1. Determine the theme and idea / main idea / of this work; the issues raised in it; the pathos with which the work is written;
2. Show the relationship between plot and composition;
3. Consider the subjective organization of the work /artistic image of a person, methods of creating a character, types of images-characters, a system of images-characters/;
5. Determine the features of the functioning of the visual and expressive means of the language in this work of literature;
6. Determine the features of the genre of the work and the style of the writer.
Note: according to this scheme, you can write an essay-review about the book you read, while also presenting in the work:
1. Emotional and evaluative attitude to what is read.
2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.
3. Detailed substantiation of the conclusions.
2. Analysis of a prose literary work
When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case it means
Literary trends of the era;
The place of this work among the works of other authors written during this period;
Creative history of the work;
Evaluation of the work in criticism;
The originality of the perception of this work by the contemporaries of the writer;
Evaluation of the work in the context of modern reading;
Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it).
Conceptual level of a work of art
(themes, problems, conflict and pathos)
The theme is what the work is about, the main problem posed and considered by the author in the work, which unites the content into a single whole; these are those typical phenomena and events of real life that are reflected in the work. Does the theme resonate with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate topic; a set of topics - the theme of the work.
The problem is that side of life that is of particular interest to the writer. One and the same problem can serve as the basis for posing different problems (the theme of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serfs, the problem of social injustice ...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.)
Paphos is the emotional and evaluative attitude of the writer to the narrated, which is distinguished by a great strength of feelings (maybe affirming, denying, justifying, elevating ...).
The level of organization of the work as an artistic whole
Composition - the construction of a literary work; unites the parts of the work into one whole.
The main means of composition:
The plot is what happens in the work; system of major events and conflicts.
Conflict is a clash of characters and circumstances, views and principles of life, which is the basis of action. The conflict can occur between the individual and society, between characters. In the mind of the hero can be explicit and hidden. Plot elements reflect the stages of development of the conflict;
Prologue - a kind of introduction to the work, which tells about the events of the past, it emotionally sets the reader up for perception (rare);
The exposition is the introduction into action, the image of the conditions and circumstances that preceded the immediate start of the action (it can be expanded and not, whole and “broken”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, time and circumstances of the action;
The plot is the beginning of the plot movement; the event from which the conflict begins, subsequent events develop.
The development of action is a system of events that follow from the plot; in the course of the development of the action, as a rule, the conflict escalates, and the contradictions appear more and more clearly;
The climax is the moment of the highest tension of the action, the peak of the conflict, the climax represents the main problem of the work and the characters of the characters very clearly, after it the action weakens.
The denouement is a solution to the depicted conflict or an indication of possible ways to resolve it. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility.
Epilogue - the final part of the work, which indicates the direction of further development of events and the fate of the characters (sometimes an assessment is given to the depicted); this is a short story about what happened to the characters of the work after the end of the main plot action.
The plot may be:
In direct chronological sequence of events;
With digressions into the past - retrospectives - and "excursions" into
In a deliberately changed sequence (see artistic time in the work).
Non-plot elements are:
Insert episodes;
Their main function is to expand the scope of what is depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot.
Some elements of the plot may be missing in the work; sometimes it is difficult to separate these elements; sometimes there are several plots in one work - in other words, storylines. There are various interpretations of the concepts of "plot" and "plot":
1) plot - the main conflict of the work; plot - a series of events in which it is expressed;
2) plot - the artistic order of events; plot - the natural order of events
Compositional principles and elements:
The leading compositional principle (the composition is multifaceted, linear, circular, "thread with beads"; in the chronology of events or not...).
Additional composition tools:
Lyrical digressions - forms of disclosure and transmission of the writer's feelings and thoughts about the depicted (they express the author's attitude to the characters, to the depicted life, they can be reflections on any occasion or an explanation of their goal, position);
Introductory (plug-in) episodes (not directly related to the plot of the work);
Artistic anticipations - the image of scenes that, as it were, predict, anticipate the further development of events;
Artistic framing - scenes that begin and end an event or work, complementing it, giving additional meaning;
Compositional techniques - internal monologues, diary, etc.
The level of the internal form of the work
The subjective organization of the narration (its consideration includes the following): The narration can be personal: on behalf of the lyrical hero (confession), on behalf of the hero-narrator, and impersonal (on behalf of the narrator).
1) The artistic image of a person - typical phenomena of life that are reflected in this image are considered; individual traits inherent in the character; reveals the originality of the created image of a person:
External features - face, figure, costume;
The character of the character - it is revealed in actions, in relation to other people, manifested in a portrait, in descriptions of the feelings of the hero, in his speech. Depiction of the conditions in which the character lives and acts;
An image of nature that helps to better understand the thoughts and feelings of the character;
Image of the social environment, the society in which the character lives and acts;
The presence or absence of a prototype.
2) 0 basic techniques for creating an image-character:
Characterization of the hero through his actions and deeds (in the plot system);
Portrait, portrait characteristic of the hero (often expresses the author's attitude to the character);
Psychological analysis - a detailed, in detail recreation of feelings, thoughts, motives - the inner world of the character; here the depiction of the “dialectics of the soul” is of particular importance, i.e. movements of the hero's inner life;
Characterization of the hero by other characters;
Artistic detail - a description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details);
3) Types of images-characters:
lyrical - in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry);
dramatic - in the event that the impression arises that the characters act "by themselves", "without the help of the author", i.e. the author uses the technique of self-disclosure, self-characteristics (found mainly in dramatic works) to characterize the characters;
epic - the author-narrator or narrator consistently describes the characters, their actions, characters, appearance, the environment in which they live, relationships with others (they are found in epic novels, short stories, short stories, short stories, essays).
4) The system of images-characters;
Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work.
All these groups are united in the society depicted in the work (multidimensional or one-dimensional from a social, ethnic, etc. point of view).
Artistic space and artistic time (chronotope): space and time depicted by the author.
Artistic space can be conditional and concrete; compressed and voluminous;
Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the characters’ internal mental processes (lyrical time), long or instantaneous, finite or endless, closed (i.e. only within the plot , out of historical time) and open (against the background of a certain historical epoch).
