explanatory (reasoning texts).
Each type of text is characterized by its own type of presentation of the material, its internal logic, the sequence of arrangement of elements and the composition as a whole.
When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the predominant type.
It is necessary to analyze the fragments in terms of their correspondence to the characteristics of the type, that is, to check whether the narrative, description or reasoning is correctly constructed.
NARRATORY - a story about events in chronological (temporal) sequence.
Narrative is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how the transition from one state to another took place).
In addition, almost every story has its own rhythm and intonation.
When evaluating, it is necessary to check how correctly the author chose the key moments so that they correctly display events; how consistent the author is in presenting them; whether the connection between these main points is thought out.
The syntactic structure of the narration is a chain of verbs, therefore the center of gravity in the narration is transferred from words related to quality to words that convey movements, actions, that is, to the verb.
There are two modes of narration: epic and stage.
The epic way is a complete story about events and actions that have already taken place, about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a narrative about the events of the Great Patriotic War in a history book).
The stage method, on the contrary, requires that the events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through the gestures, movements, words of the characters. At the same time, the attention of readers is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are winding ... The invisible moon illuminates the flying snow ...”).
The most common shortcoming in the construction of the narrative: its overload with little significant facts and details. At the same time, it is important to remember that the significance of an event is determined not by its duration, but by its importance in terms of meaning or for the sequence of presentation of events.
When analyzing descriptions in work of art there is no rigid scheme. It is in the descriptions that the author's individuality is most clearly manifested.
A reasoning is a series of judgments that relate to a certain subject and follow each other in such a way that others follow from the previous judgment and as a result an answer to the question posed is obtained.
The purpose of reasoning is to deepen our knowledge about the subject, about the world around us, since the judgment reveals the internal features of objects, the relationship of features among themselves, proves certain provisions, reveals the reasons.
The peculiarity of the reasoning is that it is the most complex view text.
There are two types of reasoning: deductive and inductive. Deductive reasoning is from the general to the particular, while inductive reasoning is from the particular to the general. The inductive or synthetic type of reasoning is considered to be simpler and more accessible to the general reader. There are also mixed types of reasoning.
Analysis of reasoning involves checking the logical correctness of the construction of reasoning.
Describing the various ways of presentation, experts emphasize that the main part of the author's monologue speech is narration. “Narrative, storytelling is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell in an interesting, exciting way”
The author's appeal to other speech structures that increase the tension of the storyline depends on the individual style, genre and subject of the image.
LANGUAGE AND STYLE ASSESSMENT
There are different styles of different types of literature: journalistic, scientific, artistic, official business, industrial, etc. At the same time, the boundaries between styles are quite unsteady, the styles of the language themselves are constantly evolving. Within the same type of literature, one can see some differences in the use of linguistic means, depending on the purpose of the text and its genre features.
Linguistic and stylistic errors have many varieties. We list only the most common and most common of them.
1. MORPHOLOGICAL ERRORS:
Incorrect use of pronouns
For example. “You have to be really lucky in order to win a large artistic canvas for a few rubles. It turned out to be a technician Alexei Stroev. In this case, the incorrect use of the pronoun "him" creates a second anecdotal meaning of the phrase, as it means that Alexei Stroev turned out to be an artistic canvas.
Use plural nouns instead of singular. For example. "They wear baskets on their heads."
Ending errors.
For example. “A school, a bathhouse, a kindergarten will be built here next year.
2. LEXICAL ERRORS:
Inaccurate word choice, use of words that cause unwanted associations. For example. "Classes are held without warning, in a family atmosphere" - Instead of "without invitation", "at ease".
Inept use of phraseological phrases.
For example. "Our troops have crossed the line" - Instead of: "Our troops have reached the line / Our troops have crossed the line."
The use of expressions in relation to animals that usually characterize the actions of people or human relationships.
For example. "At the same time, the rest of the bulls gave excellent daughters."
3. SYNTAX ERRORS:
Incorrect word order in a sentence.
For example. “For joy, Avdeev felt his heart beat faster.”
Incorrect control and connection.
For example. "More attention should be paid to the safety of young people."
The use of syntactically unformed sentences.
For example. "Her whole small FIGURE LIKE more like a student than a teacher."
Punctuation errors that distort the meaning of the text.
For example. “Sasha ran around the gardens with the kids, played money while sitting at his desk, listened to the stories of teachers.”
4. STYLISTIC ERRORS:
- stationery style
For example. “As a result of the work of the commission, it was found that there are significant reserves in the further use of materials and, in connection with this, a decrease in their consumption per unit of production” - Instead of “The commission found that materials can be used better and, therefore, their consumption can be reduced.”
