Composition of a work of art, elements and their definition. Construction of the product

Literature and library science

The structure of a literary work is a certain structure of a work of verbal art, its internal and external organization, the way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work; its ability to embody and convey the content expressed in it. Basically, the structure of a work of art is as follows: The idea is the main thought of the work, which expresses the writer’s attitude towards the phenomena depicted.

The structure of a work of art.

A work of art is an object that has an aestheticvalue, a material product of artistic creativity, conscious human activity.

A work of art is a complexly organized whole. It is necessary to know its internal structure, that is, to identify its individual components.

Structural structure of a literary work niya this is something withthe triangulation of a work of verbal art, its internal and external organization, the way of connecting its constituent elements. The presence of a certain structure ensures the integrity of the work, its ability to embody and convey the content expressed in it. And that is very important in the work.

Basically the structure of a work of art is as follows:

Idea this is the main idea of ​​the work, which expresses the writer’s attitude towards the phenomena depicted.General, emotional, imaginative thought underlying a work of art. Why was this work written?

Plot this is a set of events and relationships between the characters of the work, developing in the work in time and space. Simply put, this is what the work is written about.

Composition – internal organization a work of art, the construction of episodes, main parts, a system of events and images of characters.

The composition has its main components:

Exposition information about the lives of the characters before the events begin. This is an image of the circumstances that form the background of the action.

Tie an event that aggravates or creates contradictions leading to conflict.

Development of actionthis is the identification of relationships and contradictions between characters, further deepening the conflict.

Climax the moment of maximum tension of action, aggravation of the conflict to the limit. The climax is where the goals and personalities of the characters are best revealed.

Denouement the part in which the conflict approaches its logical resolution.

Epilogue depiction of events after a certain period of time after the ending.

Conclusion a part that completes the work, provides additional information about the heroes of the work, and depicts the landscape.

During the usual reading of the work, this structure is not traced, and we do not notice any sequence, but when detailed analysis text can be easily identified.

Thus, we can say that it is impossible to write a work and interest the reader in it without a certain structure. Although we don’t notice any structure when reading it, it nevertheless plays a very important, if not one of the most important, roles in writing a work of art.

Composition(from Latin compositio - composition, composition),

1) the construction of a work of art, determined by its content, character and purpose and largely determining its perception. K. is the most important organizing component artistic form, giving the work unity and integrity, subordinating its elements to each other and the whole. The laws of culture that develop in the process of artistic practice and aesthetic cognition of reality are, to one degree or another, a reflection and generalization of objective laws and relationships between phenomena of the real world. These patterns and relationships appear in an artistically translated form, and the degree and nature of their implementation and generalization are associated with the type of art, the idea and material of the work, etc.

K. in literature is the organization, arrangement and connection of heterogeneous components of the artistic form of a literary work. K. includes: the arrangement and correlation of characters (K. as a “system of images”), events and actions (K. plot ), inserted stories and lyrical digressions (K. extra-plot elements), methods or angles of narration (actual narrative K.), details of the situation, behavior, experiences (K. details).

K.'s techniques and methods are very diverse. Comparisons of events, objects, facts, details that are distant from each other in the text of the work sometimes turn out to be artistically significant. The most important aspect K. is also the sequence in which the components of what is depicted are introduced into the text - the temporary organization of a literary work as a process of discovery and development of artistic content. And finally, K. includes the mutual correlation of different aspects (plans, layers, levels) literary form. Along with the term "K." Many modern theorists use the word “structure” in the same sense (see Structure of a work of art ).

Representing “... an endless labyrinth of connections...” (see L.N. Tolstoy, On Literature, 1955, p. 156), K. completes the complex unity and integrity of the work, becoming the crown of an artistic form that is always meaningful. “Composition is a disciplining force and organizer of a work. She is entrusted with ensuring that nothing breaks out to the side, into its own law, but rather is combined into a whole and turns to complement its thoughts... Therefore, she usually does not accept either logical derivation and subordination, or a simple life sequence, although there are cases of it similar; its goal is to arrange all the pieces so that they close into the complete expression of the idea” (“Theory of Literature”, [book 3], 1965, p. 425).

Each production combines both general, “typical” for a given type, genre or direction, methods of composing (for example, triple repetitions in fairy tales, recognition and silence in “intrigue” dramas, the strict strophic form of the sonnet, retardation in epic and drama), and individual ones, characteristic of a given writer or a separate work (for example, in L.N. Tolstoy’s story “Hadji Murad” the leading principle of K. characters and their system is polarity, including a deliberately imaginary one: Nicholas I - Shamil).

In modern literary criticism there is also a more local use of the term “K.” In this case, the unit, component of K. is such a “segment” of a work (text), within which one method or perspective of the image is preserved - dynamic narration or static description, characteristic, dialogue, lyrical digression etc. The simplest units are combined into more complex components (a complete sketch of a portrait, mental state, conversation playback, etc.). An even larger and independent component is the stage (in epic, drama). In an epic, it can consist of a number of forms of representation (description, narration, monologue); it can include a portrait, landscape, interior; but throughout its entire length one perspective is maintained, a certain point of view is maintained - that of the author or a participating character, or an outside observer-storyteller; otherwise: every scene is “depicted” through someone’s eyes. It is the combination of forms of presentation and certain “points of view,” their interconnectedness and unity that constitute K. in this sense.

K. is unique in poetic works, especially lyrical ones; it is distinguished by strict proportionality and interdependence of metric-rhythmic units ( foot, verse, stanza), syntactic segments and intonations, as well as direct semantic units (themes, motifs, images; see Poem, Poem, Poetry And Prose ).

In the literature of the 20th century. the activity of the compositional principle intensifies, which is reflected in the emergence of the concept installation (first in relation to cinema, then to theater and literature).

IN plastic arts composition combines particular moments of constructing an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color scheme, etc.). K. organizes both the internal construction of the work and its relationship with environment and the viewer.

Design in architecture is based on a harmonious relationship between ideological and artistic principles, functional purposes, design features, and the urban planning role of buildings, structures, and their complexes. K. determines the appearance, planning and volumetric-spatial structure of the city as a whole or an architectural ensemble, a separate building or structure. The principles of design, where they appear in organic unity with the principles of design artistically reflected in them, together form the structural relationship of load and support, architectonics structures. K. in fine arts represents specific development the ideological and plot-thematic basis of the work with the distribution of objects and figures in space, establishing the ratio of volumes, light and shadow, spots of color, etc. Types of compositions are divided into “stable” (where the main compositional axes intersect at right angles in the geometric center of the work) and “dynamic” (where the main compositional axes intersect at an acute angle, diagonals, circles and ovals predominate), “open” (where the centrifugal multidirectional forces, and the image is fully revealed to the viewer) and “closed” (where centripetal forces win, pulling the image to the center of the work). Stable and closed types of painting predominate, for example, in the art of the Renaissance, while dynamic and open types predominate in the art of the Baroque. In the history of art, they played a large role as the addition of generally accepted compositional canons (for example, in ancient Eastern, early medieval art, in the art High Renaissance, classicism), and the movement from traditional rigid canonical schemes to free compositional techniques; so, in the art of the 19th and 20th centuries. a major role was played by the artists’ desire for a free style that corresponded to their individual creative features.

About K. in music, i.e. about the structure of a musical work, see Musical form.

2) A musical, pictorial, sculptural or graphic work, the final result of the creative work of a composer or artist.

3) A complex work of art, including various types of arts (for example, literary and musical K.).