The way of creating artistic images: narration (image of the events taking place in the work), description (consistent enumeration of individual features, traits, properties and phenomena), forms of oral speech (dialogue, monologue).
The place and significance of the artistic detail (artistic detail that enhances the idea of the whole).
External form level. Speech and rhythm-melodic organization of a literary text
The speech of the characters - expressive or not, acting as a means of typing; individual features of speech; reveals the character and helps to understand the attitude of the author.
Narrator's speech - assessment of events and their participants
The peculiarity of the word use of the national language (the activity of including synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms).
Techniques of figurativeness (tropes - the use of words in a figurative sense) are the simplest (epithet and comparison) and complex (metaphor, personification, allegory, litote, paraphrase).
Poem analysis plan
1. Elements of a commentary on a poem:
Time (place) of writing, history of creation;
Genre originality;
The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
Explanation of obscure places, complex metaphors and other transcripts.
2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader.
4. Interdependence of the content of the poem and its artistic form:
compositional solutions;
Features of self-expression of the lyrical hero and the nature of the narrative;
The sound range of the poem, the use of sound recording, assonance, alliteration;
Rhythm, stanza, graphics, their semantic role;
Motivation and accuracy of the use of expressive means.
4. Associations caused by this poem (literary, life, musical, pictorial - any).
5. The typicality and originality of this poem in the poet's work, the deep moral or philosophical meaning of the work, which was revealed as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem.
6. Additional (free) reflections.
Analysis of a poetic work
Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling;
Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed);
Determine the subject of the description and its connection with the poetic idea (direct - indirect);
Determine the organization (composition) of the lyrical work;
Determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular - book and literary vocabulary ...);
Determine the rhythm (homogeneous - heterogeneous; rhythmic movement);
Determine the sound pattern;
Determine intonation (the attitude of the speaker to the subject of speech and the interlocutor.
Poetic vocabulary
It is necessary to find out the activity of using separate groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms;
Find out the degree of closeness of the poetic language with the colloquial;
Determine the originality and activity of the use of trails
EPITET - artistic definition;
COMPARISON - a comparison of two objects or phenomena in order to explain one of them with the help of the other;
ALLEGORY (allegory) - the image of an abstract concept or phenomenon through specific objects and images;
IRONY - hidden mockery;
HYPERBOLE - Artistic exaggeration used to enhance an impression;
LITOTA - artistic understatement;
PERSONATION - the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel;
METAPHOR - a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied.
Poetic Syntax
(syntactic devices or figures of poetic speech)
Rhetorical questions, appeals, exclamations - they increase the reader's attention without requiring an answer from him;
Repetitions - repeated repetition of the same words or expressions;
Antitheses - oppositions;
Poetic phonetics
The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.)
Alliteration - repetition of consonant sounds;
Assonance - repetition of vowel sounds;
Anaphora - unity of command;
Composition of a lyrical work
Necessary:
Determine the leading experience, feeling, mood reflected in the poetic work;
Find out the harmony of the compositional construction, its subordination to the expression of a certain thought;
Determine the lyrical situation presented in the poem (the hero’s conflict with himself; the hero’s inner lack of freedom, etc.)
Determine the life situation that, presumably, could cause this experience;
Highlight the main parts of a poetic work: show their connection (identify the emotional "picture").
Analysis of a dramatic work
Scheme for analyzing a dramatic work
1. General characteristics: history of creation, vital basis, design, literary criticism.
2. Plot, composition:
The main conflict, stages of its development;
The nature of the denouement /comic, tragic, dramatic/
3. Analysis of individual actions, scenes, phenomena.
4. Collecting material about the characters:
character's appearance,
Behavior,
speech characteristic
Manner /how?/
Style, vocabulary
Self-characterization, mutual characteristics of the characters, author's remarks;
The role of scenery, interior in the development of the image.
5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality.
dramatic work
The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges it to be analyzed in the course of the development of dramatic action (this is the fundamental difference between the analysis of a dramatic work from an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself in different ways in each individual case, namely in the development of the action (according to the principle of a untwisted spring).
1. General characteristics of the dramatic action (character, plan and vector of movement, tempo, rhythm, etc.). "Through" action and "underwater" currents.
2. Type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), the "vertical" and "horizontal" plan of the drama.
3. The system of actors, their place and role in the development of dramatic action and conflict resolution. Main and secondary characters. Off-plot and off-stage characters.
4. The system of motives and the motive development of the plot and micro-plots of the drama. Text and subtext.
5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle.
6. Features of poetics (the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the finale). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc.
7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author.
9. Contexts of drama (historical and cultural, creative, dramatic).
10. The problem of interpretations and stage history.
SCHEME OF ANALYSIS OF A LYRICAL (POETIC) WORK
Analysis of a lyrical work is one of the options for writing. As a rule, topics of this kind look something like this: “The poem by A.A. Blok "The Stranger": Perception, Interpretation, Evaluation. The wording itself contains what you need to do to reveal the ideological and thematic content and artistic features of the lyrical work: 1) tell about your perception of the work; 2) to interpret, that is, to approach the author's intention, to unravel the idea embodied in the work; 3) express your emotional attitude to the work, talk about what affected, surprised you, drew your attention. Here is a diagram of the analysis of a lyrical work.
- facts from the author's biography related to the creation of a poetic work
- to whom is the poem dedicated (prototypes and addressees of the work)?
2. The genre of the poem. Signs of the genre (genres).
3. The title of the work (if any) and its meaning.
4. The image of a lyrical hero. Its closeness to the author.
5. Ideological and thematic content:
- leading theme;
- idea (main idea) of the work
- development of the author's thought (lyrical hero)
- emotional coloring (orientation) of the work and ways of its transmission
6. Artistic features:
- artistic techniques and their meaning;
- key words and images associated with the idea of the work;
- sound recording techniques;
- the presence / absence of division into stanzas;
- features of the rhythm of the poem: poetic size, rhymes, rhymes and their connection with the ideological intent of the author.