Speech stamps are a rather complex phenomenon, which is widespread due to the stereotyped thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- in paired words or satellite words (initiative-response),
- stamps - style decorations (blue screen, black gold),
- stencil formations (to carry an honorary watch),
- stamps - compound words (oven-giant, miracle tree).
The main feature of the stamp is the lack of content in it. A stamp must be distinguished from a linguistic cliché, which is a special kind of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.
ASSESSMENT OF ARTISTIC DETAILS
An artistic detail is a detail that the author endowed with a significant semantic and emotional load.
Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.
By means of a successfully found part, one can convey character traits appearance of a person, his speech, manners of behavior, etc.; convexly and visibly describe the situation, scene, any object, finally, the whole phenomenon.
Artistic detailing may be necessary or, conversely, redundant. Excessive attention to detail, which is typical for beginning writers, can lead to a heap of details that interfere with the perception of the main thing and therefore tire the reader.
There are two characteristic miscalculations in the use of artistic details:
It is necessary to distinguish an artistic detail from simple details, which are also necessary in a work.
The writer must be able to select exactly those details that will give a complete, lively, bright picture. Creating a “visible” and “audible” text for the reader, the writer uses real details, which in the work can be considered as a detail.
Excessive passion for details makes the picture motley, deprives the narrative of integrity.
Black Wand
SOME THOUGHTS OF THE ORDINARY READER ON ARTISTIC DETAILS
FEATURES OF THE ANALYSIS OF A STORY AS A FORM OF A ARTWORK
The story is the most concise form fiction. The story is difficult precisely because of its small volume. “There is a lot in the small” - this is the main requirement for small forms.
The story requires especially serious, in-depth work on the content, plot, composition, language, because in small forms, flaws are more clearly visible than in large ones.
A story is not a simple description of a case from life, not a sketch from nature.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. The author's position, the importance of the topic is also significant.
The story is a one-dimensional work, it has one storyline. One incident from the life of heroes, one bright, significant scene can become the content of the story, or a comparison of several episodes covering a more or less long period of time.
Too slow development of the plot, prolonged exposition, unnecessary details harm the perception of the story.
Although the opposite happens as well. Sometimes, with excessive brevity of presentation, new shortcomings arise: the lack of psychological motivation for the actions of the characters, unjustified failures in the development of the action, the sketchiness of characters devoid of memorable features.
N. M. Sikorsky believes that there is a thoughtful and unjustified brevity, that is, omissions in the presentation of events that are easily restored by the reader’s imagination, and unfilled voids that violate the integrity of the narrative. It is important to notice when a figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have a truly artistic conciseness. And here the artistic detail plays a special role in the story.
Doesn't usually happen in a story. a large number characters and many storylines. Overloading with characters, scenes, dialogues are the most common shortcomings of the stories of novice authors.
Evaluation of the work is carried out in order to clarify the originality of a particular work.
The analysis is carried out in several aspects:
1. Correlation of execution and intention (image as an expression of thoughts and feelings of the author);
2. Figurative accuracy (image as a reflection of reality);
3. Emotional accuracy of the impact of the text on the imagination, emotions, associations of the reader (the image as a means of aesthetic empathy and co-creation).
The result of the assessment is the creation of some recommendations that will improve the unsuccessful components of the text that do not correspond to the intention, the general structure of the work and the creative manner of the author.
Skillfully carried out transformation should not violate the integrity of the text. On the contrary, the release of its structure from the elements introduced by secondary influences will clarify the idea of the work.
Stylistic corrections eliminate inaccuracies, speech errors in manuscript, roughness in style;
when shortening the text, everything superfluous that does not correspond to the genre, the functional affiliation of the work is removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted that are necessary for coherence, a logical sequence of presentation.
“You carefully remove the excess, as if you are removing a film from a decal, and gradually a bright drawing appears at your fingertips. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation "(c)
Information for thought.
Before you are two editions of the text of the beginning of L. Tolstoy's story "Hadji Murad".
FIRST OPTION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this time of year: fragrant porridges, red, white, pink, love-not-love, with their spicy rotten smell, yellow, honey and island-shaped, - purple, tulip-shaped peas, multi-colored scabioses, delicate with a slightly plantain with pink fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wild flowers with their subtlety of finishing and slightly noticeable, not for everyone, with their gentle and healthy smell. I picked up a large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, of the variety that we call Tatar and which is diligently mowed or thrown out of the hay by mowers so as not to prick their hands on it. I took it into my head to pick this burdock, put it in the middle of the bouquet. I got down into the ditch and drove the bumblebee that had climbed into the flower and, since I did not have a knife, began to tear off the flower. Not only did it prick from all sides, even through the handkerchief with which I wrapped my hand, its stem was so terribly strong that I fought with it for about 5 minutes, tearing the fibers one at a time. When I tore it off, I crumpled the flower, then it was clumsy and did not go to the delicate delicate flowers of the bouquet. I regretted that I had ruined this beauty and threw the flower away. "What energy and strength of life," I thought, going up to him...
