Option No. 3268436
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Indicate the no-measure of the pre-lo-zhe-ny, in some it is true re-re-yes-on the MAIN in-for-ma-tion, so-der-zha-scha -I'm in the text. For-pi-shi-te no-me-ra of these pre-lo-same-ny.
1) Set-new-le-but, what exactly is the way-y-y-y-va-et influence on the intensity of the color of the autumn leaves, and from- no global warming.
2) Lu-be-te-whether in-observe for a living pa-lit-swarm of autumn leaves from-me-cha-yut, that with-su-he the leaves are ko-rich -do-not-ve-yut and op-yes-yut, and when it is ob-lach-noy in the go-de in the sheet for-honey-la-et-sya about-ra-zo-va-nie red-no-go pig-men-ta.
3) Scientists came to you that the global warm climate influences the intensity of the autumn color sheet-you.
4) The intensity of the color of the autumn leaves is due to the vi-sit, not from the global-no-go warm-le-kli-ma-ta, but from the weather .
5) The intensity of the color of the autumn leaf is affected by both the global warming and the year.
Answer:
Which of the following words or combinations of words should be in place of the gap in preposition 3? You-pi-shi-te this word.
Vice versa
Moreover
On the other side
That's why
Thus
(3)<...>, in-ten-siv-ness of the color of autumn leaves for-we-sit from the weather.
Answer:
Pro-chi-tai-te fragment of a word-var-noy article, in some way the meaning of the word SCIENTISTS is added. Define-de-li-those meanings, in some way this word is used-required-le-but in the second (2) preposition of the text hundred. You-write-shi-those figure, corresponding to-responding-to-th-th-ing of this meaning in the given fragment-men-those of the word-var-noy article.
SCIENTIST, -th, -th; -en.
1. You are a scientist, you are a scientist for something. Scientist to teach only por-tit(last). Teach your grandmother to suck eggs(go-vo-rit-sya in the meaning I know myself, no worse than you; colloquial). Scientists honey-ve-di(dress-si-ro-van-nye).
2. Knowing a lot, about-ra-zo-van-ny. W. man-lo-age.Someone not very learned.(not lu-chil about-ra-zo-va-niya).
3. full From-but-sya-shchi-sya to science, to-scientific. W. dispute. Academic title. Academic degree. W. advice(at the academic college of the le-gi-al-ny body in the academic-but-is-sle-before-va-tel-sky institutions-zhde-ni-yah, universities).
4. scientist, wow, husband. Special-a-list in some. the field of science. U. with a world name. W.-ex-pe-ri-men-ta-tor.
Answer:
In one of the words below, a mistake was made in setting the stress: the letter denoting the stressed vowel is highlighted INCORRECTLY. Write out this word.
plum
areas
Answer:
In one of the sentences below, the underlined word is WRONGLY used. Correct the lexical error by choosing a paronym for the highlighted word. Write down the chosen word.
The patient needed LONG treatment.
Tarkovsky's film "Mirror" AUTOBIOGRAPHIC.
Clinical trials have shown the effectiveness of the use of MICROSCOPIC gold particles in preventing the spread of infection.
Beyond the Arctic Circle for half a year night, FROZEN air and frequent blizzards.
Answer:
In one of the words highlighted below, a mistake was made in the formation of the word form. Correct the mistake and write the word correctly.
the conflict is more DEEP
LIE on the floor
experienced chauffeurs
in THREE HUNDRED meters
a pair of BOOTS
14.05 Condition changed
Answer:
Establish a correspondence between the sentences and the grammatical errors made in them: for each position of the first list, select the corresponding position from the second list.
| A) At the end of the lecture, the student read a report on Bulgakov's story "Dog | 1) incorrect use of the case form of a noun with a preposition |
| B) According to the rules of modern business etiquette, the first person to leave the elevator is the one who is closer to the door, and it does not matter if it is a man or a woman. | 2) violation of the connection between the subject and the predicate |
| C) When creating a landscape design project for the site, the architect did not take into account the climatic features of the area. | 3) violation in the construction of a proposal with an inconsistent application |
| D) Those who knew Nicholas before the war could not but notice the change in his character. | 4) incorrect sentence construction with indirect speech |
| E) The international community is well aware of and cares about solving social problems in developing countries. | 5) incorrect construction of a sentence with a participial turnover |
| 6) violation in the construction of a sentence with participial turnover | |
| 7) an error in constructing a sentence with homogeneous members |
Write down the numbers in response, arranging them in the order corresponding to the letters:
| A | B | IN | G | D |
Answer:
Define-de-li-those word, in some-rum pro-for-shche-on without-stress-no-pro-ve-rya-e-may vowel of the root. You-pi-shi-te this word, inserting a missed letter.
re-re-cl..kat-sya
decomp..
bl..sta-tel-ny
hydrogen..sli
Answer:
Find a row in which the same letter is missing in both words. Write these words out with the missing letter.
and .. take, not .. bendable
tight.. foot, right.. shortening
p .. warm up, pr .. image
pr..mknut, pr..clone
to..quit, o..to cut
Answer:
report..out
sweet..nky
min-dal .. out
Answer:
You-pi-shi-those word, in some rum in place of the miss-pus-ka-pi-shet-sya letter I.
abandoned
under-heat..sh
do..sh
on-sypl..sh
under-sword..ny
Answer:
Define-de-li-those pre-lo-zhe-nie, in some rum NOT with the word pi-shet-sya SLIT-BUT. Ras-cut-those brackets and you-pi-shi-te this word.
Ti-shi-na was tired in the garden: not a single bird (NOT) SHE-BE-TA-LA on de-re-vyah.
Father stood with a gloomy look, and on his forehead there was a sharply marked warehouse (NOT) TER-PE-LI-VO-GO expectation from-ve-ta.
The sea has merged with the blue southern sky and is fast asleep, reflecting in itself the fabric of clouds, (NOT) HIDING the stars.
It’s not-rarely difficult-but pro-ve-sti gra-ni-tsu between languages-ka-mi and dia-lek-ta-mi, since (NOT) ALL of their features still from-wes-tongues-to-ve-dames.
Nothing (NOT) IN-TE-RE-SU-YAS, Na-ta-lya equal-but-soul-but looked-re-la at the black-not-th-sky sky, at the boo-shu-th-th ocean .
Answer:
Define-de-li-those proposition, in some way both of you-de-len-words are pi-joking SLIT-BUT. Un-cut those brackets and you-pi-shi-those these two words.
(FROM) TO THE place where they parted ways with Brook, they are now at least five kilo-meters from de la, (ON) THIS - there was no longer any point in turning back.
And the pale gan-ka THAT (SAME) is needed, (ON) THIS it was co-created by nature.
HERE (SAME) in-tre-bo-wa-moose to ask little-lo-know-my people, WHAT (WOULD) call mom.
The hostess couldn’t understand, (WHY) WHY I was taking so long, (IN) THOSE-THE few minutes, I’m looking at the pictures on the wall .
(B) TE-CHE-NIE is not-de-li (PO) Amidst our yard, there was a stormy work.
Answer:
Indicate all the numbers, in the place of some one write one letter H.
The poem "The Bronze Horseman" - in-and-sti (1) is one of the most co-ver-she (2) pro-of-ve-de-ny A. S. Push-ki-na - was on-pi-sa (3) and, like "Ev-ge-ny One-gin", iambic tetrameter.
Answer:
Place pre-pi-na-niya signs. Indicate two prepositions, in some you need to put ONE for the fifth. For-pi-shi-te no-me-ra of these pre-lo-same-ny.
1) At a certain stage of its development, the city needed to defend itself with ditches and va-la-mi with de-re-vyan-ny-mi ob-ro -ne-tel-ny-mi co-oru-same-ni-i-mi.
2) I wanted a lot, but I didn’t understand anything.
3) In the go-sti-noy, people gathered together for seven guests and ho-zya-e-va.
4) Almost every evening they went to the forest or to the water-to-pad.
5) The moon rose and the shadows became clearer and longer.
Answer:
Pa-ni-kov-sky (1) pe-re-bi-rai but-ga-mi (2) grabbed the body, then leaned on board the zhi-vo-tom, pe-re-va-lil -sya in ma-shi-nu and (3) knocking on-crash-ma-len-ny-mi man-zhe-ta-mi (4) fell to the bottom of av-to-mo-bi-la.
Answer:
Arrange all not-to-hundred-th-signs of pre-pi-na-niya: indicate the number (s), in place of someone swarm (s) in the pre-lo-s-the-s should stand for the fifth (s).
Different-temporal-development In-lots-koy and Smolensk lands was ob-word-le-on (1) ve-ro-yat-no (2) eco -no-mi-che-ski-mi with-chi-na-mi, and (3) you can think (4) that geo-gra was not-little-important among them -fi-che-same location of these lands and their population associated with it.
