Analysis of a classic work. Analysis of a work of art using an experimental method

Methodologists distinguish 4 types of analysis of a literary work:

1st type: analysis of the development of the action - it is based on work on the plot and its elements, i.e. parts and chapters. It involves working on the plot of a literary work and its elements (episode, chapter), while the teacher’s task 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: problem analysis - a problematic question is put at the head of the analysis; in the process of searching for an answer to it, different points of view may arise, which are confirmed by reading into the text. To turn a problematic question into a problematic situation, it is necessary to sharpen the contradictions and compare different answer options. Raising questions of a problematic nature is advisable when reading those works where there are situations that suggest a different understanding of the characters, their actions, deeds, and ethical problems raised by the writer.

Features of problematic issues:

1) the presence of contradiction and the possibility of different answers;

2) children’s interest in the topic at hand;

3) the ability to compare different answers to a question.

3rd type: analysis of artistic images - in the center of the analysis are images of heroes or landscape Analysis of artistic images.

Basic principles.

1. during the analysis, we convey to the 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 specific person.

2. We determine the leading features in the character of the hero.

4.promotes children's empathy and their personal attitude towards the hero.

Sequence of work:

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. analysis of images occurs during repeated reading:

1) reading an episode or words that say something about the hero - conversation: how does this characterize the hero, his words, actions. The selection of words that name the hero’s trait 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 - compilation of a story about the hero.

Plan for a story about a hero.

1. who is he? (when, where he lived, lives, his age, gender)

2. the hero’s appearance.

3. what actions does he perform and how does this characterize him?

6. my attitude.

Techniques for working on characterization of a hero:

1. The teacher names the quality of the hero, the children confirm with the text.

2. Children independently name the character trait and confirm it with text.

3. The heroes of the same work or related ones are compared.

6. linguistic experiment: exclusion from the text of words containing the author’s assessment.

7. output ( main idea- 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, i.e. the load that it carries in the overall structure of the work.

4th type: stylistic (linguistic) analysis is an analysis of the visual means of language used by the author in this work.

The purpose of the analysis: to help children understand the author’s thoughts and feelings, expressed primarily in figurative words, development of imagination, expressive reading.

Working method:

1. highlighting a word or figurative expression.

2. definition of the thoughts and feelings contained in them (why does the poet call it that...., what picture do you imagine? What feeling does the author experience? What does the author compare with what? Why?)

3. techniques stylistic analysis:

1. comparison of poetry and prose devoted to the same topic

2. comparison different works one author. Goal: 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 selected that help to better understand the figurative meaning of the work (they 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, and it is determined what feelings (thoughts) are contained in them.

Main reception All types of analysis are a conversation over the text.

Which analysis to choose depends on the nature (genre) of the work, on the capabilities of the students, but still the analysis of artistic images can be considered more common and appropriate.

Analysis of characters' images

In the initial literary education when analyzing work of art The attention of younger schoolchildren is focused on analyzing the character's image. The term "image" in primary school is not used, 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 character traits life and calling to oneself certain attitude reader. This relationship is “set” by the creative will of the author. “Characters in a work of art are not just doubles of living people,” noted B. Brecht, “but images outlined in accordance with the author’s ideological plan.

« Literary character- as L. Ginzburg notes, - this is, in essence, a series of sequential manifestations of one person within a given text. Throughout one text... it can be found in the most different forms: mention of him by other characters, narration by the author or narrator about events related to the character, analysis of his character, depiction of his experiences, thoughts, speeches, appearance, scenes in which he takes part in words, gestures, actions.” E.V. Khalizev believes that the term “hero” emphasizes the positive role, brightness, unusualness, and exclusivity of the person depicted.

“A character, a character,” according to L.I. Timofeev, - concepts with which we designate the person depicted in the work...”

In the book “Introduction to Literary Studies,” ed. G.N. Pospelov says: “Characters, in their totality making up the system, are, apparently, the side of a literary work of art that is most closely connected 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 character system - its meaning and meaning. This is where it is natural to begin considering a short story or novel, comedy or tragedy.

A.G. dwells on some aspects of the character system. Tseitlin in the book “The Work of a Writer”. Firstly, the characters in a work of fiction act in some way, that is, they perform actions, and therefore are in certain relationships. Further: “The writer strives... to ensure that state of mind the heroes would become clear from his actions.” The character system is “continuously changing”, while a certain “hierarchy of characters” is maintained. In addition, a grouping occurs 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 character system is used by many researchers without a special definition, although it should be noted that we're talking about mainly about the system of images, as in A.G. Tseitlin, 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 abandonment, departure.” 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 form the event-psychological basis of the character system.

When analyzing epic and dramatic works a lot of attention has to be paid to the composition of the character system, that is, the characters in the work. For the convenience of approaching this analysis, it is customary to distinguish between main characters (who are at the center of the plot, have independent characters and are directly related to all levels of the content of the work), secondary characters (who are also quite actively involved in the plot, who have their own character, but who 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 without 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 moment or to highlight certain other features of the main and secondary characters).