4) Composing music. In music educational institutions (schools, conservatories) it is taught as a special academic subject (in Soviet music educational institutions it is called composition). Teaching composition is closely related to the study of such musical theoretical subjects as harmony, polyphony, instrumentation, analysis musical works.

Lit.: Zhirmunsky V. M., Composition of lyric poems, P., 1921; Tomashevsky B., Theory of Literature. Poetics, 6th ed., M. - L., 1931; Alpatov M.V., Composition in painting, M. - L., 1940: Theory of literature, [book. 2], M., 1964, p. 433-34, [book. 3], M., 1965, p. 422-42; Lotman Yu. M., The structure of a literary text, M., 1970; his, Analysis of poetic text, Leningrad, 1972; Uspensky B., Poetics of Composition, M., 1970; Timofeev L.I., Fundamentals of the Theory of Literature, M., 1971; Schmarzow A., Kompositionsgesetze in der Kunst des Mittelalters, Bd 1-2, Bonn - Lpz., 1920-22.

V. E. Khalizev, V. S. Turchin.

Composition is a kind of program for the process of perception of a work by the reader. Composition makes the whole individual parts, the very location and correlation of artistic images expresses artistic meaning. What is composition , compositional analysis of a work of art?

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Composition of a work of art

Composition is a kind of program for the process of perception of a work by the reader. Composition makes a whole out of individual parts; the very arrangement and correlation of artistic images expresses artistic meaning.

« What is composition?This is, first of all, the establishment of a center, the center of the artist’s vision,” he wrote A.N. Tolstoy . (Russian writers about literary work. – L., 1956, vol.IV, p.491) The composition of a work of art is understood differently.

B. Uspensky argues that "the central problem of the composition of a work of art" is "point of view problem" “It is assumed that the structure of a literary text can be described by isolating different points of view, that is, the author’s positions from which the narration (description) is conducted, and exploring the relationships between them.” (Uspensky B. Poetics of composition. - St. Petersburg, 2000, p. 16)Point of view in a literary work– “the position of the “observer” (narrator, narrator, character) in the depicted world (in time, space, socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in relation to “volume” (degree awareness), and in terms of assessing what is perceived; on the other hand, it expresses the author’s assessment of this subject and his outlook.” (Tamarchenko N.D., Tyupa V.I., Broitman S.N.Theory of literature. In 2 volumes. – M., 2004, vol. 1, p. 221)

« Composition - a system of fragments of the text of a work, correlated with the points of view of the subjects of speech and image; this system organizes, in turn, a change in the reader’s point of view both on the text and on the depicted world.” . (Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. - M., 2004, vol. 1, p. 223) These authors highlightthree compositional forms of prose speech

V. Kozhinov believes that unit of composition“is a segment of a work within the framework or boundaries of which one specific form (or one method, perspective) of literary image is preserved.” “From this point of view, in a literary work one can distinguish elements of dynamic narration, static description or characterization, character dialogue, monologue and the so-called inner monologue, character letter, author's remark, lyrical digression... Composition – connection and correlation of individual forms of image and scenes.” (Kozhinov V.V. Plot, plot, composition. - In the book: Theory of Literature. - M., 1964, p. 434)Large units of composition– portrait (composed of individual elements of narration, description), landscape, conversation.

A. Esin gives the following definition: “ Composition - this is the composition and specific arrangement of parts, elements and images of a work in some significant time sequence.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, reinforcement, contrast, montage.

Repetition is a call between the beginning and the end of a text, or a repeating detail as the leitmotif of a work, or a rhyme. Reinforcement – ​​selection of homogeneous images or details. Opposition is the antithesis of images. Montage - two adjacent images give rise to a new meaning.

V.Khalizev names such compositional techniques and means: repetitions and variations; motives; close-up, overall plan, defaults; point of view; co-and oppositions; installation; temporary organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) “ Composition of a literary work, which constitutes the crown of its form, is the mutual correlation and arrangement of units of the depicted and artistic and speech means.”

(Khalizev V.E. Theory of Literature. - M., 2005, p. 276)

N. Nikolina highlights different aspects of composition:architectonics, or external composition of the text; system of character images; change of points of view in the structure of the text; parts system; extra-plot elements. (Nikolina N.A. Philological analysis of the text. - M., 2003, p. 51) Composition organizes the entire artistic form of the text and operates at all levels: figurative system, character system, artistic speech, plot and conflict, extra-plot elements.

« Composition - the construction of a work of art, determined by its content, character and purpose and largely determining its perception. Composition is the most important, organizing component of an artistic form, giving the work unity and integrity, subordinating its elements to each other and to the whole.” (Great Soviet Encyclopedia - M., 1973. T.12. Art. 1765.-p.293)

The reader perceives the text, first of all, through the features of its construction. Broad view ofmontage as a principle of joining elements of a wholeunderlies the understanding of composition. S. Eisenstein argued: “... the method of composition always remains the same. In all cases, its main determinant remains, first of all, the attitude of the author... The decisive elements of the compositional structure are taken by the author from the foundations of his attitude towards phenomena. It dictates the structure and characteristics according to which the image itself is deployed.” (Eisenstein S. Selected works. In 6 Vol. T. 3. - M., 1956, - ​​p. 42)

The composition of a literary work is based on such an important category of text as connectivity In the same time repetitions and oppositions(contrast) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic theory of compositionoriginated at the beginning of the 20th century. V.V.Vinogradov wrote about verbal, linguistic composition. He put forward an understanding compositions artistic text “as a system of dynamic deployment of verbal series in a complex verbal and artistic unity”

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of linguistic composition are word sequences. " Verbal sequence is a sequence (not necessarily continuous) of linguistic units of different tiers presented in the text, united compositional role and correlation with specific area linguistic use or with a certain technique of text construction.” (Gorshkov A.I. Russian stylistics. - M., 2001, p. 160)Language composition- this is a comparison, contrast and alternation of verbal series in a literary text.

Types of composition.
1.Ring
2.Mirror
3.Linear
4.Default
5. Retrospection
6.Free
7.Open, etc.
Types of composition.
1. Simple (linear).
2. Complex (transformational).
Plot elements

Climax

Development Fall

Action Actions

Exposition Commencement Resolution Epilogue

Extra-plot elements

1.Description:

Scenery

Portrait

3.Inserted episodes

Strong text positions

1.Name.

2.Epigraph.

3. The beginning and end of the text, chapter, part (first and last sentences).

4.Words in rhyme of the poem.

Drama composition– organization dramatic action in time and space.
E. Kholodov

IPM – 2

Compositional analysis work of art

Compositional analysisin accordance with the style of the text, he is most productive in working on a literary work. L.Kaida writes that “all components of an artistic structure (facts, a set of these facts, their location, nature and method of description, etc.) are important not in themselves, but as a reflection aesthetic program(thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.” (Kaida L. Compositional analysis of literary text. - M., 2000, p. 88)

V.Odintsov argued that “only by understanding the general principle of the structure of the work can one correctly interpret the functions of each element or component of the text. Without this it is unthinkable correct understanding ideas, meaning of the whole work or its parts.” (Odintsov V. Stylistics of the text. - M., 1980, p. 171)

A. Esin says that “it is necessary to begin the analysis of the composition of an entire work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition... Analysis of the reference points is the key to understanding the logic of the composition, and therefore the entire internal logic of the work as a whole.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

Composition anchor points

1. Climax
2. Denouement
3. Peripeteia in the hero's fate
4. Strong text positions
5. Effective artistic techniques and means
6. Replays
7. Oppositions

Object of analysisdifferent aspects of the composition can serve: architectonics, or the external composition of the text (chapters, paragraphs, etc.); character image system; change of points of view in the structure of the text; system of details presented in the text; correlation with each other and with other components of the text of its extra-plot elements.