Answer:
Place all punctuation marks: indicate the number(s) that should be replaced by a comma(s) in the sentence.
Currently, the possibility of using Antarctic icebergs to obtain fresh water (1) is being considered, the deficit (2) of which (3) may soon cover two-thirds of the inhabitants of the Earth.
Answer:
Arrange all the signs of pre-pi-na-niya: indicate the number (s), in place of someone swarm (s) in the pre-lo-s-the-s should stand for the fifth (s).
But the river ve-li-cha-vo carries its waters (1) and what does it care about these colors (2) someone floats (3) on the water (4) as they swam not long ago ice.
Answer:
Which of you-sa-zy-va-niy co-ot-vet-stvo-yut so-der-zha-niyu text-hundred? Indicate no-me-ra from-ve-comrade.
1) Art is more likely to spread to someone who, first of all, strives to know it himself.
2) In the society of students, it was not customary to pretend to be and to portray feelings that someone didn’t use eat.
3) Friends began to bring their friend to the m-zy-kal-noy culture.
4) In the basis of all you-y-y-u-shchih-x-hu-to-the-same-openings, masterpieces of art lie youthful -chat-le-nia.
5) Author's evening D.D. Sho-sta-ko-vi-cha co-sto-yal-sya in the winter of 1941.
(According to S. Lvov*)
Answer:
Which of the p-re-numbers of statements are true-la-yut-xia? Indicate no-me-ra from-ve-comrade.
The numbers indicate in a row the age of the race.
1) Prepositions 12-14 are clear about the content of what is said in preposition 11.
2) In preposition 26, there is a description of the state of the story of the story.
3) In the pre-lo-same-ni-yah 28-30, pre-becoming-le-but dis-judging-de-nie.
4) In the pre-lo-same-ni-yah 37-39 so-der-lives-by-west-in-va-nie.
5) In the pre-lo-same-ni-yah 32-34 so-der-zhit-sya races-judging-de-nie.
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
Answer:
From preposition 34, you-pi-shi-te phra-zeo-logism.
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
Answer:
Among sentences 36-42, find such (s), some (s) connected with the previous -shchi of the union, part-tsy and personal place-to-name. Write the number(s) of this offer(s).
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
(3) And the one who, one-on-one, puts his own efforts to one of these deeds, will be rewarded in time .
Answer:
“The author of the text-hundred is very emo-qi-o-nal-but ras-say-zy-va-et about joining art, to the real muse -ke. Living author's feeling re-re-da-yut tricks: (A) _______ ("missed, then-nice, tormented" in preposition 23) , (B) _______ (preposition 21-22). Path (B) _______ (“fire of creativity” in preposition 2), as well as a lek-si-che-scoe - (D) _______ (“sooner or later” in the preposition 5) the author's in-to-on-the-tion of the text-hundred.
Spi-juice ter-mi-nov:
1) question-but-answer-th form from-lo-zhe-niya
2) me-ta-fo-ra
3) gradation
4) phraseo-logism
5) steam-target-la-tion
6) lek-si-che-sky in the second
7) pro-ti-in-to-be-le-tion
8) epi-te-you
9) contextual si-but-ni-we
Write down the numbers in response, sort them out in a row, corresponding to the letter-to-you:
| A | B | IN | G |
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
(21) One of us had a big rarity for us at that time: a radio-la with a device for re-re-in-ra-chi-va-niya pla -sti-nok - there wasn’t a long-play-y-y-ing then, - some-paradise pose-in-la-la to listen to a whole symphony, concert or opera without per-re-ry-vov. (22) And a collection of lectures of chamber, opera and symphonic music.
Answer:
Write an essay based on the text you read.
Formulate one of the problems posed by the author of the text.
Comment on the formulated problem. Include in the comment two illustration examples from the read text that you think are important for understanding the problem in the source text (avoid over-quoting). Explain the meaning of each example and indicate the semantic relationship between them.
The volume of the essay is at least 150 words.
A work written without relying on the text read (not on this text) is not evaluated. If the essay is a paraphrase or a complete rewrite of the source text without any comments, then such work is evaluated with 0 points.
Write an essay carefully, legible handwriting.
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
Solutions to tasks with a detailed answer are not checked automatically.
On the next page, you will be asked to check them yourself.
Finish testing, check answers, see solutions.
From preposition 34, you-pi-shi-te phra-zeo-logism.
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed more quickly and willingly to those who themselves give it strength, thoughts, time, attention.
(5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (13) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) The most interesting thing was the company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, and I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”. (25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D. D. Shostakovich was announced - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (Z5) This did not happen.
(Z6) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!”. (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy. (46) And they succeeded!
(According to S. Lvov*)
* Sergey Lvovich Lvov (1922-1981) - prose writer, critic, publicist, author of articles on Soviet and foreign literature, biographical and children's literature.
(3) And the one who, one-on-one, puts his own efforts to one of these deeds, will be rewarded in time .
Which of you-sa-zy-va-niy co-ot-vet-stvo-yut so-der-zha-niyu text-hundred? Indicate no-me-ra from-ve-comrade.
1) Art is more likely to spread to someone who, first of all, strives to know it himself.
2) In the society of students, it was not customary to pretend to be and to portray feelings that someone didn’t use eat.
3) Friends began to bring their friend to the m-zy-kal-noy culture.
4) In the basis of all you-y-y-u-shchih-x-hu-to-the-same-openings, masterpieces of art lie youthful -chat-le-nia.
5) Author's evening D.D. Sho-sta-ko-vi-cha co-sto-yal-sya in the winter of 1941.
Clear-no-no.
The answer under no-me-rum 1 is confirmed by pre-lo-same-no-e No. 4.
The answer under no-me-rum 2 is pre-lo-same-no-eat No. 25.
The answer under no-me-rum 3 is pre-lo-same-ni-i-mi No. 28-31.
From-ve-you under no-me-ra-mi 4 and 5 do not correspond-from-vet-stvo-yut to the content of the text-hundred.
Answer: 123.
Answer: 123
Relevance: Current academic year
Which of the p-re-numbers of statements are true-la-yut-xia? Indicate no-me-ra from-ve-comrade.
The numbers indicate in a row the age of the race.
3) In the pre-lo-same-ni-yah 28-30, pre-becoming-le-but dis-judging-de-nie.
4) In the pre-lo-same-ni-yah 37-39 so-der-lives-by-west-in-va-nie.
Clear-no-no.
1) Prepositions 12-14 are clear about the content of what is said in preposition 11.
2) In preposition 26, there is a description of the state of the story of the story.
3) In the pre-lo-same-ni-yah 28-30, pre-becoming-le-but in-west-in-va-ing, and not dis-judging-de-ing.
4) In the pre-lo-same-ni-yah 37-39, co-der-lives-sya races-judging-de-nie, and not in-west-in-va-nie.
5) In the pre-lo-same-ni-yah 32-34 so-der-zhit-sya races-judging-de-nie.
Answer: 125.
Answer: 125
Among sentences 36-42, find such (s), some (s) connected with the previous -shchi of the union, part-tsy and personal place-to-name. Write the number(s) of this offer(s).
Preposition 38 connected with the previous one with the help of the union A, part of the FACT and the personal location of HER (this form of place-of-ownership ONA)
Answer: 38.
Answer: 38
Rule: Task 25. Means of communication of sentences in the text
MEANS OF COMMUNICATION OF OFFERS IN THE TEXT
Several sentences connected into a whole by a topic and a main idea are called a text (from Latin textum - fabric, connection, connection).
Obviously, all sentences separated by a dot are not isolated from each other. There is a semantic connection between two adjacent sentences of the text, and not only sentences located next to each other can be related, but also separated from each other by one or more sentences. The semantic relations between sentences are different: the content of one sentence can be opposed to the content of another; the content of two or more sentences can be compared with one another; the content of the second sentence can reveal the meaning of the first or clarify one of its members, and the content of the third can reveal the meaning of the second, etc. The purpose of task 23 is to determine the type of relationship between sentences.
The wording of the task may be as follows:
Among sentences 11-18, find one (s) that is (s) connected with the previous one using a demonstrative pronoun, adverb and cognates. Write the number(s) of the offer(s)
Or: Determine the type of connection between sentences 12 and 13.
Remember that the previous one is ONE HIGHER. Thus, if the interval 11-18 is indicated, then the desired sentence is within the limits indicated in the task, and the answer 11 may be correct if this sentence is related to the 10th topic indicated in the task. Answers can be 1 or more. The score for the successful completion of the task is 1.
Let's move on to the theoretical part.
Most often, we use this text construction model: each sentence is linked to the next one, this is called chain link. (We will talk about the parallel connection below). We speak and write, we combine independent sentences into a text according to simple rules. Here's the gist: two adjacent sentences must refer to the same subject.