At the Literature Olympiad, the participant is invited to conduct a holistic analysis of the text - prose or poetic (optional). We will focus on prose text. The level of development of skills to analyze a text is assessed, using for this purpose all available knowledge of language and literature. Usually, the assignment offers questions that the student can focus on, but he has the right to choose his own way of analyzing the work, the main thing is that he must create a coherent, coherent analytical text united by a common concept. An important point in the analysis is the student’s understanding of the meaning of the work, its themes and issues, and how and by what means the author reveals this meaning. That is, we again emphasize that the work is analyzed in the unity of form and content.

Execution Plan

It is not necessary to describe all structural levels of the text; it is more important to focus on the characteristics of its main elements, which helped the author to more fully and vividly reveal the content and realize the plan. Therefore, what is valued in the work is not the abundance of terms, but the accuracy and appropriateness of their use. From the point of view of the content of the text, it is necessary to talk about its theme, idea, problem, position of the author, system of images. When analyzing the form of a work, we pay attention to the composition, means artistic expression, reflecting on what the author achieves by using them.

As a result of the analysis, a coherent text should be obtained, in which all the features of the content and speech format of the analyzed text will be considered. There are many rough plans and recommendations for holistic text analysis. It should be noted right away that there is no single mandatory plan; you can be guided by recommendations, but approach them creatively, remembering that any analysis is individual and shows exactly your perception and understanding of the text.

So, focusing on the analysis of prose text as a task for the Literature Olympiad. Then, from the point of view of content, we must dwell on the main theme, idea, problem raised by the author, consider the system of images, and determine the author’s position. From the point of view of form, we analyze the construction of the text, that is, its composition, find the means of artistic expression and determine their role in the given text.

It is also possible at the Olympics, which you can also familiarize yourself with.

For example, let's analyze an excerpt from the story Richard Bach "A Seagull Named Jonathan Livingston".

Text

He felt relieved that he had made the decision to live as the Pack lived. The chains with which he chained himself to the chariot of knowledge fell apart: there will be no struggle, there will be no defeat. How nice it is to stop thinking and fly in the dark towards the shore lights.

- Darkness! – suddenly an alarming dull voice rang out. - Seagulls never fly in the dark! But Jonathan didn't want to listen. “How nice,” he thought. “The moon and the reflections of light that play on the water and create paths of signal lights in the night, and everything around is so peaceful and calm...”

- Come down! Seagulls never fly in the dark. If you were born to fly in the dark, you would have the eyes of an owl! You wouldn't have a head, but a computer! You would have short falcon wings!

There, in the night, a hundred feet above, Jonathan Livingston narrowed his eyes. His pain, his decision - not a trace remained of them.

Short wings. Short falcon wings! That's the solution! “What a fool I am! All I need is a tiny, very small wing; all I need to do is fold the wings almost completely and move only the tips while flying. Short wings!

He rose two thousand feet above the black mass of water and, without thinking for a moment about failure, about death, he pressed the wide parts of his wings tightly to his body, exposed only the narrow ends, like daggers, to the wind - feather to feather - and entered the vertical dive.

The wind roared deafeningly above his head. Seventy miles an hour, ninety, one hundred and twenty, even faster! Now, at one hundred and forty miles an hour, he did not feel the same tension as before at seventy; a barely perceptible movement of the tips of the wings was enough to break out of the dive, and he rushed over the waves like a cannonball, gray in the moonlight.

He squinted to shield his eyes from the wind, and joy filled him. “One hundred and forty miles an hour! Without losing control! If I start diving from five thousand feet instead of two, I wonder at what speed..."

Good intentions are forgotten, carried away by a swift, hurricane wind. But he felt no remorse for breaking the promise he had just made to himself. Such promises bind seagulls, whose destiny is mediocrity. For one who strives for knowledge and has once achieved perfection, they have no meaning.

Analysis

The analyzed text is an excerpt from Richard Bach's story “Jonathan Livingston Seagull.” This story brought the author worldwide fame. Many of Richard Bach’s works touch on the theme of flight in one way or another, but in the story about the Seagull this theme rises to a philosophical generalization, which makes it possible to define the genre of the work as a story-parable. The correctness of this definition of the genre is confirmed by the epigraph-dedication: “To the non-fictional Jonathan the Seagull, who lives in each of us.”

The text is an episode from a story in which the author talks about how main character goes from the decision to reconcile and give up your dream to the bold embodiment of this dream and victory over yourself. What kind of dream are we talking about? For Jonathan, the dream was knowledge, studying flight, understanding his capabilities and the desire to expand these capabilities. He could not and did not want to be content with only food, he could not and did not want to live the way the Flock lived.