7. Your reader's perception of the work.
SCHEME OF ANALYSIS OF AN EPIC WORK (STORY, STORY)
1. The history of the creation of the work:
- facts from the author's biography related to the creation of this work.
- connection of the work with the historical era of its creation;
- the place of the work in the work of the author.
2. The genre of the work. Signs of the genre (genres).
3. The title of the work and its meaning.
4. From whose face is the story being told? Why?
5. Theme and idea of the work. Issues.
6. The plot (story lines) of the work. Conflict. key episodes.
7. The system of images of the work:
- characters of the work (main, secondary; positive, negative;
- features of the names and surnames of the characters;
- the actions of the characters and their motivation;
- subject-household details that characterize the character;
- connection of the character with the social environment;
- attitude towards the hero of the work of other characters;
- self-characterization of characters;
- the author's attitude to the characters and ways of expressing it.
8. Composition of the work:
- division of the text of the work into parts, the meaning of such division;
- the presence of prologues, epilogues, dedications and their meaning;
- the presence of inserted episodes and lyrical digressions and their meaning;
- the presence of epigraphs and their meaning;
- the presence of lyrical digressions and their meaning.
10. Artistic means, techniques that reveal the idea of the work.
11. Features of the language of the work.
Analysis of a work of art
An approximate scheme for the analysis of a literary and artistic work,
when analyzing a work of art, one should distinguish between the ideological content and artistic form,
an approximate plan for characterizing an artistic image-character,
possible plan for parsing a lyric poem,
a general plan for answering the question about the significance of the writer's work,
How to keep a short record of the books you read.
When analyzing a work of art, one should distinguish between ideological content and artistic form.
A. Idea content includes:
1) the theme of the work - the socio-historical characters chosen by the writer in their interaction;
2) problematics - the most essential for the author of the properties and aspects of the already reflected characters, singled out and strengthened by him in the artistic image;
3) the pathos of the work - the ideological and emotional attitude of the writer to the depicted social characters (heroism, tragedy, drama, satire, humor, romance and sentimentality).
Paphos is the highest form of ideological and emotional assessment of life by a writer, revealed in his work. The statement of the greatness of the feat of an individual hero or a whole team is an expression of heroic pathos, and the actions of a hero or a team are distinguished by free initiative and are aimed at the implementation of high humanistic principles. The prerequisite for the heroic in fiction is the heroism of reality, the struggle against the elements of nature, for national freedom and independence, for the free labor of people, the struggle for peace.
When the author affirms the deeds and experiences of people who are characterized by a deep and ineradicable contradiction between the desire for a lofty ideal and the fundamental impossibility of achieving it, then we face tragic pathos. The forms of the tragic are very diverse and historically changeable. Dramatic pathos is distinguished by the absence of a fundamental nature of a person's opposition to impersonal hostile circumstances. The tragic character is always marked by exceptional moral loftiness and significance. The differences in the characters of Katerina in The Thunderstorm and Larisa in Ostrovsky's The Dowry clearly demonstrate the difference in these types of pathos.
In the art of the 19th-20th centuries, romantic pathos acquired great importance, with the help of which the significance of the individual's striving for an emotionally anticipated universal ideal is affirmed. Sentimental pathos is close to the romantic, although its range is limited by the family and everyday sphere of manifestation of the feelings of the characters and the writer. All these types of pathos carry an affirmative principle and realize the sublime as the main and most general aesthetic category.
The general aesthetic category of negation of negative tendencies is the category of the comic. The comic is a form of life that claims to be significant, but has historically outlived its positive content and therefore causes laughter. Comic contradictions as an objective source of laughter can be perceived satirically or humorously. An angry denial of socially dangerous comic phenomena determines the civic nature of the pathos of satire. A mockery of comic contradictions in the moral and domestic sphere of human relations causes a humorous attitude towards the depicted. Mocking can be both denying and affirming the contradiction depicted. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.
B. Art form includes:
1) Details of subject depiction: portrait, actions of characters, their experiences and speech (monologues and dialogues), everyday environment, landscape, plot (sequence and interaction of external and internal actions of characters in time and space);
2) Compositional details: order, method and motivation, narratives and descriptions of the depicted life, author's reasoning, digressions, inserted episodes, framing (image composition - the ratio and location of subject details within a separate image);
3) Stylistic details: figurative and expressive details of the author's speech, intonational-syntactic and rhythmic-strophic features of poetic speech in general.
Scheme of analysis of a literary and artistic work.
1. History of creation.
2. Subject.
3. Issues.
4. The ideological orientation of the work and its emotional pathos.
5. Genre originality.
6. The main artistic images in their system and internal connections.
7. Central characters.
8. The plot and features of the structure of the conflict.
9. Landscape, portrait, dialogues and monologues of characters, interior, setting of the action.
10. The speech structure of the work (author's description, narration, digressions, reasoning).
11. The composition of the plot and individual images, as well as the general architectonics of the work.
12. The place of the work in the work of the writer.
13. Place of the work in the history of Russian and world literature.
The general plan for answering the question about the significance of the writer's work.
A. The place of the writer in the development of Russian literature.
B. The place of the writer in the development of European (world) literature.
1. The main problems of the era and the attitude of the writer to them.
2. Traditions and innovation of the writer in the field:
a) ideas
b) topics, problems;
c) creative method and style;
d) genre;
e) speech style.
B. Evaluation of the writer's work by the classics of literature, criticism.
An approximate plan for characterizing an artistic image-character.
Introduction. The place of the character in the system of images of the work.
Main part. Characterization of a character as a certain social type.
1. Social and financial situation.
2. Appearance.
3. The originality of the worldview and worldview, the range of mental interests, inclinations and habits:
a) the nature of the activity and the main life aspirations;
b) impact on others (main area, types and types of impact).
4. Area of feelings:
a) the type of relationship to others;
b) features of internal experiences.
6. What personality traits of the hero are revealed in the work:
a) with the help of a portrait;
c) through the characteristics of other actors;
d) with the help of background or biography;
e) through a chain of actions;
e) in speech characteristics;
g) through "neighborhood" with other characters;
h) through the environment.