All types of communication are usually divided into lexical, morphological and syntactic. As a rule, when connecting sentences into text, one can use several types of communication at the same time. This greatly facilitates the search for the desired sentence in the specified fragment. Let's take a closer look at each type.
23.1. Communication with the help of lexical means.
1. Words of one thematic group.
Words of the same thematic group are words that have a common lexical meaning and denote similar, but not identical, concepts.
Word examples: 1) Forest, path, trees; 2) buildings, streets, sidewalks, squares; 3) water, fish, waves; hospital, nurses, emergency room, ward
Water was clean and transparent. Waves ran ashore slowly and silently.
2. Generic words.
Generic words are words related by the relationship genus - species: genus is a broader concept, species is a narrower one.
Word examples: Chamomile - flower; birch - tree; car - transport and so on.
Suggestion examples: Under the window still grew birch. How many memories I have associated with this tree...
field chamomile become a rarity. But it's unpretentious flower.
3 Lexical repetition
Lexical repetition is the repetition of the same word in the same word form.
The closest connection of sentences is expressed primarily in repetition. The repetition of one or another member of the sentence is the main feature of the chain connection. For example, in sentences Behind the garden was a forest. The forest was deaf, neglected the connection is built according to the “subject - subject” model, that is, the subject named at the end of the first sentence is repeated at the beginning of the next one; in sentences Physics is science. Science must use the dialectical method- "model predicate - subject"; in the example The boat has landed on the shore. The beach was strewn with small pebbles.- model "circumstance - subject" and so on. But if in the first two examples the words forest and science stand in each of the adjacent sentences in the same case, then the word shore has different forms. Lexical repetition in the tasks of the exam will be considered the repetition of a word in the same word form, used to enhance the impact on the reader.
In texts of artistic and journalistic styles, the chain connection through lexical repetition often has an expressive, emotional character, especially when the repetition is at the junction of sentences:
Here the Aral Sea disappears from the map of the Fatherland sea.
Whole sea!
The use of repetition here is used to enhance the impact on the reader.
Consider examples. We do not yet take into account additional means of communication, we look only at lexical repetition.
(36) I heard a very brave man who went through the war once say: “ It used to be scary very scary." (37) He spoke the truth: he used to be scared.
(15) As an educator, I happened to meet young people who yearn for a clear and precise answer to the question of higher education. values life. (16) 0 values, allowing you to distinguish good from evil and choose the best and most worthy.
note
: different forms of words refer to a different kind of connection. For more on the difference, see the paragraph on word forms.4 Root words
Single-root words are words with the same root and common meaning.
Word examples: Motherland, be born, birth, kind; break, break, break
Suggestion examples: I'm lucky be born healthy and strong. History of my birth nothing remarkable.
Although I understood that a relationship is necessary break but he couldn't do it himself. This gap would be very painful for both of us.
5 Synonyms
Synonyms are words of the same part of speech that are similar in meaning.
Word examples: to be bored, to frown, to be sad; fun, joy, rejoicing
Suggestion examples: At parting, she said that will miss. I knew that too I will be sad through our walks and conversations.
Joy grabbed me, picked me up and carried me... jubilation seemed to have no boundaries: Lina answered, answered at last!
It should be noted that synonyms are difficult to find in the text if you need to look for a connection only with the help of synonyms. But, as a rule, along with this method of communication, others are used. So, in example 1 there is a union Same , this relationship will be discussed below.
6 Contextual synonyms
Contextual synonyms are words of the same part of speech that come together in meaning only in a given context, since they refer to the same object (feature, action).
Word examples: kitten, poor fellow, naughty; girl, student, beauty
Suggestion examples: Kitty recently lived with us. Husband took off poor fellow from the tree where he climbed to escape from the dogs.
I guessed that she student. Young woman continued to be silent, despite all the efforts on my part to talk her.
It is even more difficult to find these words in the text: after all, the author makes them synonyms. But along with this method of communication, others are used, which facilitates the search.
7 Antonyms
Antonyms are words of the same part of speech that are opposite in meaning.
Word examples: laughter, tears; hot Cold
Suggestion examples: I pretended to like this joke and squeezed out something like laughter. But tears strangled me, and I quickly left the room.
Her words were warm and burned. eyes chilled cold. I felt like I was under a contrast shower...
8 Contextual antonyms
Contextual antonyms are words of the same part of speech that are opposite in meaning only in this context.
Word examples: mouse - lion; house - work green - ripe
Suggestion examples: On work this man was gray mouse. At home woke up in it a lion.
ripe berries can be safely used to make jam. And here green it is better not to put, they are usually bitter, and can spoil the taste.
We draw attention to the non-random coincidence of terms(synonyms, antonyms, including contextual ones) in this task and tasks 22 and 24: it is the same lexical phenomenon, but viewed from a different angle. Lexical means may serve to link two adjacent sentences, or they may not be a link. At the same time, they will always be a means of expression, that is, they have every chance of being the object of tasks 22 and 24. Therefore, advice: when completing task 23, pay attention to these tasks. You will learn more theoretical material about lexical means from the help rule for task 24.
23.2. Communication by means of morphological means
Along with lexical means of communication, morphological ones are also used.
1. Pronoun
A pronoun link is a link in which ONE word or MULTIPLE words from the previous sentence is replaced by a pronoun. To see such a connection, you need to know what a pronoun is, what are the ranks in meaning.
What you need to know:
Pronouns are words that are used instead of a name (noun, adjective, numeral), designate persons, point to objects, signs of objects, the number of objects, without specifically naming them.
According to the meaning and grammatical features, nine categories of pronouns are distinguished:
1) personal (I, we; you, you; he, she, it; they);
2) returnable (oneself);
3) possessive (mine, yours, ours, yours, yours); used as possessive also forms of personal: his (jacket), her work),them (merit).
4) demonstrative (this, that, such, such, such, so many);
5) defining(himself, most, all, everyone, each, different);
6) relative (who, what, what, what, which, how much, whose);
7) interrogative (who? what? what? whose? who? how much? where? when? where? from where? why? why? what?);
8) negative (no one, nothing, no one);
9) indefinite (someone, something, someone, someone, someone, someone).
Do not forget that pronouns change by case, so "you", "me", "about us", "about them", "no one", "everyone" are forms of pronouns.
As a rule, the task indicates WHAT rank the pronoun should be, but this is not necessary if there are no other pronouns in the specified period that play the role of CONNECTING elements. It must be clearly understood that NOT EVERY pronoun that occurs in the text is a link.
Let us turn to examples and determine how sentences 1 and 2 are related; 2 and 3.
1) Our school has recently been renovated. 2) I finished it many years ago, but sometimes I went and wandered around the school floors. 3) Now they are some strangers, others, not mine ....
There are two pronouns in the second sentence, both personal, I And her. Which one is the one paperclip, which connects the first and second sentence? If this is a pronoun I, what is it replaced in sentence 1? Nothing. What replaces the pronoun her? Word " school from the first sentence. We conclude: communication using a personal pronoun her.
There are three pronouns in the third sentence: they are somehow mine. Only the pronoun connects with the second They(=floors from the second sentence). Rest in no way correlate with the words of the second sentence and do not replace anything. Conclusion: the second sentence connects the pronoun with the third They.
What is the practical importance of understanding this mode of communication? The fact that you can and should use pronouns instead of nouns, adjectives and numerals. Use, but do not abuse, as the abundance of the words "he", "his", "them" sometimes leads to misunderstanding and confusion.
2. Adverb
Communication with the help of adverbs is a connection, the features of which depend on the meaning of the adverb.
To see such a connection, you need to know what an adverb is, what are the ranks in meaning.
Adverbs are invariable words that denote a sign by action and refer to the verb.
Adverbs of the following meanings can be used as means of communication:
Time and space: below, on the left, near, at the beginning, long ago and the like.
Suggestion examples: We got to work. At the beginning it was hard: it was not possible to work in a team, there were no ideas. After got involved, felt their strength and even got excited.note: Sentences 2 and 3 are related to sentence 1 using the indicated adverbs. This type of connection is called parallel connection.
We climbed to the very top of the mountain. Around we were only the tops of the trees. Near clouds floated with us. A similar example of a parallel connection: 2 and 3 are related to 1 using the indicated adverbs.
demonstrative adverbs. (They are sometimes called pronominal adverbs, since they do not name how or where the action takes place, but only point to it): there, here, there, then, from there, because, so and the like.
Suggestion examples: I vacationed last summer in one of the sanatoriums in Belarus. From there it was almost impossible to make a phone call, let alone work on the Internet. The adverb "from there" replaces the whole phrase.
Life went on as usual: I studied, my mother and father worked, my sister got married and left with her husband. So three years have passed. The adverb "so" summarizes the entire content of the previous sentence.