In his quest he was alone, it was not easy for him. The first sentence of the text tells us this: “He felt relief that he had made the decision to live as the Flock lives.” He decided to be like everyone else and felt relieved. It's hard to be an outcast, it's hard to be a black sheep. And when an alarming dull voice is heard, reminding Jonathan of the darkness (you fly in the dark, and seagulls don’t fly in the dark, which means you are not like everyone else, but you decided not to be different from others!), he DOESN’T WANT TO listen, he tries to think how pleasant, peaceful and calm it is around him and in his soul - after all, he accepted Correct solution. Jonathan feels free - “the chains” that chained him to his dream have broken. In the text it is called sublimely: “the chariot of knowledge.” But when they were chained to the chariot... It was torture, execution! Isn’t it torture - the torment of searching for truth, the torment of creativity, when over and over again nothing works out, and around you are not supporters, but opponents, who are happy with your every failure? Are we talking about Chaika now or about people, about ourselves?

The author's skill was manifested in the fact that he was able to tell about the Seagull SO that a thoughtful reader could rise to philosophical generalizations: while reading the story about the Seagull, we think about human life, about human relationships and characters. The author believes that everyone has a dream, you just need to remind people of it, awaken the strength to strive for your dream. And he shows this in the image of the main character. Jonathan humbled himself, but it was only outward humility. As soon as it appears in his mind new idea, the previous decision to “be like everyone else” is forgotten and he is already flying, testing this idea, and rejoices, feeling the joy of victory.

Compositionally, the passage can be divided into 4 parts: the decision to accept and be like everyone else; insight; checking a guess; the joy of discovery. The smooth and calm beginning gives way to anxiety, then the tension increases and the speed of movement increases, reaching a maximum when Jonathan came out of his dive and “swept over the waves like a cannonball, gray in the light of the moon.” And then - joy, jubilation and new plans: “If I start diving from five thousand feet, and not from two, I wonder at what speed...” Truly, there is no limit to improvement and no limits to knowledge.

The author uses various means of artistic expression in the text. There are metaphors here that add poetry and sublimity: “chariot of knowledge”; “The wind roared deafeningly above his head”; “The moon and the reflections of light that play on the water and make trails of signal lights in the night.” Comparisons: “he swept over the waves like a cannonball”; “exposed only the narrow ends, like daggers, to the wind,” help to more clearly imagine the action and sign. The text also contains contextual antonyms: “an alarming dull voice” - “pleasant”, “everything is so peaceful and calm”; “not a head, but a computing machine.” The phrase “Short wings!” is repeated three times. - this is the insight, the discovery that came to Jonathan. And then - the movement itself, the speed grows, and this is emphasized by gradation: “without thinking for a moment about failure, about death”; “seventy miles an hour, ninety, one hundred and twenty, even faster!”

The last part of the text is the joy of victory, the joy of knowledge. The author takes us back to the beginning, when Jonathan decided to be like everyone else, but now “Good intentions are forgotten, carried away by a swift, hurricane wind.” Here again gradation is used, depicting a whirlwind of joy and jubilation in the hero’s soul. He breaks the promise made at the beginning of the text, but “To him who strives for knowledge and has once achieved perfection,” such promises have no meaning. The phrase “good intentions” evokes many associations. The phrase “The road to hell is paved with good intentions” immediately comes to mind. Let's think about it. Could it be that good intentions are not for good, but for harm? Probably, it can, if intentions remain only intentions and do not turn into concrete actions. And it becomes clear to us that the hero of the text does not indulge in “intentions,” but acts and wins. This is the main idea of the text: only those who are not afraid to be different from everyone else and follow their dreams in spite of everything can be truly happy themselves and make others happy.

It should be recalled that in addition to analysis in literature lessons, analysis of prose text is also possible in Russian language lessons. See an example of the same passage from Richard Bach's story to compare both analyzes and understand the differences between them.

1. Techniques for analyzing literary text
2. Criteria for the artistry of a work (general and specific)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narration, description, reasoning as methods of presentation
7. Evaluation of language and style. Speech errors.
8. Character Evaluation
9. Appreciation of artistic details
10. Features of the analysis of the story as a form of fiction

A literary text is the author’s way of perceiving and recreating the reality around him.

The author reflects the world in a special artistic way figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, and allows one to understand the development of human characters, connections and relationships.

A literary work must be considered as a systemic 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 grasp the originality of the structure of a particular work and show where the solution of images and situations does not correspond to the plan, the creative style of the writer, or the general structure of the work.

TECHNIQUES FOR ANALYSIS OF LITERARY TEXT

When analyzing a text, it is always necessary to correlate the whole with the particular - that is, how the general concept of the work, its theme, structure, genre are realized through the plot, composition, language, style, and 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 DRAFTING A PLAN for the work, at least mentally.

I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If we describe his actions with clever words, then Alex identifies key semantic points in the text and reveals their subordination. This helps to see and correct factual and logical errors, contradictions, unsubstantiated judgments, etc.
“Translating” text into “your” language works very well. This is the criterion for understanding the text.

There is also a technique of ANTICIPATION - anticipation, anticipation of the subsequent presentation.