Conclusion. What social problem led the author to create this image.
Plan for the analysis of a lyric poem.
I. Date of writing.
II. Real-biographical and factual commentary.
III. Genre originality.
IV. Idea content:
1. Leading theme.
2. Main idea.
3. Emotional coloring of feelings expressed in a poem in their dynamics or statics.
4. External impression and internal reaction to it.
5. The predominance of public or private intonations.
V. The structure of the poem:
1. Comparison and development of the main verbal images:
a) by similarity;
b) in contrast;
c) by adjacency;
d) by association;
d) by inference.
2. The main figurative means of allegory used by the author: metaphor, metonymy, comparison, allegory, symbol, hyperbole, litote, irony (as a trope), sarcasm, paraphrase.
3. Speech features in terms of intonation-syntactic figures: epithet, repetition, antithesis, inversion, ellipse, parallelism, rhetorical question, appeal and exclamation.
4. The main features of rhythm:
a) tonic, syllabic, syllabo-tonic, dolnik, free verse;
b) iambic, trochee, pyrrhic, sponde, dactyl, amphibrach, anapaest.
5. Rhyme (masculine, feminine, dactylic, exact, inaccurate, rich; simple, compound) and rhyming methods (pair, cross, ring), rhyme game.
6. Strophic (double-line, three-line, five-line, quatrain, sextine, seventh, octave, sonnet, Onegin stanza).
7. Euphony (euphony) and sound recording (alliteration, assonance), other types of sound instrumentation.
How to keep a short record of the books you read.
2. The exact title of the work. Dates of creation and appearance in print.
3. The time depicted in the work, and the place of the main events taking place. The social environment, the representatives of which are displayed by the author in the work (nobles, peasants, urban bourgeoisie, philistines, raznochintsy, intelligentsia, workers).
4. Epoch. Characteristics of the time in which the work was written (from the side of economic and socio-political interests and aspirations of contemporaries).
5. Brief outline of the content.
Methodists distinguish 4 types of analysis of a literary work:
Type 1: analysis of the development of the action - it is based on work on the plot and its elements, that is, parts and chapters. It involves working on the plot of a literary work and its elements (episode, chapter), while the task of the teacher is to find, together with the children, the features of integrity in each part of the work and the organic connection of the part with the whole.
Type 2: problematic analysis - a problematic question is put at the head of the analysis; in the course of searching for an answer to it, different points of view may arise, which are confirmed by reading the text. To turn a problematic question into a problematic situation, it is necessary to sharpen the contradictions, to compare different answers. The formulation of questions of a problematic nature is appropriate when reading those works where there are situations that involve a different understanding of the characters, their actions, deeds, ethical problems raised by the writer.
Issues of concern:
1) the presence of a contradiction and the possibility of different answers;
2) children's interest in the topic;
3) the ability to compare different answers to the question.
Type 3: analysis of artistic images - in the center of the analysis are images of heroes or a landscape. Analysis of artistic images.
Basic principles.
1. When analyzing, we bring to the attention of children that the character is a representative of a certain social group of people, an era, and at the same time this is a living concrete person.
2. in the character of the hero, we determine the leading features.
4.promotes empathy for children, their personal attitude towards the hero.
Work sequence:
1. emotional perception of the characters:
After the initial reading, what can you say about the hero? Did you like it or not? How?
2. The analysis of images takes place in the course of repeated reading:
1) reading an episode or words that say something about the hero - a conversation: how does this characterize the hero, his words, deeds. The choice of words naming the trait of the hero is a generalization conclusion, that is, a story about the hero.
2) the teacher or students name the quality of the hero - confirmation of the text and conclusion - drawing up a story about the hero.
Hero story plan.
1. who is he? (when, where he lived, lives, his age, gender)
2. appearance of the hero.
3. what actions he does and how it characterizes him
6. my attitude.
Methods for working on the characterization of the hero:
1. the teacher calls the quality of the hero, the children confirm with the text.
2. children independently name the property of character and confirm with the text.
3. heroes of the same work or those close in subject matter are compared.
6. linguistic experiment: exclusion from the text of words containing the author's assessment.
7. conclusion (the main idea is the meaning of the work)
in the process of analysis, students must understand both the characteristics of the image (hero, landscape), and the meaning of this image, that is, the load that it carries in the overall structure of the work.
Type 4: stylistic (linguistic) analysis is an analysis of the visual means of the language used by the author in this work.
The purpose of the analysis: to help children understand the thoughts and feelings of the author, expressed primarily in figurative words, the development of imagination, expressive reading.
Working Method:
1. highlighting a word or figurative expression.
2. definition of the thought and feeling contained in them (why does the poet call it that ...., what picture do you present at the same time? What feeling does the author experience? What does the author compare with what? Why?)
3. techniques of stylistic analysis:
1. comparison of poetry and prose on the same topic
2. comparison of different works of the same author. Purpose: highlighting the characteristic features of creativity.
So, work on the word should be aimed at helping children understand the figurative meaning of the work, the thoughts and feelings of the writer, which are embodied in the selection of vocabulary, in the rhythm of the phrase, in every artistic detail. Therefore, for linguistic analysis, words and expressions are chosen that help to better understand the figurative meaning of the work (draw pictures of nature, reveal the author's feelings) and at the same time are the most expressive and accurate. After highlighting a word or expression, their role in the text is realized, they determine what feelings (thoughts) are contained in them.
The main method of all types of analysis is a conversation over the text.
Which analysis to choose depends on the nature (genre) of the work, on the abilities of students, but still the analysis of artistic images can be considered more common and appropriate.
Analysis of the images of heroes
In elementary literary education, when analyzing a work of art, the attention of younger students is focused on the analysis of the image of a character. The term "image" is not used in elementary school, it is replaced by the words "hero of the work", "character", "character".
There is no detailed definition of the term "character" in literary criticism.
A character is not the sum of the details that make up the image of a person, but a holistic personality that embodies the characteristic features of life and evokes a certain attitude of the reader. This attitude is "given" by the creative will of the author. “The characters of a work of art are not just twins of living people,” noted B. Brecht, “but images outlined in accordance with the ideological intent of the author.