It is possible to use and other categories of adverbs, for example, negative: B school and university I didn't have good relationships with my peers. Yes and nowhere did not add up; however, I did not suffer from this, I had a family, I had brothers, they replaced my friends.
3. Union
Connection with the help of unions is the most common type of connection, due to which various relationships arise between sentences related to the meaning of the union.
Communication with the help of coordinating unions: but, and, but, but, also, or, however and others. The task may or may not specify the type of union. Therefore, the material on unions should be repeated.
Details about coordinating conjunctions are described in a special section.
Suggestion examples: By the end of the weekend, we were incredibly tired. But the mood was amazing! Communication with the help of the adversative union "but".
That's how it's always been... Or that's how it seemed to me...Communication with the help of a separating union "or".
We draw attention to the fact that very rarely only one union participates in the formation of a connection: as a rule, lexical means of communication are used simultaneously.
Communication using subordinating unions: for, so. A very atypical case, since subordinating conjunctions connect sentences as part of a complex one. In our opinion, with such a connection, there is a deliberate break in the structure of a complex sentence.
Suggestion examples: I was in total despair... For I did not know what to do, where to go and, most importantly, who to turn to for help. The union for matters because, because, indicates the reason for the state of the hero.
I didn’t pass the exams, I didn’t enter the institute, I couldn’t ask for help from my parents and I wouldn’t do it. So There was only one thing left to do: find a job. The union "so" has the meaning of the consequence.
4. Particles
Communication with particles always accompanies other types of communication.
Particles after all, and only, here, out, only, even, the same bring additional shades to the proposal.
Suggestion examples: Call your parents, talk to them. After all It's so simple and so difficult at the same time - to love ...
Everyone in the house was already asleep. AND only grandmother muttered softly: she always read prayers before going to bed, begging the powers of heaven for a better share for us.
After the departure of her husband, it became empty in the soul and deserted in the house. Even the cat, which used to run like a meteor around the apartment, only yawns sleepily and still strives to climb into my arms. Here Whose hands should I lean on...Pay attention, connecting particles are at the beginning of the sentence.
5. Word forms
Communication using the word form consists in the fact that in adjacent sentences the same word is used in different
- if this noun - number and case
- If adjective - gender, number and case
- If pronoun - gender, number and case depending on grade
- If verb in person (gender), number, tense
Verbs and participles, verbs and participles are considered different words.
Suggestion examples: Noise gradually increased. From this growing noise became uncomfortable.
I knew my son captain. With myself captain fate did not bring me, but I knew that it was only a matter of time.
note: in the task, “word forms” can be written, and then this is ONE word in different forms;
“forms of words” - and these are already two words repeated in adjacent sentences.
The difference between word forms and lexical repetition is of particular complexity.
Information for the teacher.
Consider, as an example, the most difficult task of the real USE in 2016. We give the full fragment published on the FIPI website in "Guidelines for teachers (2016)"
Examinees found it difficult to complete task 23 when the condition of the task required distinguishing between the form of a word and lexical repetition as a means of connecting sentences in the text. In these cases, when analyzing the language material, students should pay attention to the fact that lexical repetition involves the repetition of a lexical unit with a special stylistic task.
We give the condition of task 23 and a fragment of the text of one of the options for the USE in 2016:
“Among sentences 8–18, find one that is related to the previous one with the help of lexical repetition. Write the number of this offer.
Below is the beginning of the text given for analysis.
- (7) What kind of an artist are you when you don’t love your native land, an eccentric!
(8) Maybe that's why Berg did not succeed in landscapes. (9) He preferred a portrait, a poster. (10) He tried to find the style of his time, but these attempts were full of failures and ambiguities.
(11) Once Berg received a letter from the artist Yartsev. (12) He called him to come to the Murom forests, where he spent the summer.
(13) August was hot and calm. (14) Yartsev lived far from the deserted station, in the forest, on the shore of a deep lake with black water. (15) He rented a hut from a forester. (16) Berg was taken to the lake by the forester's son Vanya Zotov, a stooped and shy boy. (17) Berg lived on the lake for about a month. (18) He was not going to work and did not take oil paints with him.
Proposition 15 is related to Proposition 14 by personal pronoun "He"(Yartsev).
Proposition 16 is related to Proposition 15 by word forms "forester": a prepositional case form controlled by a verb, and a non-prepositional form controlled by a noun. These word forms express different meanings: the meaning of the object and the meaning of belonging, and the use of the considered word forms does not carry a stylistic load.
Proposition 17 is related to Proposition 16 by word forms ("on the lake - on the lake"; "Berga - Berg").
Proposition 18 is related to the previous one by means of personal pronoun "he"(Berg).
The correct answer in task 23 of this option is 10. It is sentence 10 of the text that is connected with the previous one (sentence 9) with the help of lexical repetition (the word "he").
It should be noted that among the authors of various manuals there is no consensus, what is considered a lexical repetition - the same word in different cases (persons, numbers) or in the same one. The authors of the books of the publishing house "National Education", "Exam", "Legion" (authors Tsybulko I.P., Vasiliev I.P., Gosteva Yu.N., Senina N.A.) do not give a single example in which the words in various forms would be considered lexical repetition.
At the same time, very difficult cases, in which words in different cases coincide in form, are considered differently in manuals. The author of the books N.A. Senina sees in this the form of the word. I.P. Tsybulko (based on a 2017 book) sees lexical repetition. So, in sentences like I saw the sea in a dream. The sea was calling me the word “sea” has different cases, but at the same time there is undoubtedly the same stylistic task that I.P. Tsybulko. Without delving into the linguistic solution of this issue, we will indicate the position of the RESHUEGE and give recommendations.
1. All obviously non-matching forms are word forms, not lexical repetition. Please note that we are talking about the same linguistic phenomenon as in task 24. And in 24, lexical repetitions are only repeated words, in the same forms.
2. There will be no coinciding forms in the tasks for the RESHUEGE: if the linguists-specialists themselves cannot figure it out, then the graduates of the school cannot do it.
3. If the exam comes across tasks with similar difficulties, we look at those additional means of communication that will help you make your choice. After all, the compilers of KIMs can have their own, separate opinion. Unfortunately, this may be the case.
23.3 Syntactic means.
Introductory words
Communication with the help of introductory words accompanies, complements any other connection, complementing the shades of meanings characteristic of introductory words.
Of course, you need to know which words are introductory.
He was hired. Unfortunately, Anton was too ambitious. On the one side, the company needed such personalities, on the other hand, he was not inferior to anyone and in nothing, if something was, as he said, below his level.
We give examples of the definition of means of communication in a small text.
(1) We met Masha a few months ago. (2) My parents have not yet seen her, but did not insist on meeting her. (3) It seemed that she also did not strive for rapprochement, which upset me a little.
Let's determine how the sentences in this text are related.
Sentence 2 is related to sentence 1 by a personal pronoun her, which replaces the name Masha in offer 1.
Sentence 3 is related to sentence 2 using word forms she her: "she" is the nominative form, "her" is the genitive form.
In addition, sentence 3 has other means of communication: it is a union Same, introductory word seemed, rows of synonymous constructions did not insist on meeting And didn't want to get close.
Inga Markarova (Moscow) 15.09.2015 00:54
Sorry why 41 sentences are not suitable
First, there is a union (or)
Secondly, a particle (something)
Third, personal pronoun(s)
All conditions are in that, and in that proposals.
Tatyana Yudina
Inga, you are making a gross mistake ... Is it possible to search for the necessary unions, or particles, or pronouns in this way?
The presence of these words in a sentence does not automatically mean that it is with these words that the sentence is connected with the previous one. Look here. Proposition 38 her." With her=music from sentence 37. There is no such connection between 40 and 41... This is the first one.
Second. The -something particle will never bind anything, since it is always attached to a pronoun.
“The author of the text-hundred is very emo-qi-o-nal-but ras-say-zy-va-et about joining art, to the real muse -ke. Living author's feeling re-re-da-yut tricks: (A) _______ ("missed, then-nice, tormented" in preposition 23) , (B) _______ (preposition 21-22). Path (B) _______ (“fire of creativity” in preposition 2), as well as a lek-si-che-scoe - (D) _______ (“sooner or later” in the preposition 5) the author's in-to-on-the-tion of the text-hundred.
Spi-juice ter-mi-nov:
1) question-but-answer-th form from-lo-zhe-niya
2) me-ta-fo-ra
3) gradation
4) phraseo-logism
5) steam-target-la-tion
6) lek-si-che-sky in the second
7) pro-ti-in-to-be-le-tion
8) epi-te-you
9) contextual si-but-ni-we
Write down the numbers in response, sort them out in a row, corresponding to the letter-to-you:
| A | B | IN | G |
Clarification (see also the Rule below).