When the reader understands the text, he seems to assume. Anticipates the direction of development, anticipates the author’s thoughts.
We understand that everything is good in moderation. If the plot and actions of the characters are easily visible, reading such a work is not interesting. However, if the reader is completely unable to follow the author’s thought and guess at least the general direction of its movement, then this is also a signal of trouble. The process of anticipation is disrupted when the logic of presentation is disrupted.

There is one more technique - this is posing 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 heroine’s mysterious phrase?
It is necessary that the required majority of these questions find answers in the text. All storylines must be completed, mutually linked or logically terminated.

It is curious that the reader and the author seem to be moving in opposite directions. The author goes from concept to structure, and the reader, on the contrary, assessing the structure, must get to the bottom of the concept.
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 "A 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 await the authors = the most vulnerable link in the process. Reader - what? He snorted, closed the book and moved on, while the author suffered.
Oddly enough, there are two dangers. The first is that the reader did not understand the author’s intention at all. The second is that the reader contributed 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 transfer either.

What to do? Analyze the text! (back to the beginning of the article). Look where the miscoordination occurred, and the idea (theme\structure\genre) diverged from the implementation (plot\composition\style\character images).

CRITERIA FOR THE ARTISTICITY OF A WORK

They are divided into general and private.

GENERAL CRITERIA

1. Unity of content and form of the work.

An artistic image does not exist outside of a certain form. An unsuccessful form discredits the idea and may raise doubts about the fairness of what was said.

2. The criterion of artistic truth = undistorted recreation of reality.

The truth of art is not just the truth of fact. We often see how an author, defending his work (usually unsuccessful), puts forward an iron-clad (in his opinion) argument - I described everything as it actually 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 evaluate the authenticity of realities - he evaluates whether the author was able 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 reflected in the content, which the author reveals in an original form that is inherent to him. This is the author’s worldview, his special vision, which is expressed in special stylistic devices letters.

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-creativity are 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. Integrity of perception of the narrative.

The image appears in the mind not as a sum of individual elements, but as a whole, unified poetic picture. M. Gorky believed that the reader should perceive the author’s images immediately, like a blow, and not think about them. A.P. Chekhov added that fiction should be written in a second.

The criterion of integrity applies not only to elements designed for immediate 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 matters when analyzing the characters' characters. There are often cases among beginning authors when descriptions of a character’s actions and thoughts do not create a picture of his spiritual world in the reader’s imagination. Facts dazzle in the eyes and imagination, but the whole picture does not emerge.

PARTICULAR CRITERIA

They concern individual components of the work - themes, plot, speech of characters, 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 techniques, 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 for revealing the characters.

One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes schematic and far-fetched. The author freely constructs the narrative, 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 a concept of reality (E.S. Dobin)

Plots arise, exist, are borrowed, translated from the language of one type of art to another (dramatization, film adaptation) - and thereby reflect the norms of human behavior characteristic of 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)

Plot is an integral quality of a work of art; this is a chain of events that are inevitably present in this type of work. Events, in turn, consist of the actions and deeds of the heroes. The concept of an act includes both externally tangible actions (came, sat down, met, headed, 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 .

Evaluation of the plot is very subjective, however, there are certain criteria for it:

- 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.

Types of plots

There are two types of plots - dynamic and adynamic.

Signs of a dynamic plot:
- the development of the action occurs intensely and rapidly,
- the events of the plot contain the main meaning and interest for the reader,
- plot elements are clearly expressed, and the denouement carries a huge meaningful load.

Signs of an adynamic plot:

The development of the action is slow and does not strive for resolution,
- the events of the plot do not contain any particular 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 outcome is either completely absent or purely formal,
- V general composition the work has many extra-plot elements that shift the center of gravity of the reader's attention to itself.

Examples of adynamic plots - “ Dead Souls"Gogol, "The Adventures of the Good Soldier Schweik" by Hasek, etc.

There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be re-read from any place, works with a dynamic plot - only from beginning to end.

Naturally, with an adynamic plot, analysis of plot elements is not required, and sometimes is completely impossible.

COMPOSITION EVALUATION

Composition is the construction of a work, combining all its elements into a single whole, it is a way of revealing content, a way systemic organization 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 text.

Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- the parts must be proportionate;
- composition techniques should be determined by the content and nature of the work.

Depending on the relationship between plot and plot in a particular work, they talk about different types and techniques of plot composition.

The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called a DIRECT or FABUL SEQUENCE.

A more complex technique is in which we learn about the event that happened earlier than the others 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 the dark and in suspense until the very end, and at the end surprise him with the surprise of the plot twist. Due to these properties, the technique of default is almost always used in works detective genre.

Another method of violating chronology or plot sequence is the so-called RETROSPECTIVENESS, when, as the plot develops, the author makes retreats into the past, as a rule, to the time preceding the plot and beginning of this work.
For example, in “Fathers and Sons” by Turgenev, during the course of the plot we are faced with two significant flashbacks - the background to the lives of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev’s intention to begin the novel from their youth, because this would have cluttered the composition of the novel, and it seemed necessary to the author to give an idea of the past of these heroes - therefore, the method of retrospection was used.