It is necessary to take into account variousgraphic highlights,repetitions of linguistic units different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapter, part).

“When analyzing the overall composition of a work, one should first of all determine the relationship between the plot and extra-plot elements: what is more important - and, based on this, continue the analysis in the appropriate direction.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 150)

The concept of text composition is effective at two stages of analysis: at the stage of familiarization with the work, when it is necessary to clearly imagine its architectonics as an expression of the author’s views, and at the final stage of analysis, when intra-textual connections of different elements of the work are considered; techniques for constructing text are identified (repetitions, leitmotifs, contrast, parallelism, editing, and others).

« To analyze the composition of a literary text, you must be able to: highlight in its structure repetitions that are significant for the interpretation of the work, serving as the basis for cohesion and coherence; identify semantic overlaps in parts of the text; highlight linguistic signals marking the compositional parts of the work; correlate the features of the division of the text with its content and determine the role of discrete compositional units within the whole; establish a connection between the narrative structure of the text... and its external composition.” ( Nikolina N.A. Philological analysis of the text. – M., 2003, p.51)

When studying composition, one should take into account the generic features of the work. Compositional analysis of a poetic text may include, for example, operations.

Compositional analysis of poetic text

1. Stanzas and verses. Microtheme for each part.

2.Language composition. Key words, word series.

3.Composition techniques. Repetition, reinforcement, antithesis, montage.

4.Strong positions of the text. Title, epigraph, first and last sentences, rhymes, repetitions.

Compositional analysis of prose text

1.Plan of the text (micro-topics), plot diagram.

2. Reference points of the composition.

3.Repetitions and contrasts.

4.Composition techniques, their role.

5.Strong positions of the text.

6.Language composition. Key words, word series.

7.View and type of composition.

8. The role of the episode in the text.

9. Character image system.

10.Change of points of view in the structure of the text.

11. Temporal organization of the text.

1. External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6.Stage and off-stage characters.

Analysis of an episode of prose text

What is an episode?

Assumption about the role of the episode in the work.

A condensed retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after parts? Why here?

The place of the episode in the plot of the work. Exposition, plot, climax, development of action, denouement, epilogue.

What themes, ideas, problems of the text are reflected in this fragment?

Arrangement of characters in the episode. New in the characters' characters.

What is the objective world of the work? Landscape, interior, portrait. Why in this particular episode?

Motives of the episode. Meeting, argument, road, sleep, etc.
Associations. Biblical, folklore, ancient.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Linguistic means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes of the work are developed in this episode? The meaning of the fragment to reveal the idea of ​​the text.

The role of the episode in the text

1.Characterological.
The episode reveals the character of the hero, his worldview.
2.Psychological.
The episode reveals state of mind character.
3. Rotary.
The episode shows a new twist in the characters' relationship
4.Evaluative.
The author gives a description of a character or event.

IPM – 3

Program

"The study of artistic composition

Works for literature lessons in grades 5 - 11"

Explanatory letter

Relevance of the problem

The problem of composition is the center of the study of a work of art. The composition of a work of art is understood in different ways.

B. Uspensky argues that “the central problem of the composition of a work of art” is the “problem of point of view.” V. Kozhinov writes: “Composition is the connection and correlation of individual forms of image and scenes.” A. Esin gives the following definition: “Composition is the composition and a certain arrangement of parts, elements and images of a work in some significant time sequence.”

In linguistics there is also a theory of composition. Linguistic composition is a comparison, opposition, alternation of verbal series in a literary text.

Compositional analysis in accordance with the stylistics of the text is most productive when working on a literary work. L. Kaida says that “all components of the artistic structure are important not in themselves, but as a reflection of the aesthetic program of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment.”

The way for children to acquire reading qualifications is an independent deep aesthetic analysis of a literary text, the ability to perceive the text as a sign system, the work as a system of images, to see the ways of creating artistic image, experience pleasure from the perception of the text, want and be able to create their own interpretations of the literary text.

“The structure of a literary text in this case (analysis) acts as a “killed” object of study: elements in the text can be identified, compared with each other, compared with elements of other texts, etc....analysis helps the reader find answers to the questions: “How is the text structured?”, “What elements does it consist of?”, “For what purpose is the text structured this way and not otherwise?” - writes Lavlinsky S.P.

Goal and tasks

Development of reading culture, understanding of the author's position; figurative and analytical thinking, creative imagination.

• Know the concepts of “composition”, “compositional techniques”, “types of composition”, “types of composition”, “linguistic composition”, “compositional forms”, “ reference points compositions”, “plot”, “plot elements”, “extra-plot elements”, “conflict”, “strong positions of the text”, “literary hero”, “motive”, “plot”, “verbal devices of subjectification”, “types of narration” , "system of images".
• Be able to perform compositional analysis of prose text, poetic text, dramatic text.

5th grade

"Narration. Basic concept aboutplot and conflictin an epic work, portrait,construction of the work" (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Verse and stanza.

Strong text positions: title, epigraph.

Text outline, microtheme.

Compositional techniques: repetition, opposition.

Plot elements: beginning, development of action, climax, fall of action, denouement.

The structure of a folk fairy tale (according to V. Propp).

"Propp's Maps"

1. Absence of a family member.

3. Violation of the ban.

4. Scouting.

5.Issuance.

6. The catch.

7. Involuntary complicity.

8. Sabotage (or shortage).

9.Mediation.

10. Beginning counteraction.

11. The hero leaves the house.

12.The donor tests the hero.

13. The hero reacts to the actions of the future donor.

14. Obtaining a magic remedy.

15. The hero is transported, delivered, brought to the “location” of the search items.

16. The hero and antagonist enter into a fight.

17. The hero is marked.

18. The antagonist is defeated.

19.The trouble or shortage is eliminated.

20. Return of the hero.

21. The hero is persecuted.

22. The hero escapes from persecution.

23. The hero arrives home or to another country unrecognized.

24. A false hero makes unreasonable claims.

25. The hero is offered a difficult task.

26. The problem is being solved.

27. The hero is recognized.

28. The false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

1. Beginning. Exposition: the situation before the action begins.

2. Set-up: the hero is faced with a new situation (sabotage, shortage, the hero leaves home).

3. Development of the action: the hero sets off on a journey, crosses the border of another world (donor, magic remedy).

4. Climax: the hero is between life and death.

5.Falling action: intense moments.

6. Denouement: resolution of contradictions (wedding, accession of the hero). The ending.

Ways to invent stories (according to D. Rodari)

• Binom of fantasy.
• Limerick.
• Mystery.
• Propp's maps.
• A fairy tale inside out.
• An old fairy tale in a new way.
• Character material.
• Salad from fairy tales.
• Continuation of the fairy tale.
• Fantastic hypothesis.

"Fantastic Hypothesis"

What would happen if...? We take any subject and predicate - their combination gives a hypothesis. What would happen if our city suddenly found itself in the middle of the sea? What would happen if money disappeared all over the world?

What would happen if a person suddenly woke up in the guise of an insect?

F. Kafka answered this question in the story “The Metamorphosis”.

"Limerick"

Limerick (English) – nonsense, absurdity. The most famous are E. Lear's limericks. The structure of a limerick is as follows.