“A literary character, as L. Ginzburg notes, is, in essence, a series of successive manifestations of one person within a given text. Throughout one text ... it can be found in a variety of forms: the mention of other characters about him, the narration of the author or narrator about the events associated with the character, the analysis of his character, the depiction of his experiences, thoughts, speeches, appearance, scenes in which he takes participation in words, gestures, actions. E.V. Khalizev believes that the term "hero" emphasizes the positive role, brightness, unusualness, exclusivity of the depicted person.
“A character, a character,” according to L.I. Timofeev, - the concepts by which we designate the person depicted in the work ... "
In the book "Introduction to Literary Studies" ed. G.N. Pospelov says: “The characters, in their totality, making up the system, are, apparently, the side of a literary and artistic work, most closely associated with the content. And when understanding the idea of an epic or dramatic work, it is important to understand, first of all, the function of the system of characters - its meaning and meaning. It is with this that it is natural to begin the consideration of a short story or a novel, a comedy or a tragedy.
A.G. dwells on some aspects of the character system. Zeitlin in The Work of a Writer. First, the characters of a work of art act in some way, that is, they perform actions, and therefore are in certain relationships. Further: "The writer strives ... to ensure that the state of mind of the characters would become clear from his actions." The system of characters is "continuously changing", while a certain "hierarchy of actors" is observed. In addition, there is a grouping that "within the system of characters each time corresponds to the correlation of certain social forces"; this is how the principle of "representativeness" of characters is implemented.!
The concept of a system of characters is used by many researchers without a special definition, although it should be noted that we are talking mainly about a system of images, as A.G. Zeitlin, where the image means the image of a person in a work of art.
Without using the term "character system", Yu.V. Mann writes about various kinds of character connections. Paying attention to the importance of "the motive of leaving, leaving". In his work, it is important to note, firstly, the identification of various connections between the characters, and secondly, the establishment of a connection between the "ideological confrontation" and a wide range of relationships that make up the event-psychological basis of the system of characters.
When analyzing epic and dramatic works, much attention has to be paid to the composition of the system of characters, that is, the characters in the work. For the convenience of approaching this analysis, it is customary to distinguish between main characters (who are in the center of the plot, have independent characters and are directly related to all levels of the content of the work), secondary ones (also quite actively participating in the plot, having their own character, but which receive less authorial attention; in in a number of cases, their function is to help reveal the images of the main characters) and episodic (appearing in one or two episodes of the plot, often not having their own character and standing on the periphery of the author's attention; their main function is to give impetus to the plot action at the right time or set off certain or other features of the main and secondary characters).
Copyright Contest -K2
Table of contents:
1. Techniques for analyzing a literary text
2. Criteria for the artistry of a work (general and particular)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narrative, description, reasoning as ways of presentation
7. Evaluation of language and style. Speech errors.
8. Character evaluation
9. Evaluation of artistic details
10. Features of the analysis of the story as a form of fiction
A literary text is a way of perceiving and recreating the reality surrounding it by the author.
The author reflects the world in a special artistic and figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, allows us to understand the development of human characters, connections and relationships.
A literary work should be considered as a systematic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When evaluating, the main thing is to catch the originality of the structure of a particular work and show where the solution of images, situations does not correspond to the intention, creative manner of the writer, the general structure of the work.
TECHNIQUES FOR ANALYSIS OF ARTISTIC TEXT
Analyzing the text, it is always necessary to correlate the whole with the particular - that is, how the general idea of the work, its theme, structure, genre are realized through the plot, composition, language, style, images of characters.
The task is not easy.
To solve it, you need to know some tricks.
Let's talk about them.
The first technique is the PLANNING of the work, at least mentally.
I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If you describe his actions in clever words, then Alex highlights the supporting semantic points in the text and reveals their subordination. This helps to see and correct factual and logical errors, contradictions, unsubstantiated judgments, etc.
The “translation” of the text into “their” language works very well. This is the criterion for understanding the text.
There is also an ANTICIPATION technique - anticipation, anticipation of the subsequent presentation.
When the reader understands the text, he kind of assumes. Foresees the direction of development, anticipates the thoughts of the author.
We understand that everything is good in moderation. If the plot and actions of the characters are easily viewed, reading such a work is not interesting. However, if the reader cannot follow the author's thought at all and guess at least the general direction of its movement, then this is also a signal of trouble. The process of anticipation is violated when the logic of presentation is violated.
There is one more technique - this is the STATEMENT OF PRELIMINARY QUESTIONS, which our dear Boa constrictor loves so much.
What happened to this minor character? Why did the other character do this? What is hidden behind the mysterious phrase of the heroine?
It is essential that the necessary majority of such questions be answered in the text. All storylines must be completed, mutually linked or logically cut off.
Curious is the fact that the reader and the author seem to be moving in opposite directions. The author goes from idea to structure, and the reader, on the contrary, assessing the structure, must get to the bottom of the idea.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "Kitten named Woof"? When did a kitten and a puppy eat a sausage and meet exactly in the middle? You will laugh, but in literature everything is exactly the same.
What dangers lie in wait for the authors = the most vulnerable link in the process. Reader what? He snorted, closed the book and went on, and the author suffers.
Oddly enough, there are two dangers. First, the reader did not understand the author's intention at all. The second is that the reader put in his own idea (instead of the author's, which turned out to be on the side). In any case, there was no communication, no emotional transmission either.
What to do? Analyze text! (we return to the beginning of the article). Look where the miscoordination took place, and the idea (theme \ structure \ genre) diverged from the embodiment (plot \ composition \ style \ images of characters).
CRITERIA FOR ARTISTICITY OF A WORK
They are divided into public and private.
GENERAL CRITERIA
1. The unity of the content and form of the work.
The artistic image does not exist outside of a certain form. An unsuccessful form discredits the idea, may raise doubts about the validity of what has been said.
2. The criterion of artistic truth = undistorted recreation of reality.
The truth of art is not just the truth of fact. Often we see how the author, defending his work (usually unsuccessful), puts forward an iron (in his opinion) argument - I described everything as it really happened.