FINAL VERSION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this season: red, white, pink, fragrant, fluffy porridge; cheeky daisies; milky white with a bright yellow center “love it or hate it” with its rotten spicy stench; yellow colza with its honey smell; high-standing purple and white tulip-shaped bells; creeping peas; yellow, red, pink, purple, neat scabioses; with slightly pink fluff and a slightly audible pleasant smell of plantain; cornflowers, bright blue in the sun and in youth, and blue, and blushing in the evening and in old age; and tender, with an almond smell, immediately withering, dodder flowers. I picked up a large bouquet of different flowers and was walking home when I noticed in a ditch wonderful crimson, in full bloom, burdock of the variety that we call "Tatar" and which is diligently mowed, and when it is accidentally mowed, mowers are thrown out of the hay so as not to prick hands on it. I took it into my head to pick this burdock and put it in I got down into the ditch and, having chased away the shaggy bumblebee that had dug into the middle of the flower and sweetly and languidly fell asleep there, I began to pluck the flower. But it was very difficult: not only did the stem prick from all sides, even through the hand, - he was so terribly strong; that I fought with him for about five minutes, tearing the fibers one at a time. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Except moreover, he is rude and clumsy awn did not fit the delicate flowers of the bouquet. I regretted that in vain I had ruined a flower that was good in its place, and I threw it away. “What, however, is the energy and strength of life,” I thought, Remembering the efforts with which I tore off the flower. “How he defended hard and sold his life dearly.”
© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213052901211
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Analysis - Third criticism, positive
Quote - The evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters of the characters;
...
Plot elements are the stages in the development of a literary conflict (exposition, plot, development of action, climax and denouement). The selection of these elements is possible only in connection with the conflict.
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Literary analysis is the study of the parts and elements of the work, as well as the relationships between them. There are many ways to analyze a work, sometimes diametrically opposed (representatives of the "formal method" and most structuralists practically ignore the content aspects of the work, and scientists of sociological and cultural schools, on the contrary, often neglect the analysis of form). Different literary scholars, moreover, structure the literary text in different ways, which directly determines the differences in the methodology and methods of analysis. The most theoretically substantiated and universal is the analysis proceeding from the category of “substantial form” and revealing the functionality of the form in relation to the content. Such an analysis is aimed at clarifying how a meaningful feature is expressed in certain features of the form, and vice versa - what content lies behind this or that formal device. This approach does not destroy the artistic integrity of the work, on the contrary, it helps to comprehend the laws of its construction, the internal essential connections in it. An important issue is the question of the composition and structure of a literary work, as well as the assignment of an element (plot, collision, image of the author) to form or content. The following set of elements of analysis can be proposed. Within the framework of the content: topics, problems that contain some conflict; emotional value orientations of the whole work (in the terminology of G.N. Pospelov and his followers - pathos) and individual characters (tragic, romantic, satire, irony, etc.). Within the framework of the form: the depicted world, including the details of the landscape, portrait, object world, organization features artistic speech(monologue, polyphony, the specifics of the narration and the image of the narrator). A composition that includes a plot, out-of-plot elements, the correlation of individual images, the organization of artistic time and space (in the terminology of M.M. Bakhtin and his followers - a chronotope), such techniques as re-antithesis, gradation, etc. The composition organizes the entire artistic world and reveals its subordination to a single ideological and aesthetic principle.
Analysis of the elements of the work despite its relative importance, is to a certain extent auxiliary. Can be held detailed analysis all the elements and get as a result only a register, a faceless characteristic that does not bring us closer to understanding the whole. For a lively and profound analysis, it must pay primary attention not so much to the elements as to the properties of the artistic whole, to the principles of organization of the artistic text. This is especially true of the artistic form, in which such properties (in other words, the dominants of style) are easier to find and from which, as a rule, analysis should begin. The typological properties of the artistic form include plot, descriptiveness, psychologism; fiction lifelike. Monologism and heteroglossia (polyphony), verse and prose, nominativity and rhetoric; simple and complex composition. The dominant properties of the content are most often the typological variety of problems and emotional value orientations. Depending on the specific case, they should be analyzed in the first place. Synthesis is built on the results of the analysis, i.e. the most complete and correct understanding of both substantive and formal artistic originality and their unity. Literary synthesis in the field of content is described by the term "interpretation", in the field of form - by the term "style". Their interaction provides the maximum possible depth of understanding and experience of the work as an aesthetic phenomenon.