The plot sequence can be disrupted in such a way that events at different times are given intermixed; the narrative constantly returns from the moment of the action to various previous time layers, then again turns to the present in order to immediately return to the past. This plot composition 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 from the point of view of composition, which must be supported by the content and figurative structure of the text.

Many shortcomings of composition are explained by 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;
- going beyond the topic;
- incomplete disclosure of the topic;
- disproportionality of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- unsuccessful division of text into paragraphs.

It must be remembered that in fiction, following a step-by-step logical plan is not at all necessary; sometimes a violation of the logic of plot development should be seen not as a compositional flaw, but as a special technique compositional construction works designed to enhance its emotional impact. Therefore, when assessing 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.

EXTRA-PLOT ELEMENTS

In addition to the plot, in the composition of the work there are also so-called extra-plot elements, which are often no less, or even more important, than the plot itself.

Non-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,
- inserted episodes (otherwise they are called inserted novels or inserted plots).

DESCRIPTION is literary image the external world (landscape, portrait, world of things, etc.) or sustainable way of life, that is, those events and actions that occur regularly, day after day and, therefore, are also not related to the movement of the plot.
Descriptions are the most common type of extra-plot elements; they are present in almost every epic work.

LYRICAL (or AUTHOR'S) DISTRACTIONS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; Moreover, these statements do not characterize individual characters or the relationships between them.
Author's digressions are an optional element in the composition of a work, but when they do appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play a very important role and are subject to mandatory analysis.

INSERT EPISODES are relatively complete fragments of action in which other characters act, the action is transferred to another time and place, etc.
Sometimes inserted episodes begin to play an even greater role in the work than the main plot: for example, in “ Dead souls"Gogol or "The Adventures of the Good Soldier Schweik" by Hasek.

ASSESSMENT OF SPEECH STRUCTURES

Fragments are distinguished in the work according to their belonging to any type of text - narrative, descriptive or explanatory (discourse 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 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 compliance with the characteristics of the type, i.e., check whether the narrative, description or reasoning is constructed correctly.

NARRATION - a story about events in chronological (time) sequence.

Narration 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 has chosen the key points so that they correctly reflect the events; how consistent the author is in presenting them; whether the connection of these main points with each other has been thought out.

The syntactic structure of the narrative is a chain of verbs, so the center of gravity in the narrative is transferred from words related to quality to words that convey movements, actions, that is, to the verb.

There are two types of storytelling: epic and stage.

The epic method is a complete story about events and actions that have already taken place, and about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a narrative about the events of the Great Patriotic War in a history textbook).

The stage method, on the contrary, requires that events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through gestures, movements, and words of the characters. At the same time, the readers’ attention is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are curling... The invisible moon illuminates the flying snow...").

The most common flaw in the construction of a narrative: it is too overloaded meaningful facts and details. It is important to remember that the significance of an event is determined not by its duration, but by its importance in 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.

REASONING is a series of judgments that relate to a specific 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 an object, about the world around us, since judgment reveals the internal characteristics of objects, the relationship of signs with each other, proves certain provisions, and reveals reasons.
The peculiarity of the argument is that this is the most complex look text.

There are two ways of reasoning: deductive and inductive. Deductive is reasoning from the general to the particular, and inductive is reasoning from the particular to the general. The inductive or synthetic type of reasoning is considered 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 reasoning structure.

Characterizing various ways presentation, experts emphasize that the main part of the author’s monologue speech is narration. “Narrative, story is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell an interesting, exciting story.”
The author’s use of other speech structures that enhance the tension of the storyline depends on the individual style, genre and subject of the image.

EVALUATION OF LANGUAGE AND STYLE
Exist different styles different types of literature: journalistic, scientific, fiction, official business, industrial, etc. At the same time, the boundaries between styles are quite fluid; the styles of the language themselves are constantly evolving. Within the same type of literature one can see some differences in the use linguistic means depending on the purpose of the text and its genre features.

Linguistic and stylistic errors come in 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 to win a big deal for a few rubles.” artistic canvas. It turned out to be technician Alexey Stroev.” In this case, the incorrect use of the pronoun “im” creates a second anecdotal meaning of the phrase, since it means that Alexey Stroev turned out to be an artistic canvas.

Use plural nouns instead of singular. For example. "They carry baskets on their heads."

Errors in endings.
For example. “A school, a bathhouse, and a kindergarten will be built here next year.

2. LEXICAL ERRORS:

Inaccurate choice of words, use of words that cause unwanted associations. For example. “Classes are held without warning, in a family atmosphere” - Instead of “uninvited”, “relaxed”.

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. “Avdeev felt his heart beat faster with joy.”

Incorrect control and adjacency.
For example. “More attention needs to be paid to the safety of young people.”

The use of syntactically unformed sentences.
For example. “Her whole small FIGURE LOOKS 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 children, played knucklebones while sitting at his desk, and listened to the teachers’ stories.”