The first line is the hero.

The second line is the character's description.

The third and fourth lines are the actions of the hero.

The fifth line is the final description of the hero.

Once upon a time there was an old marsh man,

A cantankerous and burdensome grandfather,

He sat on the deck,

Sang songs to the little frog,

A corrosive old man from the swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the choice of the hero.

The second line is the actions of the hero.

The third and fourth lines are the reaction of others to the hero.

The fifth line is the output.

The old grandfather lived in Granier,

He walked on tiptoes.

Everything is against him:

I'll laugh with you!

Yes, a wonderful old man lived in Granier.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is defamiliarization. Let us define the object as if we were seeing it for the first time in our lives.

The second operation is association and comparison. The object of association is not the object as a whole, but one of its characteristics. For comparison, choose another item.

The third operation is the choice of metaphor (hidden comparison). We give the subject a metaphorical definition.

The fourth operation is an attractive form of riddle.

For example, let's come up with a riddle about a pencil.

First operation. A pencil is a stick that leaves a mark on a light surface.

Second operation. The light surface is not only paper, but also a snow field. The pencil mark resembles a path on a white field.

Third operation. A pencil is something that draws a black path on a white field.

Fourth operation.

He's on a white - white field

Leaves a black mark.

"Tales from the Inside Out"

Everyone enjoys the game of twisting fairy tales. Perhaps a deliberate “turning inside out” of the fairy tale theme.

Little Red Riding Hood is evil, but the wolf is kind... The boy - with - Thumb conspired with his brothers to run away from home, abandon his poor parents, but they made a hole in his pocket and poured rice in it... Cinderella, crappy girl, mocked her wonderful stepmother, took away her fiance from her sister...

"Continuation of the fairy tale"

The fairy tale is over. What happened next? The answer to this question will be a new fairy tale. Cinderella married the Prince. She, untidy, in a greasy apron, always hangs out in the kitchen by the stove. The Prince was tired of such a wife. But you can have fun with her sisters, attractive stepmother...

"Salad from fairy tales"

This is a story in which characters from various fairy tales live. Pinocchio ended up in the house of the seven dwarfs, became Snow White's eighth friend... Little Red Riding Hood met the Boy - Thumb and his brothers in the forest...

"An old fairy tale in a new key"

In any fairy tale, you can change the time or place of action. And the fairy tale will take on an unusual coloring. Adventures of Kolobok in the 21st century...

"Character Material"

From the characteristic features of the character, one can logically deduce his adventures. Let the glass man be the hero. The glass is transparent. You can read our hero's thoughts, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered softly, handshakes should be abolished. The doctor will be a glass blower...

A wooden man must be wary of fire, but he does not drown in water...

The Ice Cream Man can only live in the refrigerator, and his adventures take place there...

"Binomial of fantasy"

Let's take any two words. For example, a dog and a closet. The following variants of combining words arise: dog with a closet, dog's closet, dog on the closet, dog in the closet, etc. Each of these pictures serves as the basis for inventing a story. A dog is running down the street with a wardrobe on his back. This is his booth, he always carries it with him...

In the 5th grade, “the teacher introduces schoolchildren to the construction of fairy tales, dialogue and monologue, story plan, episode, and forms the initial concept of a literary hero. Comprehending structural elements the concept of “literary hero”, children learn to highlight the description of the hero’s appearance, his actions, relationships, characterize experiences, referring to descriptions of nature, the environment surrounding the hero.” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102)

6th grade

« Basic concept of composition. Development of the concept of a portrait of a literary hero, landscape." (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Strong text positions: first and last sentences, rhymes, repetitions.

Language composition: keywords.

Types of composition : ring, linear.

Plot elements: exposition, epilogue.

Extra-plot elements: descriptions (landscape, portrait, interior).

Plot outline : plot elements and extra-plot elements.

In 6th grade we need to “introduce students to the elements of composition. Landscape, interior...as a background and scene of action,...as a means of characterizing the hero, as a necessary part of the work, determined by the writer’s plan...we draw children’s attention to the eventful side of the work and the means of depicting the characters...” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 102 - 103)

7th grade

« Development of the concept of plot and composition, landscape, types of description.The role of the narrator in storytelling."(Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Language composition: verbal thematic series.

Compositional techniques: gain.

Types of composition : mirror, retrospection.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In 7th grade, “we set the task of identifying the role of composition in revealing characters characters... the construction and organization of the work, the presentation of events, the arrangement of chapters, parts, the relationship of components (landscape, portrait, interior), the grouping of characters are determined by the author’s attitude to the events and characters.” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 103 - 104)

8th grade

« Development of the concept of plot and composition, and science as a way of constructing a work." (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p. 268)

Compositional techniques: antithesis, montage.

Types of composition: free.

Plot and motive.

Verbal techniques of subjectification: direct speech, improperly direct speech, internal speech.

In grade 8, “not only special cases of composition are considered (for example, the technique of antithesis), but also connections are established between the composition and the idea of ​​the work; composition acts as the most important “above-verbal” means of creating an artistic image.” (Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. – M., 1983, p.110)

9th grade

Types of composition: open, default.

Extra-plot elements: author's digressions, inserted episodes.

Types of composition

Episode comparison.

Justify role of the episode in the text.

Subject of speech : point of view bearer.

Composition as an arrangement of text fragments that are characterized by the point of view of the author, narrator, or character.

Language compositionas comparison, contrast, alternation of verbal series.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In the 9th grade, “the concept of composition is enriched in connection with the study of works of a more complex structure; students, to some extent, master the skills of compositional analysis at higher levels (systems of images, “roll call of scenes,” changing points of view of the narrator, conventions of artistic time, building characters, etc.).” (Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. - M., 1983, p. 113)

10 – 11 grades

Deepening the concept of composition.

Various aspects of compositionliterary text: external composition, figurative system, character system, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Compositional forms and means: repetition, reinforcement, contrast, montage, motive, comparison, “close-up” plan, “general” plan, point of view, temporal organization of the text.

Composition anchor points: climax, denouement, strong positions of the text, repetitions, contrasts, twists and turns in the hero’s fate, spectacular artistic techniques and funds.

Strong text positions: title, epigraph,

Main types of composition: ring, mirror, linear, default, flashback, free, open, etc.

Plot elements: exposition, plot, development of action (vicissitudes), climax, denouement, epilogue.

Extra-plot elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Types of composition : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of poetic text.

Compositional analysis of dramatic text.

IPM – 4

System of methodological techniques for teaching composition

Analysis of a work of art.

Methodological techniques for teaching compositional text analysis are generously scattered in the works of M. Rybnikova, N. Nikolina, D. Motolskaya, V. Sorokin, M. Gasparov, V. Golubkov, L. Kaida, Yu. Lotman, E. Rogover, A. Yesin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V. Golubkov believes that it is necessary to use works of painting in literature lessons. “In an artist’s painting, all its components are before your eyes, and their connection is not difficult to establish. Therefore, if a teacher wants to explain to students what the composition of a literary work is, it is best to start with a picture” (Golubkov V. Methods of teaching literature. - M., 1962, p. 185-186).

Interesting ideas can be found in books M. Rybnikova . “Compositional analysis consists of three sides: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) a system of images... Take any central scene of a story or story and show how it was prepared by all previous and how all subsequent scenes are conditioned by it... Take the denouement... and prove with the entire course of the action, the characters of the characters, that this denouement is natural, that it cannot be otherwise... The next question: about the roll call of heroes in the work, about their proximity, about contrasts, similarities, with the help which the author makes the scenes and characters bright..." (Rybnikova M. Essays on the method of literary reading. - M., 1985, p. 188 - 191).