“The author of the text-hundred is very emo-qi-o-nal-but ras-say-zy-va-et about joining art, to the real muse -ke. The living author's feeling re-re-da-yut techniques: (A) GRA-DA-TSIA ("missed, then-nice, tormented" in the pre-lo-s -nii 23), (B) PAR-CELL-LA-TSIYA (proposition 21-22). Path (B) ME-TA-FO-RA ("fire of creativity" in preposition 2), as well as a lek-si-che means - (G) FRA-ZEO -LO-GIZM author's in-to-on-the-tion of the text-hundred.
3) GRA-DA-TSIYA - race-by-lo-same-nie of a series of you-ra-zhe-ny, from-no-s-shchih-sya to one pre-me-tu, in- next-to-va-tel-nome in a row in-you-sha-yu-shche-scha or in-no-zh-yu-shche-scha) meaning-lo-howl or emo-qi-o- nal-noy sign-chi-mo-sti members of the new series.
5) PAIR-GOAL-LA-TSIA - on-me-ren-noe race-member-non-connection-but-go-to-on-qi-on-but and in the letter of text-hundred on several points-tu-a-qi-on-but sa-mo-hundred-I-tel-nyh from-cuts.
2) ME-TA-FO-RA is a hidden comparison.
4) FRA-ZEO-LO-GIZM is a stable-chi-word-in-co-che-ta-nie, from-le-ka-e-mine from our pa-my-ty in go-to-vom the form and about-la-da-yu-schee is not-de-li-my sense-scrap.
Answer: 3524.
Answer: 3524
Rule: Task 26. Language means of expression
ANALYSIS OF THE MEANS OF EXPRESSION.
The purpose of the task is to determine the means of expression used in the review by establishing a correspondence between the gaps indicated by the letters in the text of the review and the numbers with definitions. You need to write down matches only in the order in which the letters go in the text. If you do not know what is hidden under a particular letter, you must put "0" in place of this number. For the task you can get from 1 to 4 points.
When completing task 26, you should remember that you fill in the gaps in the review, i.e. restore the text, and with it semantic and grammatical connection. Therefore, an analysis of the review itself can often serve as an additional clue: various adjectives of one kind or another, predicates that agree with omissions, etc. It will facilitate the task and the division of the list of terms into two groups: the first includes terms based on the meaning of the word, the second - the structure of the sentence. You can carry out this division, knowing that all means are divided into TWO large groups: the first includes lexical (non-special means) and tropes; into the second figure of speech (some of them are called syntactic).
26.1 A TROPWORD OR EXPRESSION USED IN A PORTABLE MEANING TO CREATE AN ARTISTIC IMAGE AND ACHIEVE GREATER EXPRESSION. Tropes include such techniques as epithet, comparison, personification, metaphor, metonymy, sometimes they include hyperbole and litotes.
Note: In the task, as a rule, it is indicated that these are TRAILS.
In the review, examples of tropes are indicated in brackets, as a phrase.
1.Epithet(in translation from Greek - application, addition) - this is a figurative definition that marks a feature that is essential for a given context in the depicted phenomenon. From a simple definition, the epithet differs in artistic expressiveness and figurativeness. The epithet is based on a hidden comparison.
Epithets include all the "colorful" definitions that are most often expressed adjectives:
sad orphan land(F.I. Tyutchev), gray fog, lemon light, silent peace(I. A. Bunin).
Epithets can also be expressed:
-nouns, acting as applications or predicates, giving a figurative description of the subject: sorceress-winter; mother - cheese earth; The poet is a lyre, and not only the nurse of his soul(M. Gorky);
-adverbs acting as circumstances: In the north stands wild alone...(M. Yu. Lermontov); The leaves were tense elongated in the wind (K. G. Paustovsky);
-gerunds: the waves are rushing thundering and sparkling;
-pronouns expressing the superlative degree of this or that state of the human soul:
After all, there were fighting fights, Yes, they say, more which! (M. Yu. Lermontov);
-participles and participial phrases: Nightingale vocabulary rumbling announce the forest limits (B. L. Pasternak); I also admit the appearance of ... scribblers who cannot prove where they spent the night yesterday, and who have no other words in the language, except for words, not remembering kinship(M. E. Saltykov-Shchedrin).
2. Comparison- This is a visual technique based on the comparison of one phenomenon or concept with another. Unlike metaphor, comparison is always binomial: it names both compared objects (phenomena, signs, actions).
Villages are burning, they have no protection.
The sons of the fatherland are defeated by the enemy,
And the glow like an eternal meteor,
Playing in the clouds, frightens the eye. (M. Yu. Lermontov)
Comparisons are expressed in various ways:
The form of the instrumental case of nouns:
nightingale stray youth flew by,
wave in bad weather Joy subsided (A. V. Koltsov)
Comparative form of an adjective or adverb: These eyes greener sea and our cypresses darker(A. Akhmatova);
Comparative turnovers with unions like, as if, as if, as if, etc .:
Like a predatory animal, to a humble abode
The winner breaks in with bayonets ... (M. Yu. Lermontov);
Using the words similar, similar, this is:
Into the eyes of a cautious cat
Similar your eyes (A. Akhmatova);
With the help of comparative clauses:
Golden foliage swirled
In the pinkish water of the pond
Just like a light flock of butterflies
With fading flies to a star. (S. A. Yesenin)
3.Metaphor(in translation from Greek - transfer) is a word or expression that is used in a figurative sense based on the similarity of two objects or phenomena on some basis. In contrast to comparison, in which both what is being compared and what is being compared is given, the metaphor contains only the second, which creates compactness and figurativeness of the use of the word. The metaphor can be based on the similarity of objects in shape, color, volume, purpose, sensations, etc.: a waterfall of stars, an avalanche of letters, a wall of fire, an abyss of grief, a pearl of poetry, a spark of love and etc.
All metaphors are divided into two groups:
1) general language("erased"): golden hands, a storm in a teacup, mountains to move, strings of the soul, love has faded;
2) artistic(individual-author's, poetic):
And the stars fade diamond thrill
IN painless cold dawn (M. Voloshin);
Empty skies transparent glass (A. Akhmatova);
AND eyes blue, bottomless
Blooming on the far shore. (A. A. Blok)
Metaphor happens not only single: it can develop in the text, forming whole chains of figurative expressions, in many cases - covering, as if permeating the entire text. This extended, complex metaphor, an integral artistic image.
4. Personification- this is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts. Most often, personifications are used to describe nature:
Rolling through sleepy valleys, Sleepy mists lay down And only the horse's clatter, Sounding, is lost in the distance. The autumn day went out, turning pale, Rolling up fragrant leaves, Taste a dreamless dream Half-withered flowers. (M. Yu. Lermontov)
5. Metonymy(in translation from Greek - renaming) is the transfer of a name from one object to another based on their adjacency. Adjacency can be a manifestation of a relationship:
Between action and tool of action: Their villages and fields for a violent raid He doomed swords and fires(A. S. Pushkin);
Between the object and the material from which the object is made: ... not that on silver, - on gold ate(A. S. Griboyedov);
Between a place and the people in that place: The city was noisy, flags crackled, wet roses fell from the bowls of flower girls ... (Yu. K. Olesha)
6. Synecdoche(in translation from Greek - correlation) is kind of metonymy, based on the transfer of meaning from one phenomenon to another on the basis of a quantitative relationship between them. Most often, the transfer occurs:
From less to more: Even a bird does not fly to him, And a tiger does not go ... (A. S. Pushkin);
Part to whole: Beard, why are you still silent?(A.P. Chekhov)
7. Paraphrase, or paraphrase(in translation from Greek - a descriptive expression), is a turnover that is used instead of a word or phrase. For example, Petersburg in verse
A. S. Pushkin - "Peter's creation", "Beauty and wonder of midnight countries", "city of Petrov"; A. A. Blok in the verses of M. I. Tsvetaeva - “a knight without reproach”, “blue-eyed snow singer”, “snow swan”, “almighty of my soul”.
8. Hyperbole(in translation from Greek - exaggeration) is a figurative expression containing an exorbitant exaggeration of any sign of an object, phenomenon, action: A rare bird will fly to the middle of the Dnieper(N. V. Gogol)
And at that very moment, couriers, couriers, couriers through the streets ... can you imagine thirty five thousands one couriers! (N.V. Gogol).
9. Litota(translated from Greek - smallness, moderation) is a figurative expression containing an exorbitant understatement of any sign of an object, phenomenon, action: What tiny cows! There is, right, less than a pinhead.(I. A. Krylov)
And marching importantly, in orderly calmness, The horse is led by the bridle by a peasant In large boots, in a sheepskin coat, In large mittens ... and himself with a fingernail!(N.A. Nekrasov)
10. Irony(in translation from Greek - pretense) is the use of a word or statement in a sense opposite to the direct one. Irony is a type of allegory in which mockery is hidden behind an outwardly positive assessment: Where, smart, are you wandering, head?(I. A. Krylov)
26.2 "Non-special" lexical figurative and expressive means of the language
Note: The tasks sometimes indicate that this is a lexical means. Usually in the review of task 24, an example of a lexical means is given in brackets, either in one word or in a phrase in which one of the words is in italics. Please note: these funds are most often needed find in task 22!