But a work of art is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince with their aesthetic power. The critic does not assess the authenticity of the realities - he assesses whether the author has managed to achieve the necessary emotional impact with the facts and images presented.
The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and is reflected in the content, which the author reveals in an original form that is inherent in him. This is the attitude of the author, his special vision, which is expressed in special stylistic techniques of writing.
4. Emotional capacity, associative richness of the text.
The reader wants to empathize with the events along with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creation is the main purpose of the artistic image in literature.
The reader's emotions should be evoked by the image itself, and not imposed by the author's statements and exclamations.
5. The integrity of the perception of the narrative.
The image appears in the mind not as a sum of individual elements, but as an integral, unified poetic picture. M. Gorky believed that the reader should perceive the images of the author immediately, as a blow, and did not think about them. A.P. Chekhov added that fiction should fit into a second.
The criterion of integrity applies not only to elements designed for simultaneous perception - comparisons, metaphors - but also to those components that can be located in the text at a considerable distance from each other (for example, portrait strokes).
This is important when analyzing the characters of the characters. It is not uncommon for novice authors when descriptions of the actions and thoughts of a character do not create in the reader's imagination a picture of his spiritual world. The facts are full of eyes and imagination, but the whole picture is not obtained.
SPECIAL CRITERIA
They relate to individual components of the work - themes, plot, characters' speech, etc.
EVALUATION OF THE PLOT OF THE WORK
The plot is the main means of recreating the movement of events. The optimal option can be considered when the intensity of the action is determined not only by unexpected events and other external methods, but also by internal complexity, a deep disclosure of human relationships, and the significance of the problems posed.
It is necessary to understand the relationship between the plot and the images of the characters, to determine the significance of the situations created by the author in order to reveal the characters.
One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes sketchy and far-fetched. The author builds the narrative freely, but he must achieve persuasiveness so that the reader believes him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the former hero in the new adult.
The plot is the concept of reality (E.S. Dobin)
Plots arise, exist, are borrowed, translated from the language of one type of art to another (staging, film adaptation) - and thus reflect the norms of human behavior inherent in a particular type of culture. But this is only the first side of the relationship between life and art: plots not only reflect the cultural state of society, they form it: “By creating plot texts, a person has learned to distinguish plots in life and, thus, interpret this life for himself” (c)
The plot is an essential quality of a work of art; it is a chain of events that are inevitably present in this type of work. Events, in turn, are made up of the actions and deeds of the characters. The concept of an act includes both externally tangible actions (came, sat down, met, went, etc.), and internal intentions, thoughts, experiences, sometimes resulting in internal monologues, and all kinds of meetings that take the form of a dialogue of one or more characters .
The assessment of the plot is very subjective, however, there are certain criteria for it:
- the integrity of the plot;
- complexity, tension of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.
Plot types
There are two types of plots - dynamic and adynamic.
Signs of a dynamic plot:
- the development of the action is intense and fast,
- in the events of the plot lies the main meaning and interest for the reader,
- the plot elements are clearly expressed, and the denouement carries a huge content load.
Signs of an adynamic plot:
The development of the action is slow and does not tend to a denouement,
- the events of the plot do not contain any special interest (the reader does not have a specific tense expectation: “What will happen next?”),
- elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the denouement is either completely absent, or is purely formal,
- in the overall composition of the work there are many extra-plot elements that shift the center of gravity of the reader's attention to themselves.
Examples of adynamic plots are Gogol's "Dead Souls", Hasek's "Adventures of the Good Soldier Schweik", etc.
There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be reread from any place, works with a dynamic plot - only from beginning to end.
Naturally, with an adynamic plot, the analysis of plot elements is not required, and sometimes it is completely impossible.
COMPOSITION EVALUATION
Composition is the construction of a work that unites all its elements into a single whole, it is a way of disclosing content, a way of systematic organization of content elements.
The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, a certain type of text.
Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- parts must be proportionate;
- Composition techniques should be determined by the content and nature of the work.
Depending on the ratio of the plot and plot in a particular work, one speaks of different types and methods of plot composition.
The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called DIRECT or FABUL SEQUENCE.
More complicated is the technique in which we learn about an event that happened before the rest at the very end of the work - this technique is called DEFAULT.
This technique is very effective, because it allows you to keep the reader in ignorance and tension until the very end, and at the end to amaze him with the unexpectedness of the plot twist. Due to these properties, the technique of default is almost always used in the works of the detective genre.
Another method of violating the chronology or plot sequence is the so-called RETROSPECTIVE, when, in the course of the development of the plot, the author makes digressions into the past, as a rule, at the time preceding the plot and the beginning of this work.
For example, in "Fathers and Sons" by Turgenev, in the course of the plot, we encounter two significant flashbacks - the prehistory of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev's intention to start the novel from their youth, because it would clutter up the composition of the novel, and it seemed necessary to the author to give an idea of the past of these heroes - therefore, the technique of retrospection was used.
The plot sequence can be broken in such a way that events of different times are given mixed up; the narrative constantly returns from the moment of the ongoing action to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the characters. It's called FREE COMPOSITION.
When analyzing a literary text, one should consider the motivation for using each technique in terms of composition, which must be supported by the content and figurative structure of the text.
Many of the shortcomings of the composition are explained by the violation of the requirements of the basic laws of logic.
The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- go beyond the topic;
- incomplete disclosure of the topic;
- disproportion of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- Unsuccessful breakdown of the text into paragraphs.
It must be remembered that in fiction, following a step-by-step logical plan is not at all necessary, sometimes in violation of the logic of plot development one should see not a compositional flaw, but a special method of compositional construction of a work, designed to increase its emotional impact. Therefore, when evaluating the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.
OUTSIDE ELEMENTS
In addition to the plot, there are also so-called extra-plot elements in the composition of the work, which are often no less or even more important than the plot itself.
Extra-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions.
If the plot of a work is the dynamic side of its composition, then the extra-plot elements are the static side.
