A problem is an aspect of the content of a work that the author focuses on. The range of problems covered by the author's interest, issues constitutes the problems of the work. Solving the problem is part of the writer's creative process.
The issue is directly related to the author's intention. It can be reflected "directly" when the problems are revealed in the text, regardless of figurative system. The author emphasizes the most significant, from his point of view, aspects of the subject of the image.
The problem can be realized at different levels of the work, most often in the depiction of characters, in an artistic conflict (Pushkin "Mozart and Salieri")
Along with this, problems can organically weave out of the subject matter of the work. This is what happens in a historical and artistic-historical work (Pushkin's "Arape of Peter the Great")
The issue depends on many factors: historical events, social problems, "ideas of time", "literary fashion". But first of all - the worldview of the author, his point of view. It is reflected in those author's accents that constitute the problem artwork. (Turgenev "Fathers and Sons" and Chernyshevsky "What is to be done?")
Problematicness as a quality appeared rather late, it didn’t exist: in the archaic, ancient epic, or it was limited to the framework of various rules (for example, the position of a character in classicism is unchanged and the choice is predetermined).
The more diversely depicted, the more important and interesting the problems. It is diverse (philosophical, social, moral, etc.). In Russian literature, a prominent place is occupied by the social and socio-psychological (Nekrasov, “Who should live well in Rus'”).
The problem is realized either directly or indirectly (through images, system).
Theme is the subject of artistic representation (what is being said) and artistic knowledge (which became the basis of the author's interest, assessment). How the foundation subjugates the individual elements of the work. Topics are divided into several groups:
The subject of knowledge is eternal themes". This is a complex of significant for mankind in all epochs and in all literary phenomena- the crown of life and death, light and darkness, love, freedom, duty, etc. they are perceived by writers in their own way, but always leave an integral part of the theme. Some scientists distinguish subgroups:
Ontological - existential, universal, chaos and cosmos, mythology
Anthropological - the deep foundations of human existence, bodily and spiritual) (Bulgakov "The Master and Margarita")
The realities of life of peoples, countries and times in their historical concreteness (Block "Twelve"). They are characteristic in epics, legends, historical novels.
Future, Science fiction, fantasy (Dante's "The Divine Comedy")
Modernity, problems, exciting modern writer society (Gogol, Turgenev, etc.)
The most significant is the theme of man and his existence in the world, inner world. Several conditional thematic groups:
Loneliness (Lermontov)
Creativity and art (Bulgakov "The Master and Margarita")
Image and knowledge of reality
Epic and drama works most often contain many themes. Allocate main theme or a theme that forms the content plan of the work, and side themes that arise along the way. Deep themes enrich the works and enable ambiguous interpretations (Nabokov).
It is impossible to single out only one topic in the story, since the story touches on many areas of life and relationships of a person with the world around him (other people, himself, nature, God). Accordingly, several themes can be distinguished.
1. The theme of the relationship of generations, "boy and old man." It is not particularly expressed and not even declared by the name of the work, but nevertheless significant. “It expresses the living connection of generations, the continuity of courage and struggle, that tenacious force of life that is present in the image of Santiago himself, and in general, as a real motive , opposes the fatal and pessimistic current in Hemingway's work. The boy's belief in the old man as the best fisherman in the world shows how deep Manolin's respect for Santiago is. With a desire, the boy tries to be a good assistant to the old man, he will bring some food, then sardines for bait and will certainly help to load tackle into the boat. The boy reaches out to the old man and takes care of him, in no case because he is old and infirm, and even more
no longer because he is sorry. ... He simply saw the wisdom of the old man, and wanted to learn from him - "everything, everything." He respected him for his colossal life experience.
2. The theme of "the old man and the sea." They are two elements that collide side by side every day, every year. These elements give each other strength. Soul, strength and confidence in a successful hunt give the desire to live an old fisherman. The sea and the fish that live in it mirror reflection old man and his soul.
3. The theme of love for nature. The world appears as divine the whole picture. A person must respect the place in which he lives, the bowels of the planet that feed him. Anyone living on Earth should be aware that he is not just her master. A creature dependent on it.