4. STYLISTIC ERRORS:

- “office” style
For example. “As a result of the work of the commission, it was established that there are significant reserves for the further use of materials and, in connection with this, reducing 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 cliches are a rather complex phenomenon that is widespread due to the stereotyped nature of thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- paired words or satellite words (initiation-response),
- stamps – style decorations (blue screen, black gold),
- stencil formations (keep an honor watch),
- stamps - compound words (giant stove, miracle tree).
The main feature of a stamp is its lack of content. A stamp must be distinguished from a linguistic cliche, which is a special type of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.

EVALUATION OF ARTISTIC DETAILS
An artistic detail is a detail that the author has endowed with 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 successfully found detail, one can convey the characteristic features of a person’s appearance, his speech, demeanor, etc.; to concisely and visibly describe the situation, the scene of action, an object, and finally, an entire phenomenon.

Artistic detailing may be necessary or, on the contrary, excessive. Excessive attention to detail, characteristic of beginning writers, can lead to a pile-up of details, which will interfere with the perception of the main thing and therefore tire the reader.

There are two characteristic miscalculations in the use of artistic detail:

It is necessary to distinguish artistic detail from simple details that are also necessary in the work.

The writer must be able to select exactly those details that will give a complete, vivid, vivid picture. By creating a text that is “visible” and “audible” for the reader, the writer uses real details, which in the work can be considered as detail.
Excessive attention to detail makes the picture motley and deprives the story of integrity.

Black Stick

SOME THOUGHTS OF AN ORDINARY READER ABOUT ARTISTIC DETAILS

FEATURES OF ANALYSIS OF A STORY AS A FORM OF A WORK OF ART

A story is the most concise form fiction. The story is difficult precisely because of its small volume. “There is a lot in small things” - 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 the defects are more clearly visible than in large ones.
A story is not a simple description of an incident from life, not a sketch from life.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. Significant and author's position, significance of the topic.

A story is a one-dimensional work, it has one plot line. One incident from the life of the characters, one bright, significant scene can become the content of a story, or a comparison of several episodes covering a more or less long period of time.
Too slow plot development, prolonged exposition, and unnecessary details harm the perception of the story.
Although the opposite case also happens. Sometimes, when the presentation is too laconic, new shortcomings arise: the lack of psychological motivation for the actions of the heroes, unjustified failures in the development of action, the sketchiness of characters devoid of memorable features.

N. M. Sikorsky believes that there is 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 figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have truly artistic brevity. And here special role artistic detail plays in the story

Doesn't usually happen in a story large number characters and many storylines. Overload with characters, scenes, and dialogues are the most common shortcomings of stories by novice authors.

The evaluation of a work is carried out in order to determine the uniqueness of a particular work.

The analysis is carried out in several aspects:

1. Correlation between execution and design (image as an expression of the author’s thoughts and feelings);

2. Visual accuracy (image as a reflection of reality);

3. Emotional accuracy of the text’s impact on the reader’s imagination, emotions, and associations (image as a means of aesthetic empathy and co-creation).

The result of the assessment is the creation of certain recommendations that will improve the unsuccessful components of the text that do not correspond to the concept, the general structure of the work and the creative style of the author.

A skillfully carried out transformation should not disrupt the integrity of the text. On the contrary, freeing its structure from elements introduced by side influences will clarify the idea of the work.

During stylistic editing, inaccuracies, speech errors in the manuscript, and roughness in style are eliminated;
when shortening the text, all unnecessary things that do not correspond to the genre or functional affiliation of the work are removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted, which are necessary for coherence and logical sequence of presentation.

“You carefully remove the excess, as if you were removing film from a transfer, and gradually a bright drawing appears under your hand. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation” (c)

Food for thought.

Here are two editions of the text of the beginning of L. Tolstoy’s story “Hadji Murad”.

FIRST OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a lovely selection of flowers this time of year: fragrant porridges, red, white, pink, love it or not, with their spicy sweet smell, yellow, honey and sharp-shaped - purple, tulip-shaped polka dots, multi-colored scabioses, delicate with a slightly pink plantain fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wildflowers with their subtlety of decoration and slightly noticeable, not for everyone, their delicate and healthy scent. I picked a large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, the variety that we call Tatar and which the mowers carefully mow down or throw out of the hay so as not to prick their hands on it. I decided to pick this burdock and put it in the middle of the bouquet. I got down into the ditch and chased away the bumblebee that had climbed into the flower and, since I didn’t have a knife, I began to tear off the flower. Not only did it prick from all sides, even through the scarf 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 by one. When I tore it off, I crushed the flower, then it was clumsy and did not suit the delicate delicate flowers of the bouquet. I regretted that I had destroyed this beauty and threw the flower. “What energy and strength of life,” I thought, approaching him...