11. Synonyms, i.e. words of the same part of speech, different in sound, but the same or similar in lexical meaning and differing from each other either in shades of meaning, or in stylistic coloring ( brave - brave, run - rush, eyes(neutral) - eyes(poet.)), have great expressive power.
Synonyms can be contextual.
12. Antonyms, i.e. words of the same part of speech, opposite in meaning ( truth - lies, good - evil, disgusting - wonderful), also have great expressive possibilities.
Antonyms can be contextual, that is, they become antonyms only in a given context.
Lies happen good or evil,
Compassionate or merciless,
Lies happen cunning and clumsy
Cautious and reckless
Captivating and joyless.
13. Phraseologisms as a means of linguistic expression
Phraseological units (phraseological expressions, idioms), i.e. phrases and sentences reproduced in finished form, in which the integral meaning dominates the values of their constituent components and is not a simple sum of such meanings ( get into trouble, be in seventh heaven, a bone of contention) have great expressive potential. The expressiveness of phraseological units is determined by:
1) their vivid imagery, including mythological ( the cat cried like a squirrel in a wheel, Ariadne's thread, the sword of Damocles, Achilles' heel);
2) the relevance of many of them: a) to the category of high ( the voice of one crying in the wilderness, sink into oblivion) or reduced (colloquial, colloquial: like a fish in water, neither sleep nor spirit, lead by the nose, lather your neck, hang your ears); b) to the category of language means with a positive emotionally expressive coloring ( store as the apple of an eye - torzh.) or with a negative emotionally expressive coloring (without the king in the head is disapproved, the small fry is neglected, the price is worthless - contempt.).
14. Stylistically colored vocabulary
To enhance expressiveness in the text, all categories of stylistically colored vocabulary can be used:
1) emotionally expressive (evaluative) vocabulary, including:
a) words with a positive emotional and expressive assessment: solemn, sublime (including Old Church Slavonics): inspiration, coming, fatherland, aspirations, secret, unshakable; sublimely poetic: serene, radiant, spell, azure; approving: noble, outstanding, amazing, courageous; affectionate: sun, darling, daughter
b) words with a negative emotional-expressive assessment: disapproving: conjecture, bicker, nonsense; disparaging: upstart, delinquent; contemptuous: dunce, cramming, scribbling; swear words/
2) functionally-stylistically colored vocabulary, including:
a) book: scientific (terms: alliteration, cosine, interference); official business: the undersigned, report; journalistic: report, interview; artistic and poetic: azure, eyes, cheeks
b) colloquial (everyday-household): dad, boy, braggart, healthy
15. Vocabulary of limited use
To enhance expressiveness in the text, all categories of vocabulary of limited use can also be used, including:
Dialect vocabulary (words that are used by the inhabitants of any locality: kochet - rooster, veksha - squirrel);
Colloquial vocabulary (words with a pronounced reduced stylistic coloring: familiar, rude, dismissive, abusive, located on the border or outside the literary norm: goofball, bastard, slap, talker);
Professional vocabulary (words that are used in professional speech and are not included in the system of the general literary language: galley - in the speech of sailors, duck - in the speech of journalists, window - in the speech of teachers);
Slang vocabulary (words characteristic of jargons - youth: party, bells and whistles, cool; computer: brains - computer memory, keyboard - keyboard; soldier: demobilization, scoop, perfume; jargon of criminals: dude, raspberry);
Vocabulary is outdated (historicisms are words that have fallen out of use due to the disappearance of the objects or phenomena they designate: boyar, oprichnina, horse; archaisms are obsolete words that name objects and concepts for which new names have appeared in the language: brow - forehead, sail - sail); - new vocabulary (neologisms - words that have recently entered the language and have not yet lost their novelty: blog, slogan, teenager).
26.3 FIGURES (RHETORICAL FIGURES, STYLISTIC FIGURES, FIGURES OF SPEECH) ARE STYLISTIC TECHNIQUES based on special combinations of words that are beyond the scope of normal practical use, and aimed at enhancing the expressiveness and descriptiveness of the text. The main figures of speech include: rhetorical question, rhetorical exclamation, rhetorical appeal, repetition, syntactic parallelism, polyunion, non-union, ellipsis, inversion, parcellation, antithesis, gradation, oxymoron. Unlike lexical means, this is the level of a sentence or several sentences.
Note: In the tasks there is no clear definition format that indicates these means: they are called both syntactic means, and a technique, and simply a means of expression, and a figure. In task 24, the figure of speech is indicated by the number of the sentence given in brackets.
16. Rhetorical question is a figure in which a statement is contained in the form of a question. A rhetorical question does not require an answer, it is used to enhance the emotionality, expressiveness of speech, to draw the reader's attention to a particular phenomenon:
Why did he give his hand to insignificant slanderers, Why did he believe false words and caresses, He, who from a young age comprehended people?.. (M. Yu. Lermontov);
17. Rhetorical exclamation- this is a figure in which an assertion is contained in the form of an exclamation. Rhetorical exclamations strengthen the expression of certain feelings in the message; they are usually distinguished not only by special emotionality, but also by solemnity and elation:
That was in the morning of our years - Oh happiness! oh tears! O forest! oh life! Oh the light of the sun! O fresh spirit of birch. (A. K. Tolstoy);
Alas! a proud country bowed before the power of a stranger. (M. Yu. Lermontov)
18. Rhetorical appeal- This is a stylistic figure, consisting in an underlined appeal to someone or something to enhance the expressiveness of speech. It serves not so much to name the addressee of the speech, but to express the attitude towards what is said in the text. Rhetorical appeals can create solemnity and pathos of speech, express joy, regret and other shades of mood and emotional state:
My friends! Our union is wonderful. He, like a soul, is unstoppable and eternal (A. S. Pushkin);
Oh deep night! Oh cold autumn! Silent! (K. D. Balmont)
19. Repeat (positional-lexical repetition, lexical repetition)- this is a stylistic figure consisting in the repetition of any member of a sentence (word), part of a sentence or a whole sentence, several sentences, stanzas in order to draw special attention to them.
The types of repetition are anaphora, epiphora and catch-up.
Anaphora(in translation from Greek - ascent, rise), or monotony, is the repetition of a word or group of words at the beginning of lines, stanzas or sentences:
lazily hazy noon breathes,
lazily the river is rolling.
And in the fiery and pure firmament
The clouds are lazily melting (F. I. Tyutchev);
Epiphora(in translation from Greek - addition, final sentence of the period) is the repetition of words or groups of words at the end of lines, stanzas or sentences:
Although man is not eternal,
That which is eternal, humanely.
What is a day or a century
Before what is infinite?
Although man is not eternal,
That which is eternal, humanely(A. A. Fet);
They got a loaf of light bread - joy!
Today the film is good in the club - joy!
Paustovsky's two-volume book was brought to the bookstore joy!(A. I. Solzhenitsyn)
pickup- this is a repetition of any segment of speech (sentence, poetic line) at the beginning of the corresponding segment of speech following it:
he fell down on the cold snow
On the cold snow, like a pine,
Like a pine in a damp forest (M. Yu. Lermontov);
20. Parallelism (syntactic parallelism)(in translation from Greek - walking side by side) - an identical or similar construction of adjacent parts of the text: adjacent sentences, lines of poetry, stanzas, which, when correlated, create a single image:
I look to the future with fear
I look at the past with longing... (M. Yu. Lermontov);
I was your ringing string
I was your blooming spring
But you didn't want flowers
And you didn't hear the words? (K. D. Balmont)
Often using antithesis: What is he looking for in a distant country? What did he throw in his native land?(M. Lermontov); Not the country - for business, but business - for the country (from the newspaper).
21. Inversion(translated from Greek - permutation, reversal) is a change in the usual word order in a sentence in order to emphasize the semantic significance of any element of the text (word, sentence), to give the phrase a special stylistic coloring: solemn, high-sounding, or, conversely, colloquial, somewhat reduced characteristics. The following combinations are considered inverted in Russian:
The agreed definition is after the word being defined: I am sitting behind bars in damp dungeon(M. Yu. Lermontov); But there was no swell on this sea; stuffy air did not flow: it was brewing great thunderstorm(I. S. Turgenev);
Additions and circumstances expressed by nouns are in front of the word, which includes: Hours of monotonous fight(monotonous strike of the clock);
22. Parceling(in translation from French - particle) - a stylistic device that consists in dividing a single syntactic structure of a sentence into several intonation-semantic units - phrases. At the place of division of the sentence, a period, exclamation and question marks, ellipsis can be used. In the morning, bright as a splint. Terrible. Long. Ratny. The infantry regiment was destroyed. Our. In an unequal battle(R. Rozhdestvensky); Why is nobody outraged? Education and healthcare! The most important spheres of society's life! Not mentioned in this document at all(From newspapers); It is necessary that the state remember the main thing: its citizens are not individuals. And people. (From newspapers)
23. Non-union and multi-union- syntactic figures based on intentional omission, or, conversely, conscious repetition of unions. In the first case, when unions are omitted, speech becomes compressed, compact, dynamic. The depicted actions and events here quickly, instantly unfold, replace each other:
Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle.