• The methodologist cut up the text of Chekhov’s “Death of an Official”, distributed it to the students on cards, and the children placed them in the correct sequence.
• The students drew up a plan for Tolstoy’s story “After the Ball,” determined which part was central, and retold it in horizontal order.

D.Motolskaya offers a whole group of composition analysis techniques.

1. “From the very grouping of characters, it becomes to some extent clear what the author’s intention is...Identifying the principle of grouping the heroes of a work will allow students...to keep in sight the “part” and the “whole” (Motolskaya D. Studying the composition of a literary work. - In book: Questions of studying the craft of writers in literature lessons in grades VIII - X, L., 1957, p.68).

2. “When analyzing the composition, it is taken into account... how the writer arranges the plot lines (does he give them in parallel, does one plot line intersect the other, is one given after the other)... how they relate to each other, what connects them with each other” (p. 69 ).

3. “...it seems important to find out where the exposition is given, where the portrait or characterization of the character is, in what place the description of the situation, description of nature is given...why the author’s reasoning or lyrical digressions appear precisely in this place of the work” (p. 69).

4. “...what the artist gives in close-up, what seems to be relegated to the background, what the artist details, what, on the contrary, he writes briefly about” (p. 70).

5. “...the question of the system of means of revealing human character: biography, monologue, remarks of the hero, portrait, landscape” (p. 70).

6. “...the question of through whose perception this or that material is given...And when the author depicts life from the point of view of one of his heroes...when the narrator narrates...” (p. 71).

7. “In the composition of epic works...an important role is also played by the principle of dividing the material in them (volume, chapter)...which serves as the basis for the writer for dividing into chapters...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work by considering the composition. “Movement from the “whole” to the “part” and from the “part” to the “whole” is one of possible ways analysis of the work...In such cases, turning to the “whole” is both the initial stage of the work and the final one” (p. 73).

When studying composition, one should take into account not only the specific, but also the generic features of the work. When analyzing the composition of dramatic works, it is necessary to pay attention to off-stage characters, the denouement, and plot lines pulled together into one dramatic knot.

“When analyzing the composition of a lyrical work, one must not miss what is inherent specifically in lyric poetry... the author’s “I”, the feelings and thoughts of the poet himself... it is the poet’s feelings that organize the material that is included in the lyrical work” (p. 120).

“When analyzing epic works imbued with a lyrical principle, one should always raise the question of what place lyricism occupies in an epic work, what is its role in an epic work, what are the ways of introducing lyrical motifs into the fabric of epic works” (p. 122).

V. Sorokin also writes about methodological techniques for analyzing composition. “The main task of composition analysis...at school is to teach students to draw up not only the “external” plan, but also to grasp its “internal” plan, the poetic structure of the work” (Sorokin V. Analysis of a literary work in secondary school. - M. , 1955, p. 250).

1. “... when analyzing the composition of a plot work, it is important to establish what conflict lies at its basis... how all the threads of the work stretch towards this main conflict... Students should be taught to determine the main conflict of a plot work, recognizing it as the compositional core of this work” (p. 259 ).

2. “...what significance does...each character have for revealing the main idea of ​​the work” (p. 261).

3. “In a plot work, it is important not only to name the plot, climax, denouement, but it is even more important to trace the entire course of development of the action, the growth of the conflict...” (p. 262).

4. “At school, all the most important extra-plot elements when analyzing works of art must be identified and clarified by students... their expressiveness and relationship with the whole work” (p. 268).

5. “The epigraph is an important compositional element of the work” (p. 269).

"When analyzing major works it is necessary to identify compositional elements (plot, images, lyrical motifs), their meaning and interrelation, and dwell on the most important parts (plot, climax, lyrical digressions, descriptions)” (p. 280).

“In grades 8-10, small messages, but independently prepared by students, are possible: to trace the development of the plot (or one storyline), find the key points of the plot and explain their expressiveness” (p. 280).

V. Sorokin speaks of the need to use “the technique of expressive reading, retelling the most important episodes in the plot, summary plot, retelling of the climax, denouement, student sketches, oral drawing, selection of illustrations for individual episodes with motivation, written presentation of the plot or plot, memorization of lyrical digressions, own composition with mandatory compositional techniques (for example, exposure, landscape, lyrical digressions)” (p. 281).

L.Kaida developed a decoding technique for composition analysis. “The research involves two stages: at the first, the real meaning of the statement is revealed as a result of the interaction of syntactic units...; on the second (compositional) - the real meaning of the syntactic structures that make up the components of the composition (title, beginning, ending, etc.) is revealed as a result of functioning in the text" (Kaida L. Compositional analysis of a literary text. - M., 2000, p. 83).

A. Esin argues that the analysis of a composition needs to begin with reference points. He considers the following elements to be the reference points of the composition: climax, denouement, vicissitudes in the hero’s fate, strong positions of the text, effective artistic techniques and means, repetitions, contrasts. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

N. Nikolina names the skills necessary to analyze the composition of a literary text (Nikolina N.A. Philological analysis of text. - M., 2003, p. 51).

In the 5th grade, the teacher gives “an initial concept of plot and conflict in an epic work, a portrait, the construction of a work” (Bogdanova O., Leonov S., Chertov V. Methods of teaching literature. - M., 2002, p. 268.).

It seems successful to get acquainted with the composition using the example of folk fairy tales. “The teacher introduces schoolchildren to the construction of fairy tales, dialogue, monologue, story plan, episode, forms the initial concept of a literary hero” (Snezhnevskaya M. Theory of literature in grades 4-6 of secondary school. - M., 1974, p. 102.). The study of the composition of a fairy tale in the form of playing cards was proposed by D. Rodari in the book “The Grammar of Fantasy” (Rodari D. The Grammar of Fantasy. Introduction to the art of inventing stories. - M., 1978, p. 81.). This idea is developed by Yu. Sipinev and I. Sipineva in the manual “Russian Culture and Literature” (Sipinev Yu., Sipineva I. Russian Culture and Literature. - S.-P., 1994, p. 308).

Outstanding folklorist V.Ya. Propp in his works “Morphology of Fairy Tales”, “ Historical roots fairy tale", "Transformations of fairy tales" wrote about the structure of a fairy tale.

Can be used in lessons different shapes work with “Propp cards”: compose a fairy tale based on the proposed situations, compose a formula for a fairy tale, compose a formula for a fairy tale, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM – 8).

Thus, compositional analysis is effective at the stage of getting to know the work, when you need to imagine its architectonics, and at the final stage of analysis, when techniques for constructing the text are identified (repetitions, leitmotifs, contrast, parallelism, montage) and intra-textual connections between the elements of the work are considered.

Summary

Methodical techniques

• Condensed retelling.
• Creating a simple (complex, quotation) plan.
• Mental rearrangement of episodes.
• Restoring missing text links.
• Identification of the principle of grouping of actors.
• Justification of the role of the episode in the text.
• Identifying the location of storylines.
• Detection of plot and extra-plot elements.
• Coming up with your own ending.
• Comparison of plot and plot.
• Drawing up a chronological diagram.
• Detecting different points of view.
• Analysis of the composition of a work of painting.
• Selection of illustrations for episodes.
• Creating your own drawings.
• Identification of the principle of material division.
• Detection of a system of means for creating a character’s image (portrait, landscape, biography, speech, etc.)
• Comparison of episodes and images.
• Selection of keywords and construction of word series.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the reference points of the composition.
• Determining the type of composition.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• E. Etkind’s technique “Up the ladder of meanings”

1.External plot.