There are three main types of extra-plot elements:
- description,
- lyrical (or author's) digressions,
- insert episodes (otherwise they are called insert short stories or inserted plots).
DESCRIPTION is a literary depiction of the outside world (landscape, portrait, world of things, etc.) or a sustainable way of life, that is, those events and actions that occur regularly, day after day and, therefore, also have nothing to do with movement plot.
Descriptions are the most common type of non-plot elements; they are present in almost every epic work.
LYRICAL (or AUTHOR'S) RETRACTS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; at the same time, these statements do not characterize individual characters or the relationship between them.
Authorial digressions are an optional element in the composition of a work, but when they nevertheless appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play the most important role and are subject to mandatory analysis.
INSERT SCENES are relatively completed fragments of the action in which other characters act, the action is transferred to a different time and place, etc.
Sometimes inserted episodes begin to play an even greater role in the work than the main plot: for example, in Gogol's "Dead Souls" or Hasek's "Adventures of the Good Soldier Schweik".
ASSESSMENT OF SPEECH STRUCTURES
Fragments are distinguished in the work by belonging to any type of text - narrative, descriptive or explanatory (reasoning texts).
Each type of text is characterized by its own type of presentation of the material, its internal logic, the sequence of arrangement of elements and the composition as a whole.
When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the predominant type.
It is necessary to analyze the fragments in terms of their correspondence to the characteristics of the type, that is, to check whether the narrative, description or reasoning is correctly constructed.
NARRATORY - a story about events in chronological (temporal) sequence.
Narrative is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how the transition from one state to another took place).
In addition, almost every story has its own rhythm and intonation.
When evaluating, it is necessary to check how correctly the author chose the key moments so that they correctly display events; how consistent the author is in presenting them; whether the connection between these main points is thought out.
The syntactic structure of the narration is a chain of verbs, therefore the center of gravity in the narration is transferred from words related to quality to words that convey movements, actions, that is, to the verb.
There are two modes of narration: epic and stage.
The epic way is a complete story about events and actions that have already taken place, about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a story about the events of the Great Patriotic War in a history textbook).
The stage method, on the contrary, requires that the events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through the gestures, movements, words of the characters. At the same time, the attention of readers is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are winding ... The invisible moon illuminates the flying snow ...”).
The most common shortcoming in the construction of the narrative: its overload with little significant facts and details. At the same time, it is important to remember that the significance of an event is determined not by its duration, but by its importance in terms of meaning or for the sequence of presentation of events.
When analyzing descriptions in a work of art, there is no rigid scheme. It is in the descriptions that the author's individuality is most clearly manifested.
A reasoning is a series of judgments that relate to a certain subject and follow each other in such a way that others follow from the previous judgment and as a result an answer to the question posed is obtained.
The purpose of reasoning is to deepen our knowledge about the subject, about the world around us, since the judgment reveals the internal features of objects, the relationship of features among themselves, proves certain provisions, reveals the reasons.
A feature of reasoning is that it is the most complex type of text.
There are two types of reasoning: deductive and inductive. Deductive reasoning is from the general to the particular, while inductive reasoning is from the particular to the general. The inductive or synthetic type of reasoning is considered to be simpler and more accessible to the general reader. There are also mixed types of reasoning.
Analysis of reasoning involves checking the logical correctness of the construction of reasoning.
Describing the various ways of presentation, experts emphasize that the main part of the author's monologue speech is narration. “Narrative, storytelling is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell in an interesting, exciting way”
The author's appeal to other speech structures that increase the tension of the storyline depends on the individual style, genre and subject of the image.
LANGUAGE AND STYLE ASSESSMENT
There are different styles of different types of literature: journalistic, scientific, artistic, official business, industrial, etc. At the same time, the boundaries between styles are quite unsteady, the styles of the language themselves are constantly evolving. Within the same type of literature, one can see some differences in the use of linguistic means, depending on the purpose of the text and its genre features.
Linguistic and stylistic errors have many varieties. We list only the most common and most common of them.
1. MORPHOLOGICAL ERRORS:
Incorrect use of pronouns
For example. “You have to be really lucky in order to win a large artistic canvas for a few rubles. It turned out to be a technician Alexei Stroev. In this case, the incorrect use of the pronoun "him" creates a second anecdotal meaning of the phrase, as it means that Alexei Stroev turned out to be an artistic canvas.
The use of the plural of nouns instead of the singular. For example. "They wear baskets on their heads."
Ending errors.
For example. “A school, a bathhouse, a kindergarten will be built here next year.
2. LEXICAL ERRORS:
Inaccurate word choice, use of words that cause unwanted associations. For example. "Classes are held without warning, in a family atmosphere" - Instead of "without invitation", "at ease".
Inept use of phraseological phrases.
For example. "Our troops have crossed the line" - Instead of: "Our troops have reached the line / Our troops have crossed the line."
The use of expressions in relation to animals that usually characterize the actions of people or human relationships.
For example. "At the same time, the rest of the bulls gave excellent daughters."
3. SYNTAX ERRORS:
Incorrect word order in a sentence.
For example. “For joy, Avdeev felt his heart beat faster.”
Incorrect control and connection.
For example. "More attention should be paid to the safety of young people."
The use of syntactically unformed sentences.
For example. "Her whole small FIGURE LIKE more like a student than a teacher."
Punctuation errors that distort the meaning of the text.
For example. “Sasha ran around the gardens with the kids, played money while sitting at his desk, listened to the stories of teachers.”
4. STYLISTIC ERRORS:
- stationery style
For example. “As a result of the work of the commission, it was found that there are significant reserves in the further use of materials and, in connection with this, a decrease in their consumption per unit of production” - Instead of “The commission found that materials can be used better and, therefore, their consumption can be reduced.”
Speech stamps are a rather complex phenomenon, which is widespread due to the stereotyped thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- in paired words or satellite words (initiative-response),
- stamps - style decorations (blue screen, black gold),
- stencil formations (to carry an honorary watch),
- stamps - compound words (oven-giant, miracle tree).
The main feature of the stamp is the lack of content in it. A stamp must be distinguished from a linguistic cliché, which is a special kind of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.