The thunder of cannons, the clatter, the neighing, the groan,
And death and hell on all sides. (A.S. Pushkin)
When polyunion speech, on the contrary, slows down, pauses and a repeated union highlight words, expressively emphasizing their semantic significance:
But And grandson, And great-grandson, And great-great-grandson
They grow in me while I myself grow ... (P.G. Antokolsky)
24.Period- a long, polynomial sentence or a very common simple sentence, which is distinguished by completeness, unity of the theme and intonation splitting into two parts. In the first part, the syntactic repetition of the same type of subordinate clauses (or members of the sentence) goes with an increasing increase in intonation, then there is a separating significant pause, and in the second part, where the conclusion is given, the tone of the voice noticeably decreases. This intonation design forms a kind of circle:
Whenever I wanted to limit my life to a domestic circle, / When a pleasant lot ordered me to be a father, a spouse, / If I were captivated by a family picture for at least a single moment, then, it’s true, I wouldn’t look for one bride other than you. (A.S. Pushkin)
25. Antithesis, or opposition(in translation from Greek - opposition) - this is a turn in which opposite concepts, positions, images are sharply opposed. To create an antithesis, antonyms are usually used - general language and contextual:
You are rich, I am very poor, You are a prose writer, I am a poet.(A. S. Pushkin);
Yesterday I looked into your eyes
And now - everything is squinting to the side,
Yesterday, before the birds sat,
All larks today are crows!
I'm stupid and you're smart
Alive and I'm dumbfounded.
O cry of women of all times:
"My dear, what have I done to you?" (M. I. Tsvetaeva)
26. Gradation(translated from Latin - a gradual increase, strengthening) - a technique consisting in the sequential arrangement of words, expressions, tropes (epithets, metaphors, comparisons) in order of strengthening (increasing) or weakening (decreasing) of a sign. Increasing gradation usually used to enhance the imagery, emotional expressiveness and influencing power of the text:
I called you, but you did not look back, I shed tears, but you did not descend(A. A. Blok);
Glowing, burning, shining huge blue eyes. (V. A. Soloukhin)
Descending gradation is used less often and usually serves to enhance the semantic content of the text and create imagery:
He brought the tar of death
Yes, a branch with withered leaves. (A. S. Pushkin)
27. Oxymoron(in translation from Greek - witty-stupid) - this is a stylistic figure in which usually incompatible concepts are combined, as a rule, contradictory to each other ( bitter joy, ringing silence and so on.); at the same time, a new meaning is obtained, and speech acquires special expressiveness: From that hour began for Ilya sweet torment, lightly scorching the soul (I. S. Shmelev);
Eat melancholy cheerful in the scares of dawn (S. A. Yesenin);
But their ugly beauty I soon comprehended the mystery. (M. Yu. Lermontov)
28. Allegory- allegory, the transfer of an abstract concept through a specific image: Must defeat foxes and wolves(cunning, malice, greed).
29.Default- a deliberate break in the statement, conveying the excitement of the speech and suggesting that the reader will guess what was not said: But I wanted ... Perhaps you ...
In addition to the above syntactic expressive means, the following are also found in the tests:
-exclamatory sentences;
- dialogue, hidden dialogue;
-question-answer form of presentation a form of presentation in which questions and answers to questions alternate;
-rows of homogeneous members;
-citation;
-introductory words and constructions
-Incomplete sentences- sentences in which a member is missing, which is necessary for the completeness of the structure and meaning. Missing members of the sentence can be restored and context.
Sfor-mu-li-rui-te in-zi-tion av-to-ra (ras-skaz-chi-ka). You-ra-zi-te your from-but-she-nie to the zi-tion of the av-to-ra on the pro-ble-me of the is-move-no-go text-hundred (with-glas-this or not -so-gla-this) and justify it.
The volume of co-chi-non-nia is at least 150 words.
Ra-bo-ta, na-pi-san-naya without relying on a pro-chi-tan-ny text (not according to a given text), do not appreciate it. If co-chi-non-nye represents a re-said or full-of-stu re-re-pi-san-ny source text without any there was no com-men-ta-ri-ev, then such a ra-bo-ta estimate-no-va-et-sya 0 points.
Write an essay carefully, legible handwriting.
Clear-no-no.
Problems:
1. Pro-ble-ma is-tin-no-go and start-no-go.
2. Pro-ble-ma of the spirit-hov-no-go about-no-scha-niya, in-te-ri in-te-re-sa to the cul-tu-re.
Po-zi-tion av-to-ra:
1. Any business is better for the one who puts in the effort. These efforts are bound to bear fruit.
Introduction to art through reading- expanding knowledge in the field of culture through reading books.
How to enter the world of art
Probably, many of us would like to better understand art and know more about famous composers, artists and literary figures. Such knowledge raises the general cultural level of a person, opens up new worlds and horizons for him, and also represents a source of pleasure and inspiration. But where to start, how to enter these worlds, which, as it sometimes seems, are available only to the elite?
It is not necessary to immediately dive into the world of classical music and listen to everything indiscriminately, stomp around in the Tretyakov Gallery for hours, after which many paintings can turn into one blurry spot, and the names of artists can mix up in your head, or you can scrupulously reread the classics from the school curriculum. The knowledge that is implanted according to the mandatory program, as a rule, stays in the head for a short time and quickly evaporates. Nothing holds them. Another thing is if this knowledge is reinforced by the creation of stronger threads and connections, then one pulls the other, the third is perfectly attached to the second, and the third is perfectly complemented by the fourth. For example, after reading “Girl with a Pearl Earring” by Tracey Chevalier, you are unlikely to forget the name of the Dutch painter Jan Vermeer, you will certainly want to get acquainted with his works, and maybe you will awaken interest in the work of other Dutch artists. And the book of Anastasia Tsvetaeva "Memories" can open for you not only the work of her sister Marina, but also a whole constellation of names of the Silver Age.
Art in fiction and memoirs
Fiction is a great way for a beginner to get into the world of art. Many fascinating art books have been written about outstanding artists, musicians and sculptors. Of course, fiction always contains a share of the author's fiction, and yet it provides an opportunity to learn about beauty in a fascinating way. One name leads to another, and now you are wandering into Wikipedia, driven by the desire to learn more. A week ago you had no idea about these people or knew something vague and vague about them from the school course, and today the whole life of an outstanding person has suddenly opened up before you, you are reflecting on his fate and with pleasure - out of interest, and not “by obligation” - you refer to his work.
The memoirs of prominent people are also of great value. Often there are many other names in them, which are worth knowing in more detail; you can discover new wonderful works. And besides, memoirs, as a rule, are also evidence of an era, and a description of life, relationships between people, events that the author witnessed, and which we know about only from history books. Reading a good memoir is like living an extra life, adding the author's life experience to your own. In addition, you can often find something in them that you might want to take on board, something that will inspire you to your own achievements and strengthen your motivation.