2. Fiction and reality.

3.Nature and man.

4. Peace and man.

5 people.

• Detection of compositional forms in literary text.
• Detection of verbal techniques of subjectification.
• Analysis of narrative type.
• Search for motives in the text.
• Writing a story using D. Rodari’s techniques.
• Analysis of the structure of a fairy tale.
• Working with Propp cards.
• Oral word drawing.

IPM – 5

Subject

A.A. Fet “Whisper, timid breathing...”

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

A series of magical changes

Sweet face

There are purple roses in the smoky clouds,

Gleam of amber

And kisses and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What seemed unusual in the text?

What's not clear?

What did you see?

What did you hear?

How did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

There are no verbs in the text, mostly nouns and adjectives.

II. Linguistic composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

Let's build two verbal thematic series - nature and man.

"Nature" - the trill of a nightingale, the silver and swaying of a sleepy stream, the light of the night, the shadows of the night, the purple of roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - whispers, timid breathing, a series of magical changes in a sweet face, kisses, tears.

Conclusion. The composition is based on the technique of psychological parallelism: the natural world and the human world are compared.

III. Compositional analysis.

First stanza

What is the microtheme?

A date between lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

Epithet “timid”, “sleepy”, metaphor “silver”.

Second stanza

What is it about?

The night that lovers spend.

What sounds?

Silence.

What colors? Why?

No color definitions.

What is the role of epithets?

Third stanza

What is the microtheme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza there are muted, dim colors, in the last there are bright colors. This shows the passage of time - from evening through night to dawn. Nature and human feelings change in parallel: evening and timid meeting, dawn and stormy farewell. Through sounds, the change in mood of the characters is shown: from whispers and sleepy swaying through absolute silence to kisses and tears.

IV. Time and action.

There are no verbs in the poem, but there is action.

Most nouns contain movement - trills, swaying.

What is the timing characteristic?

Evening, night, morning.

V. Rhythmic pattern of the poem.

Work in pairs or groups.

Meter is trochee. The size is varied with pyrrhichiums. Constant on 5th and 7th syllables. The clause is male and female. There is no caesura. Short and long lines alternate. Anacrusis is variable. The rhyme in the verse is final, masculine and feminine, precise and imprecise, rich, open and closed alternate. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-foot trochee with pyrrhic elements. The constant, alternating on 5th and 7th syllables, gives the rhythm harmony. The alternation of long and short lines, female and male clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a strong masculine ending, the last line is short.

VI. Features of the composition of the poem.

The text contains three stanzas of 4 verses each. Composition of the stanza: in the first stanza 1 verse - man, 2,3,4 verses - nature; in the second stanza 1,2 verses - nature, 3,4 verses - man; in the third stanza 1,2,4 verses - nature, 3rd verse - man. These lines intertwine and alternate.

Conclusion. The composition of the poem is built on a parallel comparison of two verbal series - human and natural. Fet does not analyze his feelings, he simply records them, conveys his impressions. His poetry is impressionistic: fleeting impressions, fragmentary composition, richness of colors, emotionality and subjectivity.

Literature

1. Lotman Yu.M. About poets and poetry. – St. Petersburg, 1996
2. Lotman Yu.M. At the school of poetic word. – M., 1988
3. Etkind E. Conversation about poetry. – M., 1970
4. Etkind E. The Matter of Verse. – St. Petersburg, 1998
5. Ginzburg L. About lyrics. – M., 1997
6. Kholshevnikov V. Fundamentals of poetry. – M., 2002
7. Gasparov M. About Russian poetry. – St. Petersburg, 2001
8. Baevsky V. History of Russian poetry. – M., 1994
9. Sukhikh I. The World of Feta: Moments and Eternity. – Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poetry. – Neva, 1995, No. 11
11. Sukhova N. Masters of Russian Lyrics. – M., 1982
12. Sukhova N. Lyrics of Afanasy Fet. – M., 2000

IPM – 6

Summary of a literature lesson in 9th grade

Subject

“Darling” by A. Chekhov. Who is Darling?

I. Individual task.

Compare the images of Darling and A.M. Pshenitsyna.

II. Two views on Chekhov's heroine.

L. Tolstoy: “Despite the wonderful, cheerful comedy of the entire work, I cannot read some passages of this amazing story without tears... The author, obviously, wants to laugh at what he considers a pitiful creature... but the amazing soul of Darling is not funny, but holy.”

M. Gorky: “ It's alarming how Gray mouse, Darling sniffs, “a sweet, meek woman who knows how to love so slavishly and so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

2nd group. Reading written works “My attitude towards Darling”.

1 group. Story plan, compositional techniques.

1. Darling is married to entrepreneur Kukin.
2. Death of husband.
3. Darling is married to manager Pustovalov.
4. Death of husband.
5. Darling's romance with veterinarian Smirnin.
6. Departure of the veterinarian.
7. Loneliness.
8. Love for Sasha.

The composition is based on thematic repetitions. “Darling every time becomes a “understudy” for her husband. Under Kukin, she sat in his cash register, looked after the order in the garden, recorded expenses, gave out salaries... Under Pustovalov, “she sat in the office until the evening and wrote invoices there and released goods.” But at the same time, Olga Semyonovna did not remain only an assistant - she appropriated someone else’s personal experience, someone else’s “direction of life,” as if doubling the object of one’s affection. Darling’s selflessness, as it gradually becomes clear towards the end of the story, is a form of spiritual dependency.”

3rd group. Analysis of strong points: title, beginning and end of each chapter.

Linguistic analysis of a fragment from the words “In Lent he left for Moscow...”

Find key words, build a series of words that creates the image of the heroine (couldn’t sleep without him, sat by the window, looked at the stars, compared herself to chickens, don’t sleep, feel anxious, there’s no rooster in the chicken coop).

“In the poetic tradition, contemplation of the starry sky usually presupposes a sublime system of thoughts, a dream of wingedness. According to mythological ideas, the soul is generally winged. Olenka also compares herself to winged creatures, however, flightless ones, and contemplation of the universe makes her think of a chicken coop. Just as a chicken is a kind of parody of free migratory bird..., Chekhov’s Darling is a parody of the traditional allegorical Psyche.”

The heroine of the story is deprived of the ability to independently choose her life position and uses other people’s self-determinations. Chekhov's irony develops into sarcasm.

V. Conclusions.

Why is the story called “Darling”? Why is there a chapter about Sasha in the finale?

“So, no rebirth of “Darling” into an adult “soul” under the ennobling influence of maternal feelings is visible in the final part of the work. On the contrary, having accepted the author’s point of view on what is communicated to us in the text, we will be forced to admit that the last attachment finally exposes the failure of Olga Semyonovna as a person. Darling... with her inability to self-determination, inability to actualize this meaning in herself, appears in the story as an undeveloped “embryo” of personality.”

Bibliography.

1. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.67.
2. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.61.
3. Tyupa V. The artistry of Chekhov's story. – M., 1989, p.72.

Application

Composition

Language composition

Compositional techniques

1. Repeat.
2. Gain.
3. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. Free
7. Open

Plot elements

1. Exposition
2. The beginning
3. Development of action
4. Climax
5. Denouement

1. The meaning of the title of the work.

IPM – 7

Summary of a literature lesson in 10th grade

Subject

A man and his love in A. Chekhov’s story “The Lady with the Dog.”