FINAL OPTION

I was returning home through the fields. It was the very middle of summer. The meadows had been cleared and they were just about to mow the rye. There is a lovely selection of flowers this time of year: red, white, pink, fragrant, fluffy porridges; 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; tall purple and white tulip-shaped bells; creeping peas; yellow, red, pink, lilac, neat scabioses; with slightly pink fluff and a slightly audible pleasant smell of plantain; cornflowers, bright blue in the sun and in their youth, and blue and reddening in the evening and in old age; and tender, with an almond scent, immediately withering, dodder flowers. I picked a large bouquet of different flowers and was walking home when I noticed in a ditch a wonderful crimson burdock, in full bloom, of the variety that we call “Tatar” and which is carefully mowed, and when it is accidentally mowed down, the mowns are thrown out of the hay so as not to prick hands on it. I decided to pick this burdock and put it in. the middle of the bouquet. I climbed down into the ditch and, driving away the shaggy bumblebee that was nestling in the middle of the flower and sleeping sweetly and sluggishly there, began to pick the flower, but it was very difficult: not only did the stem prickle from all sides, even through the scarf with which I wrapped it. hand - it was so terribly strong that I fought with it for about five minutes, tearing off the fibers one by one, when I finally tore off the flower, the stem was already in tatters, and the flower no longer seemed so fresh and beautiful. Moreover, due to its rudeness and clumsiness, it did not suit the delicate flowers of the bouquet. I regretted that I had in vain destroyed a flower that was good in its place, and threw it away. “What energy and strength of life, however,” I thought, Remembering the efforts with which I tore off the flower. “How he strenuously defended and sold his life dearly.”

Reviews

Analysis - Criticism third, positive

Quote - Evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters’ characters;
...

Plot elements are stages of development literary conflict(exposition, plot, development of action, climax and denouement). The identification of these elements is possible only in connection with the conflict.

The daily audience of the Proza.ru portal is about 100 thousand visitors, who total amount view more than half a million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.

SCHEME FOR 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: “Poem by A.A. Block “Stranger”: perception, interpretation, evaluation.” The formulation itself contains what you need to do to reveal the ideological and thematic content and artistic features of the lyrical work: 1) talk about your perception of the work; 2) interpret, that is, get closer to the author’s intention, unravel the idea embedded in the work; 3) express your emotional attitude to the work, talk about what touched, surprised you, and drew your attention. Here is a diagram of the analysis of the lyrical work.

facts from the author's biography related to the creation poetic work
to whom is the poem dedicated (prototypes and recipients of the work)?

2. Genre of the poem. Signs of genre (genres).

3. The title of the work (if any) and its meaning.

4. Image lyrical hero. His closeness to the author.

5. Ideological and thematic content:

leading topic;
idea (main idea) of the work
development of the author’s (lyrical hero’s) thoughts
emotional coloring (direction) of the work and methods of its transmission

6. Artistic Features:

artistic techniques and their meaning;
keywords and images associated with the idea of the work;
sound recording techniques;
presence/absence of division into stanzas;
features of the rhythm of the poem: meter, rhymes, rhymes and their connection with the author’s ideological intention.

7. Your reader's perception of the work.

SCHEME FOR ANALYSIS OF AN EPIC WORK (STORY, TALE)

1. 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 historical era its creation;
the place of the work in the author’s work.

2. Genre of the work. Signs of genre (genres).

3. The title of the work and its meaning.

4. On whose behalf is the story being told? Why?

5. Theme and idea of the work. Issues.

6. The plot (storylines) of the work. Conflict. Key episodes.

7. 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;
household details that characterize the character;
connection of the character with the social environment;
the attitude of other characters towards the hero of the work;
self-characteristics of characters;
author's attitude to the characters and ways of expressing it.

8. Composition of the work:

dividing the text of a 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 media, techniques that reveal the idea of the work.

11. Features of the language of the work.

Complete work analysis plan

1. History of creation (time of writing; how the writer worked on the work).

2. Direction, gender and genre.

3. Subjects and issues (main topics and problems).

4. Idea and pathos (ideological and emotional assessment).

5. The main characters (their place in the figurative system). In a lyric poem: the image of a lyrical hero.

6. Plot and composition.

7. Artistic originality:

portrait;

- scenery;

- artistic details;

- means of poetic expression (tropes);

- features of the language of the work;

- features of poetic syntax;

- features of phonetic organization (sound writing).

8. For lyric poems:

- poetic meter;

- features of rhyme;

- stanza.

9. Meaning of the work:

- place of work Vthe writer's work;

- value in literary life eras;

- significance for subsequent eras;

- relationships with the works of the same author and other writers.