ASSESSMENT OF ARTISTIC DETAILS
An artistic detail is a detail that the author endowed with a significant semantic and emotional load.
Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.
Through a well-found detail, one can convey the characteristic features of a person's appearance, his speech, behavior, etc.; convexly and visibly describe the situation, scene, any object, finally, the whole phenomenon.
Artistic detailing may be necessary or, conversely, redundant. Excessive attention to detail, which is typical for beginning writers, can lead to a heap of details that interfere with the perception of the main thing and therefore tire the reader.
There are two characteristic miscalculations in the use of artistic details:
It is necessary to distinguish an artistic detail from simple details, which are also necessary in a work.
The writer must be able to select exactly those details that will give a complete, lively, vivid picture. Creating a “visible” and “audible” text for the reader, the writer uses real details, which in the work can be considered as a detail.
Excessive passion for details makes the picture motley, deprives the narrative of integrity.
Black Wand
SOME THOUGHTS OF THE ORDINARY READER ON ARTISTIC DETAILS
FEATURES OF THE ANALYSIS OF A STORY AS A FORM OF A ARTWORK
The short story is the most concise form of fiction. The story is difficult precisely because of its small volume. “There is a lot in the small” - this is the main requirement for small forms.
The story requires especially serious, in-depth work on the content, plot, composition, language, because in small forms, flaws are more clearly visible than in large ones.
A story is not a simple description of a case from life, not a sketch from nature.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. The author's position, the importance of the topic is also significant.
The story is a one-dimensional work, it has one storyline. One incident from the life of heroes, one bright, significant scene can become the content of the story, or a comparison of several episodes covering a more or less long period of time.
Too slow development of the plot, prolonged exposition, unnecessary details harm the perception of the story.
Although the opposite happens as well. Sometimes, with excessive brevity of presentation, new shortcomings arise: the lack of psychological motivation for the actions of the characters, unjustified failures in the development of the action, the sketchiness of characters devoid of memorable features.
N. M. Sikorsky believes that there is a thoughtful and unjustified brevity, that is, omissions in the presentation of events that are easily restored by the reader’s imagination, and unfilled voids that violate the integrity of the narrative. It is important to notice when a figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have a truly artistic conciseness. And here the artistic detail plays a special role in the story.
A story usually does not have a large number of characters and many storylines. Overloading with characters, scenes, dialogues are the most common shortcomings of the stories of novice authors.
Evaluation of the work is carried out in order to clarify the originality of a particular work.
The analysis is carried out in several aspects:
1. Correlation of execution and intention (image as an expression of thoughts and feelings of the author);
2. Figurative accuracy (image as a reflection of reality);
3. Emotional accuracy of the impact of the text on the imagination, emotions, associations of the reader (the image as a means of aesthetic empathy and co-creation).
The result of the assessment is the creation of some recommendations that will improve the unsuccessful components of the text that do not correspond to the intention, the general structure of the work and the creative manner of the author.
Skillfully carried out transformation should not violate the integrity of the text. On the contrary, the release of its structure from the elements introduced by secondary influences will clarify the idea of the work.
During stylistic editing, inaccuracies, speech errors in the manuscript, roughness in style are eliminated;
when shortening the text, everything superfluous that does not correspond to the genre, the functional affiliation of the work is removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted that are necessary for coherence, a logical sequence of presentation.
“You carefully remove the excess, as if you are removing a film from a decal, and gradually a bright drawing appears at your fingertips. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation "(c)
Information for thought.
Before you are two editions of the text of the beginning of L. Tolstoy's story "Hadji Murad".
FIRST OPTION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this time of year: fragrant porridges, red, white, pink, love-not-love, with their spicy rotten smell, yellow, honey and island-shaped, - purple, tulip-shaped peas, multi-colored scabioses, delicate with a slightly plantain with pink fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wild flowers with their subtlety of finishing and slightly noticeable, not for everyone, with their gentle and healthy smell. I picked up a large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, of the variety that we call Tatar and which is diligently mowed or thrown out of the hay by mowers so as not to prick their hands on it. I took it into my head to pick this burdock, put it in the middle of the bouquet. I got down into the ditch and drove the bumblebee that had climbed into the flower and, since I did not have a knife, began to tear off the flower. Not only did it prick from all sides, even through the handkerchief with which I wrapped my hand, its stem was so terribly strong that I fought with it for about 5 minutes, tearing the fibers one at a time. When I tore it off, I crumpled the flower, then it was clumsy and did not go to the delicate delicate flowers of the bouquet. I regretted that I had ruined this beauty and threw the flower away. "What energy and strength of life," I thought, going up to him...
FINAL VERSION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this season: red, white, pink, fragrant, fluffy porridge; cheeky daisies; milky white with a bright yellow center “love it or hate it” with its rotten spicy stench; yellow colza with its honey smell; high-standing purple and white tulip-shaped bells; creeping peas; yellow, red, pink, purple, neat scabioses; with slightly pink fluff and a slightly audible pleasant smell of plantain; cornflowers, bright blue in the sun and in youth, and blue, and blushing in the evening and in old age; and tender, with an almond smell, immediately withering, dodder flowers. I picked up a large bouquet of different flowers and was walking home when I noticed in a ditch wonderful crimson, in full bloom, burdock of the variety that we call "Tatar" and which is diligently mowed, and when it is accidentally mowed, mowers are thrown out of the hay so as not to prick hands on it. I took it into my head to pick this burdock and put it in I got down into the ditch and, having chased away the shaggy bumblebee that had dug into the middle of the flower and sweetly and languidly fell asleep there, I began to pluck the flower. But it was very difficult: not only did the stem prick from all sides, even through the hand, - he was so terribly strong; that I fought with him for about five minutes, tearing the fibers one at a time. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Except moreover, he is rude and clumsy awn did not fit the delicate flowers of the bouquet. I regretted that in vain I had ruined a flower that was good in its place, and I threw it away. “What, however, is the energy and strength of life,” I thought, Remembering the efforts with which I tore off the flower. “How he defended hard and sold his life dearly.”
© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213052901211
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