Goals:

1. Cognitive:

• know compositional techniques and their role in a work of art, strong positions of the text, a scheme for compositional analysis of prose text;
• be able to find compositional techniques and determine their function in a work, analyze the strong positions of the text, interpret a literary text using compositional analysis.

2. Developmental:

• development of thinking skills;
• complication of the semantic function of speech, enrichment and complication of vocabulary.

Equipment

1. Visual material. Photo of the writer, tables “Scheme of compositional analysis of prose text”, “Composition”, “Compositional techniques (principles)”.
2. Handout. Photocopies of “Scheme of compositional analysis of prose text.”

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, make a plan for the story.
2. Individual tasks. Three students are preparing an expressive reading of fragments of chapters I, III, a comparison of Pushkin’s “The Stone Guest” with Chekhov’s story (Don Guan and Dmitry Gurov).

During the classes

I. Motivation for cognitive activity.

Russian historian V. Klyuchevsky said about Chekhov: “An artist of gray people and gray everyday life. The structure of life, woven from these absurdities, does not break.” Do you agree with this statement? Why?

II. Goal setting.

“The Lady with the Dog” is a story about a holiday romance or true love? Today in class we will try to answer this question using compositional text analysis.

III. Updating what has been learned.

1. Survey. What is composition? Name compositional techniques. What is a repeat? What is amplification? What is the role of opposition? What is the role of editing?

2. Checking homework.

Reading and discussing story plans.

Chapter 1 Meeting of Dmitry Gurov and Anna Sergeevna in Yalta.

Chapter 2 Love (?) and separation.

Chapter 3 Meeting of heroes in the city of S.

Chapter 4 Love and “the most difficult and difficult thing is just beginning.”

What is discussed in each chapter? Brief retelling of the plot.

IV. Formation of skills in compositional text analysis.

What is interesting about the composition of the story? Thematic repetitions: in chapters 1 and 3; in chapters 2 and 4 events are repeated. Let's compare these chapters. What changes in them?

Chapter 1. The student expressively reads the fragment from the words “And then one evening, he was having dinner in the garden...” to the words “She laughed.” Why does Gurov meet a woman? What kind of life does the hero lead?

Personal message“Don Guan of Pushkin and Dmitry Gurov of Chekhov.”

Chapter 3. The student expressively reads the fragment “But more than a month has passed...”. What happened to the hero?

Linguistic analysis of the episodefrom the words “He arrived in S. in the morning...”. Why does the author need the epithet “gray” three times? Why is the horseman's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads the fragment from the words “During the first intermission, the husband went to smoke...”. What has changed by Chapter 3?

“So, a true rebirth occurs with Gurov in the city of S.... The emergence of a genuine, inner closeness between two personalities transforms everything. In Yalta, as we remember, while Anna Sergeevna was crying, Gurov was eating watermelon, demonstrating his invulnerable indifference to the suffering of another. In Moscow, at the Slavic Bazaar, he orders himself tea in a similar situation. A thematically adequate gesture takes on the exact opposite meaning. Tea drinking is a purely domestic, everyday, peaceful activity. With genuine intimacy, two individuals create an atmosphere of homely intimacy around themselves (on the heroine, for example, “his favorite gray dress”).

Reading the ending of the story. Why “...the most difficult and difficult is just beginning”? Read the first and last sentences. Match them. What is everyone's role?

Why is the story called “The Lady with the Dog” (after all, we are talking about Gurov’s love)?“The story told in “The Lady with the Dog” is not just a story of secret love and adultery. The main event of the story is the change that occurs under the influence of this love. Throughout the entire story, Gurov’s point of view dominates, the reader looks through his eyes, and, first of all, a change occurs in him.”

The lady with the dog became a symbol of the emotional change that happened to Gurov. Internal rebirth, the rebirth of a person under the influence of love for a woman.

We came to the idea of ​​Chekhov's story using compositional analysis. What composition techniques did the author use and why? (Repetition and contrast).

Is this a story about a holiday romance or about true love?

V. Reflection.

Write a miniature “Gray people and gray everyday life” in “Lady with a Dog.”

VI. Homework.

1. For the whole class. Reading the story “Ionych”. Make a plan, find compositional techniques.

2. Individual tasks. What is the meaning of the title of the story “Ionych”. Analysis of the first and last sentences in each chapter. Comparative characteristics Gurova and Startsev.

Bibliography.

1. Tyupa V.I. The artistry of Chekhov's story. M., 1989, p. 44-45.
2. Kataev V.B. Chekhov's literary connections. M., 1989, p. 101.

Application

Composition

The composition and specific arrangement of parts, elements and images of a work in some significant time sequence.

Language composition

Comparison or contrast of verbal series.

Compositional techniques

1. Repeat.
2. Gain.
3. Opposition (opposition).
4. Installation.

Strong positions of the text.

1. Title.
2. Epigraph.
3. The beginning and end of the text, chapter, part (first and last sentence).

Scheme of compositional analysis of prose text

1. Draw up a text plan (micro-themes) or a plot diagram (plot elements and extra-plot elements).
2. Find the reference points of the composition.
3. Highlight repetitions and oppositions in the structure.
4. Discover compositional techniques. Determine the role of these techniques.
5. Analysis of the strong positions of the text.
6. Find keywords. Construct verbal thematic series.
7. Determine the type and type of composition.
8. Justify the role of a specific episode in the text.
9. The meaning of the title of the work.

IPM – 8

Bibliography

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1. Types of connections between sentences in the text.

2. Paragraph and its structure.

Keywords: chain connection, parallel connection, theme, rheme, paragraph, microtheme, microtext, paragraph beginning, commentary part.

Literature: 4,7,13,19,20,28,31.

Any text is a combination of sentences according to certain rules. First of all, there is a semantic connection between sentences. Moreover, sentences located nearby and separated by other sentences can also be related. The semantic relationships between them are different:

There are chain and parallel connections of sentences.

At parallel communication sentences are not linked to one another, but are compared, and thanks to the parallelism of constructions, comparisons/contrasts are possible. Features of this type of communication: identical word order; members of the sentence are expressed in the same grammatical forms, sometimes by repetition of the first word; the means of communication can be rhetorical figures (rhetorical question, exclamation, appeal); parallel communication can be strengthened by introductory words ( firstly, secondly, finally); adverbs of place are often used ( to the right, behind, there) and time ( first, then), participial phrases, subordinate clauses. Parallel connections are very common in poetry. In many texts with a parallel connection, the given (topic) is the first sentence, and the new (rheme) is all subsequent ones, all of them concretize and develop the thought expressed in the first sentence. Sentences in texts with such a connection usually have the same structure, i.e. syntactically similar, parallel.

IN chain link the main thing is the repetition of the keyword, replacing it with a synonym, synonymous phrase, pronoun, repetition of one or another member of the sentence. Connections can be made through semantic correspondences/associations.

A parallel connection between parts of the text can be combined with elements of a chain connection, which in such cases are not the main ones. In addition to parallel and chain, there are other types of communication that are less common.

Large texts consist of paragraphs, chapters, sections. But a small excerpt from a work is also a text if it has the characteristics of a text (semantic and grammatical coherence, integrity and relative completeness).

Parts of the text have their own rules of construction. The rules of sentence construction are studied by syntax. A paragraph is also constructed according to certain rules.

Paragraph: 1) indentation at the beginning of the line, red line; 2) part of the text between two indents.