Books about painters and sculptors
- Irving Stone "Lust for Life" - about Vincent van Gogh
- Irving Stone "Pain and Joy" - about Michelangelo
- Romain Rolland "The Life of Michelangelo"
- David Weiss "Naked I Came" - about Auguste Rodin
- Lion Feuchtwanger "Goya, or the hard way of knowledge" - about Francisco Goya
- Konstantin Paustovsky "Isaac Levitan"
- Hayden Herrera Frida Kahlo
- Marc Chagall "My Life"
- Ilya Repin "Far and Near"
- Konstantin Korovin "My Life"
- Alexandre Dumas "Ascanio" - about the sculptor Benvenuto Cellini
- Nikolai Nadezhdin "Salvador Dali: the story of a genius"
- Elena Matveeva "Andrey Rublev. The story of the great icon painter of Rus'»
- Kuzma Petrov-Vodkin "Khlynovsk", "Euclid's Space"
- Alexandre Benois "My memories"
Books about writers and poets
- Anastasia Tsvetaeva "Memories"
- Konstantin Paustovsky "The Tale of Life"
- Anatoly Rybakov "Roman-memories"
- Korney Chukovsky "About Writers"
- Lydia Chukovskaya "Childhood Memories", "Notes on Anna Akhmatova"
- Pavel Basinsky "Leo Tolstoy: Escape from Paradise"
- Yuri Tynyanov "Pushkin", "Kukhlya"
- Ariadna Tyrkova-Williams "Pushkin"
- Agatha Christie "Autobiography"
- Vladimir Nabokov "Other Shores"
- Zinaida Gippius "I'm not afraid of anything"
- Irina Odoevtseva "On the banks of the Neva", "On the banks of the Seine"
- Vladimir Khodasevich "Necropolis"
- Irving Stone "Sailor in the Saddle" (about Jack London)
- Andre Maurois "Three Dumas"
- André Maurois "Olympio, or the Life of Victor Hugo"
Books about musicians
- Alexander Pushkin "Mozart and Salieri"
- David Weiss "Mozart"
- F. Orzhekhovskaya “Imaginary meetings. Tales of Schumann, Chopin, Liszt, Wagner"
- Robert Walker "Rachmaninov"
- O.L. Chernikov "Piano and voices of the great"
- Romain Rolland "Life of Beethoven"
- O. Kuvshinnikov “Beethoven and Eliza. Tender Message"
- Steven Isserlis "Curious things about Bach and Beethoven"
- Nina Berberova "The story of a lonely life. Chaikovsky. Borodin
- Alexander Tkachenko "Bach"
- Y.I. Milshtein "Essays on Chopin"
- Tatyana Veretennikova "Chopin. Master of Sounds"
- Alexander Vertinsky "Dear long"
- Vladislav Shpilman "Pianist. Warsaw diaries»
Through reading to art
Fiction books about outstanding people are easier to perceive, but if you are seriously interested in some kind of artist, writer or musician, then books from the Life of Remarkable People series, biographies, and documentaries that can be found on youtube can come into play. . Now it will be doubly interesting for you to look at the album with the works of this artist or listen to the CD with the compositions of this musician, because now you will know the background and history of these masterpieces. You can seamlessly move from one musician/artist/writer to another, because many of them were friends and influenced each other.
Other ways
You can deepen your knowledge of art in other ways. Find out if museums in your city have lectures. For example, in Moscow the Tretyakov Gallery has an excellent lecture hall tretyakovgallery.ru/ru/education/lectures where lectures are held for adults and children. Stay tuned for new exhibitions. Go to the nearest houses-museums of writers, artists and musicians. Often they also host lectures, musical and literary evenings and other events dedicated to the important dates of the museum.
Various publishing houses periodically release magazine collections dedicated to outstanding composers and artists, which include both biographical data and information about creativity and samples of their work - music discs or reproductions of paintings.
Ticket to the world of art
There are many ways to get involved in the world of art. Someone enters it from childhood, brought up in love for good literature, music and painting. But even if you were not lucky enough to get a "ticket" to the world of art in childhood, then it is quite possible to earn this ticket in adulthood, on your own. To do this, you need only desire, interest and willingness to let art into your soul.
Art... Perhaps this is the most important indicator of the level of development of society. What does each person need to know the author's intention?
How much attention should be paid to a detailed self-study of art? S. Lvov reflects on this very problem.
The question of the need for self-development in art is very relevant, since in our time many young people ignore the great cultural heritage.
This problem is a socio-philosophical one. This conclusion can be drawn due to the fact that art exists
Only in society, and it is through creativity that people try to understand the world. The raised problem is considered on the example of the life of students of the Institute of History, Philosophy and Literature, who were engaged in self-development.
The author draws attention to the fact that young people received most of the knowledge about art of their own free will, voluntarily attending theaters and literary evenings. S. Lvov notes with chagrin that sometimes a person may feel embarrassed when talking about a certain type of creativity due to ignorance. However, the author argues that one should not immediately give up when faced with
With something incomprehensible: by paying attention and time to a particular type of art, you can learn it yourself.
My position is confirmed by the experience of fiction. Many writers have raised this topic in their works. For example, in R. Bradbury's book "451 degrees Fahrenheit" art is completely deleted from the life of society, but some heroes, thanks to books, have the opportunity to get acquainted with great works on their own.
This is also mentioned in the work of M. Vladi “Vladimir, or Interrupted Flight”. Vysotsky and his wife visited exhibitions, museums, concerts all their lives, got acquainted with the art of the whole world.
Thus, in order to study and understand the work of musicians, writers, artists, it is necessary to make maximum efforts and attention. Self-education in art is necessary, because it is thanks to the knowledge of culture that a person enriches his inner world.
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17 out of 24
(1) Initiation to art can take place both in a spacious, purpose-built building, and within four walls, and in the open air. (2) Whether the audience is shown the next film, whether the classes are conducted by a drama club, an amateur choir or a circle in the fine arts - in all this the fire of creativity must and can live for a long time. (3) And he who one day puts his own effort into one of these things will be rewarded in time.
(4) Of course, art is revealed sooner and more willingly to those who themselves give it strength, thoughts, time, attention. (5) Sooner or later, everyone can feel that he is in an unequal position among acquaintances and friends. (6) They, for example, are interested in music or painting, and for him they are books with seven seals. (7) The reaction to such a discovery may be different.
(8) When I became a student at the Institute of History, Philosophy and Literature, a lot connected me immediately with new comrades. (9) We were seriously engaged in literature, history, languages. (10) Many of us have tried to write ourselves. (11) As if anticipating how short our students would be, we hurried to do as much as possible. (12) They not only listened to lectures in their courses, but also went to lectures given to undergraduates. (1H) We managed to attend seminars for young prose writers and critics. (14) We tried not to miss theatrical premieres and literary evenings. (15) How we managed everything, I don’t know, but we did it. (16) I was accepted into my environment by students who were a year older than ours. (17) It was the most interesting company.
(18) I tried to keep up with her, and I succeeded. (19)3a with one exception. (20) My new comrades were passionately interested in music. (21) One of us had a great rarity at that time: a radiogram with a device for turning records - there were no long-playing records then - which allowed you to listen to a whole symphony, concert or opera without interruptions. (22) And a collection of chamber, opera and symphonic music.
(23) When this indispensable part of our evening began, the comrades listened and enjoyed, but I was bored, languished, tormented: I did not understand the music, and it did not give me joy. (24) Of course, you could pretend, pretend, give your face a proper expression, say after everyone: “Great!”
(25) But to pretend, to portray feelings that you do not experience, we were not in the habit. (26) I hid in a corner and suffered, feeling turned off from what means so much to my comrades.
(27) I remember well how the fracture occurred. (28) In the winter of 1940, the author's evening of the then young D.D. was announced. Shostakovich - the first performance of his piano quintet. (29) Friends took a ticket for me too. (Z0) They handed him solemnly. (31) I realized: what is to come is an event!
(32) I will not claim that I was immediately and forever cured of immunity to music that evening. (ЗЗ) But a turn - decisive and important - has occurred. (34) How grateful I am to my friends of those old years that they did not give up, did not exclude them from listening to music - and it was not necessary to exclude, with the then youthfully vulnerable pride, an ironic remark would be enough to make me feel among them , understanding and knowing, superfluous. (35) This did not happen.
(36) Many years have passed. (37) For a long time, serious music for me has been a necessity, a need, happiness. (38) But it was possible - forever and irreparably - to miss her. (39) And deprive yourself.
(40) This did not happen. (41) Firstly, I didn’t take the pose of a person who, not understanding something, says out loud or mentally: “Well, don’t!” (42) And because I didn’t want to pretend, pretending to understand, when I was still very far from it. (43) And most of all - thanks to my friends. (44) It was not enough for them to enjoy themselves. (45) They wanted to attach me to their understanding, to their joy.
(46) And they succeeded!
(According to S. Lvov)
Show full text
In the text proposed for analysis, Sergey Lvovich Lvov raises the problem of the influence of friends on a person's life.
To draw the attention of readers to the problem posed, the author tells the story of how his friends awakened in him an interest in music. S. L. Lvov did not understand music and was bored while his comrades listened and enjoyed. Then friends handed him a ticket to the concert of D. D. Shostakovich. As a result of this event, the author's attitude to music changed. The author is grateful to his comrades and notes that if it were not for his friends, who “didn’t give up, didn’t exclude them from listening to music”, he could “forever and irreparably miss the music”.
The position of the author regarding the problem raised is expressed clearly and unambiguously. Sergey Lvovich Lvov leads the reader to the conclusion that friends influence on a person's life. They can help in difficult times, and are also able to interest in something new, which was previously incomprehensible or boring.
To prove my point of view, I will give the following literary example. Mikhail Sholokhov in his work “The Fate of a Man” showed that friends always try to help each other. When Andrei Sokolov knocked down a cow, he was
Criteria
- 1 of 1 K1 Statement of source text problems
- 3 of 3 K2