4. The theme of the sacredness of the human relationship to the sea. The old man does not perceive the sea as a shop where you can get everything you need. For him, the sea is magic, another world, unique in its beauty, with its own laws and beliefs. “In his mind, he always called the sea la mar, as the people who love him call him in Spanish. Sometimes those who love him speak ill of him, but always as a woman, in the feminine gender. Younger fishermen<…>they call the sea el mar, that is, in masculine. They talk about him as a space, as a rival, and sometimes even as an enemy. Only old people can beg from the sea, calling it "la mar" to themselves, female, wait for a miracle and not be surprised at failures. The sea is a symbol of life, life itself. Also here it is impossible not to note how Hemingway emphasizes the worship of the "magic" sea, showing fishing as a sacred ritual that must be carried out according to certain canons, rules (the angle of the fishing line, the need for silence, the time of day).
5. The theme of human humility. Santiago thought of the sea as a woman who gives great alms or refuses them, and if she allows herself rash or unkind deeds, what can you do, such is her nature.
The old man can no longer fight the sea himself, like those who consider the sea a man and an enemy. He no longer has the strength. Therefore, he considers the sea a mother (mother goddess, giving birth and killing), a woman, and asks her. The pride of the old man does not allow him to ask the boy, but only from her, from the mother, from the woman. And the fact that he is asking means that humility has already begun to come to him. The word “humility” is found more than once in the text. It is said that the old man does not remember when humility came to him. In the process of struggle, humility only began to come to him. The meaning of the text is a description of how humility came to the old man. This parable is about the humility of old age.
6. The theme of resilience. It develops in two directions. First, the stamina of an old fisherman when catching marlin. Despite his size, the old man knows that he must use all his, albeit the last, strength to defeat him, overcome him, catch him, fish him out. And this is how
we know it is given to him with great difficulty. And this plan before us appears Man-Wrestler.
Secondly, marlin's firmness at the same meeting. Marlin fulfills the role of Warrior Nature. There is a close connection between them, which will exist until the complete disappearance of one of these links. The old man and fish formula for endurance is expressed in the words "Fight to the very end." This idea is confirmed by the following lines of the story: “Fish,” he called quietly, “I won’t part with you until I die. Yes, and she probably won’t part with me,” the old man thought and began to wait for the morning. . The Old Man and the Sea. ]. Be calm and strong, old man, he told himself.
7. The theme of faith. Faith is key concept in "The Old Man and the Sea" Although he did not read the Lord's Prayer a hundred times within the narrative, he acquired that helplessness that is necessary for faith. He realized that it was necessary to believe not in himself (it was important for him that the boy believed in him, in him). What you need not to “buy” happiness from the pagan sea, from the pagan goldfish, but something else. It was faith that the old man acquired, and along with faith, humility. Hemingway's parable of the old man and the sea is also about humility and fortitude. Faith in God, faith in yourself. “Virgin Mother of God, rejoice, blessed Mary, the Lord is with you. Blessed are you in women, and blessed is the fruit of your womb, as if you had saved our souls. Amen".
1. The problem of human happiness. What is happiness for a person? Does it need a lot? Does it exist?
2. The problem of attitude to God. Is there a God? Can he give everything? Does he give everyone what they ask for?
3. Problems of victory and defeat. What is victory? Is defeat always bad? Who is the winner in the end?
4. The problem of death, or destruction, is expressed in the work by an eternal law: one must either kill or be killed. According to Hemingway, death is inevitable, but both people and animals refuse to surrender to its power.
5. The problem of human loneliness. Can one person resist the boundless expanse of water? When can a person be called lonely?
According to famous critic I. Kashkina, "Hemingway's humanism is a joyless stoic humanism, the humanism of inner victory at the cost of constant defeat." So decided in this work universal problems: questions of human happiness, youth and old age, relations between man and nature.
Introduction. Review as an Olympiad genre.
Essay on literary material.
school practice – school essay("river without banks").
Net recall- a detailed personal statement about a work of art, the purpose of which is to convey an impression of a work of art; the task is to interest, attract attention, convert to one's faith.
Review- a detailed description - an assessment of a work of art based on its detailed analysis, a full-fledged qualification analysis; the task is to give a reasoned interpretation and evaluation of the work.