When working on works according to this plan, pay special attention to those questions that are important not only for preparing material for the essay (task C5), but also for answering tasks in parts B and C1-C4. From this point of view, it is important not only to note the direction within which a particular work was created, its genre, to highlight the features of the composition and key moments of plot development, to give a brief description of the main characters, ideological and thematic content and to consider the issue of the author’s assessment of what is depicted, but and give examples of relationships in various aspects with the works of other writers. Indeed, in tasks C2 and C4 the question about the literary context is included as mandatory. It is not always possible to quickly find the answer to these types of questions in exam conditions - it is better to prepare for them in advance. According to our plan, this can be done in paragraph 9, where the meaning of the work is discussed. For example, speaking about Lermontov’s novel “A Hero of Our Time,” it should be noted that it not only continues the theme of “hero of time” begun by Pushkin in the novel “Eugene Onegin,” but also opens the way for the development of this theme for writers of the second century. half of the 19th century century. At the same time, it must be emphasized that the attitude towards personality type, which appeared in novels of the first half of the 19th century and later received the name “extra person.” Writers of the second half of the 19th century see in him weaknesses and shortcomings rather than advantages. These are the heroes of this socio-psychological type in Turgenev’s works “The Diary of an Extra Man”, “Rudin”, “The Noble Nest”, “Fathers and Sons”, in Nekrasov’s poem “Sasha”, in Goncharov’s novel “Oblomov”, in Chekhov’s story “Duel” " And although the type " extra person“belongs to the literature of the 19th century, the very problem of finding a “hero of the time” remains relevant in the literature of the 20th century, for example, in Pasternak’s novel “Doctor Zhivago”. In addition, it is important to note those artistic achievements of Lermontov, which were continued in Russian literature. First of all, it should be said here about the formation genre form Russian realistic socio-psychological novel of the second half of the 19th century. Lermontov's discoveries turned out to be especially important for the formation of Tolstoy's

Another example is from the lyrics: speaking about Pushkin’s poem “The Prophet,” we can highlight a certain tradition in it, coming from the spiritual odes of M.V. Lomonosov and G.R.

Derzhavina. But at the same time, it should be emphasized that here Pushkin, for the first time in Russian literature, elevated the poet to the level of a prophet, thereby defining one of the most important features of Russian literature as a whole. It was after Pushkin that the idea of a special role in society for poets, called to service similar to the prophetic, was established. Following Pushkin, Lermontov continued this theme in his “Prophet,” written shortly before his death in 1841. Then it was picked up by writers of the second half of the 19th century - Dostoevsky, Tolstoy and many others, who became for the whole world the personification of the special mission of the writer, which the Russian poet of the 20th century E. Yevtushenko defined with the words: “A poet in Russia is more than a poet.”Finally, let us turn to another very important issue regarding the preparation of text material for the exam. It's about lyrics, which is presented in the codifier by a very voluminous list of works of differentpoets of the 19th century and XX centuries.

As a rule, in the essay topics of the 3rd part it is supposed to consider not just one specific poem by a particular author (this is contained in the second part of the work), but a whole ideological and thematic layer.thematic.Thus, you will be able to determine in advance the circle of those poems that you will focus on when writing your essay. Of course, this circle can be expanded to include works not included in the codifier, but those that correspond essay topic should definitely be considered.

Based on the list of poems based on Pushkin’s work, the following thematic groups can be distinguished: freedom-loving, civil-patriotic, philosophical, landscape lyrics, the theme of the poet and poetry, lyrics of love and friendship. In accordance with these topics, we will define groups of poems (within such groups you can use the chronological principle):

1. Freedom-loving lyrics: “To Chaadaev”, “Village”, “It went out” daylight...", "Prisoner", "Desert sower of freedom...", "To the sea", "October 19" ("The forest drops its crimson attire..."), "In the depths of the Siberian ores...", “Anchar”, “I erected a monument to myself not made by hands...”.

2. Civil-patriotic lyrics: “To Chaadaev.” “Village”, “In the depths of Siberian ores...”, “I erected a monument to myself not made by hands...”.

3. Philosophical lyrics: “The desert sower of freedom...”, “Anchar”, “Imitations of the Koran” (IX. “And the weary traveler grumbled at God...”), “Demons”, “Elegy” (“Crazy years of faded fun. .."), "Cloud", "I visited again...".

4. Landscape lyrics: “The daylight has gone out...”, “To the sea”, “Winter road”, “Anchar”, “Winter morning”, “Demons”, “Cloud”, “Again I visited...”.

5. Theme of the poet and poetry: “Conversation between a bookseller and a poet”, “Prophet”, “Poet”, “I erected a monument to myself not made by hands...”.

6. Theme of love and friendship: “To Chaadaev”, “The daylight has gone out...”, “October 19th” (“The forest is dropping its crimson attire...”), “K***” (“I remember a wonderful moment.. ."), "Nanny", "In the depths of Siberian ores...", "On the hills of Georgia lies the darkness of the night...", "I loved you...".

It should be taken into account that poems from different thematic groups may be repeated, since Pushkin often has several themes in one poem.

So, we have completed our consideration of a very important aspect of preparing for the Unified State Exam in literature, concerning its content. In fact, if you are well versed in the ideological and artistic content of works, know and know how to use theoretical and literary concepts in their analysis, and understand historical and literary relationships, then most of the preparation for the Unified State Exam in literature can already be considered completed. But there's another one most important aspect this work: you need to learn, based on all this knowledge, to build detailed written answers to questions and write an essay. This is what the next chapter of the manual will be devoted to. But before you jump into it, test your knowledge.