Feedback - review- This special genre, combining the skills of philological text analysis and the ability to reveal himself as an interesting personality.
At the same time, extremes must be avoided: 1) you should not deliberately demonstrate your knowledge in the field of philology; the use of terms should not become an end in itself (this will lead to formalism); 2) should not be converted poetic text into a springboard for self-expression, when the main thing is the inner world of the author of the review, and not the artistic world of the poem.
Love for poetry .
“Any work of art is a dialogue with every person standing in front of it,” said Hegel. There is not and cannot be a common recipe for all, according to which scheme to work on a review.
"KEY to each poem is enclosed in itself. The researcher's task is to find in each individual case a key that will reveal this - and only this - poem, help to penetrate its secret. For the amazing paradox of poetry lies in the fact that it is accessible to all sufficiently cultured readers - and at the same time contains not immediately and not fully comprehended depth of thoughts and feelings. And the more educated the reader is, the better he is prepared by the experience of life and reading poetry, the more often he turns over familiar pages, the more often he catches himself thinking: “How could I not notice this before? ..”
Necessary prerequisite analysis becomes "entry", immersion in the text and acceptance by the reader of the artistic world of the work into his own world. At the same time, our spiritual world and consciousness become an instrument of analysis. Our feelings and thoughts are those measuring instruments that determine the intensity of pathos and the tension of the conflict, on which the ideas and artistic merits of the work are weighed.
Feedback composition.
I. Introduction.
Competent and creative "entry" into the topic.
II. Main part.
Philological analysis poems:
+ Creative nature of the work:
1). Holistic Analysis text (proportionality of parts, appropriateness of digressions).
3). Spelling and punctuation skills.
III. Conclusion.
Personal impression, judgment, conclusion, born of a poem.
4. Work on the introduction.
2.3. The introduction is a competent and creative entry into the topic.
External context: historical-cultural, historical-biographical, philosophical.
Fit (if possible) the work into the context of historical time, literary process, the fate of the poet.
1. The facts of the author's biography should be given attention, provided that they are viewed in the text of the work (there is a dedication, names, geographical names, dates). The more abstract the content of the poem, the less appropriate is the reference to the biography of the author. (Yesenin "Kachalov's Dog" or "Song of the Dog").
2. creative history works are needed if this material deepens, expands the perception of the work and is organically introduced into the composition (Lermontov "Clouds" or "Cliff").
3. About the worldview of the writer, his citizenship one should speak to the extent that this is necessary for understanding the work (Voznesensky “There is a Russian intelligentsia” or “You will wake me up at dawn”).
Philosophical context: the theme and the problem acquire a universally significant, universal character (A. Dementiev “Do not dare to forget the teachers”).
Examples from the book “Learning to write a review” (introduction: M. Tsvetaeva “An attempt at jealousy”, p. 185-186; Akhmatova “Creativity”, p. 214;
Workshop: write an introduction to Rimma Kazakova's poem "While the child needs your advice."
2.4. The meaning of the name.
To name a poem means to give a name to a child.
Examples: Tsvetaeva "Attempt at Jealousy", Bunin "Evening", Pasternak "The Only Days".
Topics, problems, semantic motives.
Reveal the author's intent. N. M. Shansky:“Without a correct, unambiguous, adequately consistent understanding literary text there can be no question of either its analysis or its philological assessment as an artistic whole with one or another specific content.
Art world- this is the territory of continuous meaning (the zone of non-randomness of any detail).
And yet one calculation is not enough: intuition is no less important when writing a review. Creative thinking, memory. Rich imagination.
Start with the task: Determine the topic, the problem of Alexei Koltsov's poem "The answer to the question about my life"
1. Straightforward interpretation should be avoided artistic idea(the main poetic thought), but to consider its movement through the construction of a poem, artistic images, details, and other form elements.
2. You should not retell the poem, reproducing its content.
3. One of the methods of text analysis is alignment associative series associated with the images and motifs of the poem.
Lyrical themes and motives. At emotional mood or reflection, there is some reason or source, clearly indicated or hidden in the mind of the poet. All these facts and thoughts are called lyrical motifs. The lyrical content is an alloy of motives with the emotional reflection, reflection, mood generated by them:
An image is potentially every noun; motive is potentially every verb.