The sentences that make up a paragraph are grouped around a micro-topic (the smallest component general theme). The part of the text in which the microtopic is revealed is called microtext. The paragraph serves to highlight a micro-topic. The sentences in a paragraph are closely related to each other logically and graphically. Each new paragraph reflects a stage in the development of the action, a feature of the description, or reasoning.

Paragraph structure:

1.Paragraph beginning - the main part of the paragraph, reflecting its most important content. This is usually the first sentence of a paragraph.

2. Commentary part – subsequent sentences of the paragraph. They reveal, clarify, comment on what is contained in the first sentence.

The paragraph beginnings of the text must be logically homogeneous, interconnected, and form a single whole. If there is no such unity, it means that errors were made in constructing paragraphs or in defining their boundaries. A sentence that is of secondary importance in the subsequent text or has little connection with it in content also cannot be the beginning of a paragraph. In the words of academician L. Shcherba, the paragraph “deepens the previous point and opens up a completely new train of thought.”

Questions for self-control:

What is the paragraph structure?

How to determine whether the text is divided into paragraphs correctly?

List the features of chain and parallel connections of sentences in the text.

Composition, plot.

1. The concept of composition. External and internal side of the composition. Plot. Fable.

2. Plot and extra-plot elements.

3.Types and techniques of composition.

Keywords: exposition, plot, development of action, climax, denouement, extra-plot elements, plot, plot, types of composition.

Literature: 4,7,13,19,20,28,31

Composition (from Latin composition - composition, compilation, connection) is the external and internal ideological and artistic connection of all elements of the text. The external side of the composition is the division of the text into chapters, parts, plot and extra-plot elements. The internal side of the composition is the grouping of images of a work of art and the structure of a separate image (techniques for its creation).

The composition highlights the following elements:

1. Exposition (from the Latin exposition - presentation, explanation) - a depiction of the life of the characters in the period immediately preceding the beginning.

2. Commencement – ​​the moment of the beginning of the development of events, the beginning of the conflict.

3. Development of action - the main part of the plot (development of character in action), in which the movement of the conflict occurs, its growth.

4. Climax (Latin culmen – peak) – the moment of maximum tension, the utmost aggravation of contradictions.

5. Denouement - the moment that completes the course of events, putting an end to them.

There are also extra plot elements- plot elements that do not show character in the main action.

Each type of text has its own compositional features:

1. Narration may begin immediately with the beginning or the end; there may be other deviations from the chronology. However, all narrative texts have in common the beginning, climax, and denouement.

2.. The most characteristic elements descriptions: general ideas about the subject, individual features of the subject, author’s assessment, conclusion, conclusion.

3. Reasoning includes a thesis (thoughts expressed by someone), proof/refutation (arguments/counterarguments), accompanied by examples, conclusion (conclusion).

Narration, description, and reasoning are often associated with certain types of literature. A narrative is considered to be the text of an epic literary work (except for the direct speech of the characters); the description is used in various types literature, reasoning prevails in scientific texts. However, this division is very arbitrary.

All of the listed features of the composition are inherent primarily in epic texts. As for the lyrics, here we rarely find a detailed plot, a description of the course of events. Circumstances often appear here in the form of individual facts that do not form a single chain. The composition of each literary work is unique. General trends depend on whether the lyrical work belongs to one of the following types:

1) actual lyrical work, in which lyrical ones predominate, i.e. emotionally charged reflections and experiences of the lyrical hero. Compositionally, this is a stream of verbal statements that replace each other, demonstrating the movement and dynamics of thoughts and moods (“Oh, spring without end and without edge...” by A. Blok, “Am I wandering along the noisy streets” by A. S. Pushkin).

2) emotional-depictive type of lyrics. Here there is an alternation of facts, impressions and emotional reactions of the lyrical hero, which can be ordered ("Sail" by M. Lermontov) or not. Often the emotional charge makes itself felt at the end of the text (“October 19” by A. Pushkin).

3) With social-figurative, or narrative type of lyrics. Here the composition can be almost plot-driven (“Hands clenched under dark veil..." by A. Akhmatova), or the change of facts and the course of events may not be expressed compositionally in any way, the main thing is emotional intensity, mood, expressed through linguistic expression.

Questions for SRS:

Give definitions of external and inside composition, plot, plot.

List the plot elements of the composition.

Name the extra-plot elements.

What is the difference between backstory and prologue?

What is the difference latest story from the epilogue?

Name the types of composition known to you.

What compositional techniques do you know?

Comment on the diagram “Compositional unity of the work.”

COMPOSITION OF A LITERARY AND ARTISTIC WORK. TRADITIONAL COMPOSITION TECHNIQUES. DEFAULT/RECOGNITION, “MINUS”-RECEIPT, CO- AND CONTRASTINGS. INSTALLATION.

The composition of a literary work is the mutual correlation and arrangement of units of the depicted and artistic and speech means. Composition brings about unity and integrity artistic creations. The foundation of the composition is the orderliness of the fictional reality and the reality depicted by the writer.

Elements and levels of composition:

• plot (in the understanding of formalists - artistically processed events);
• system of characters (their relationship with each other);
• narrative composition (change of narrators and point of view);
• composition of parts (correlation of parts);
• the relationship between narrative and description elements (portraits, landscapes, interior, etc.)

Traditional compositional techniques:

• repetitions and variations. Serve to highlight and emphasize the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated historically early song lyrics, but also constituted its essence. The variations are modified repetitions (the description of the squirrel in Pushkin’s “The Tale of Tsar Saltan”). Increasing repetition is called gradation (the increasing claims of the old woman in Pushkin’s “The Tale of the Fisherman and the Fish”). Repetitions also include anaphors (single beginnings) and epiphoras (repeated endings of stanzas);
• co- and oppositions. The origins of this technique are figurative parallelism developed by Veselovsky. Based on the combination of natural phenomena with human reality (“The silk grass spreads and curls / Across the meadow / Kisses, pardons / Mikhail his little wife”). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment takes precedence, where there are neither completely right nor completely guilty. Contrasts take place in fairy tales (the hero is a pest), in Griboyedov’s “Woe from Wit” between Chatsky and “25 Fools,” etc.;
• “silence/recognition, minus reception. The defaults are beyond the scope of the detailed image. They make the text more compact, activate the imagination and increase the reader’s interest in what is depicted, sometimes intriguing him. In a number of cases, silences are followed by clarification and direct discovery of what was hitherto hidden from the reader and/or the hero himself - what Aristotle called recognition. Recognitions can complete a reconstructed series of events, as, for example, in Sophocles’ tragedy “Oedipus the King.” But silences may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant omissions - minus devices.
• installation. In literary criticism, montage is the recording of co- and oppositions that are not dictated by the logic of what is depicted, but directly capture the author’s train of thought and associations. A composition with such an active aspect is called a montage. In this case, the spatio-temporal events and the characters themselves are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author’s thought and his associations. The montage beginning one way or another exists where there are inserted stories (“The Tale of Captain Kopeikin” in “ Dead souls"), lyrical digressions ("Eugene Onegin"), chronological rearrangements ("Hero of Our Time"). The montage structure corresponds to a vision of the world that is distinguished by its diversity and breadth.

THE ROLE AND SIGNIFICANCE OF ARTISTIC DETAIL IN A LITERARY WORK. RELATIONSHIP OF DETAILS AS A COMPOSITION DEVICE.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of objective depiction, a system compositional techniques and speech structure. TO artistic detail usually include subject details - everyday life, landscape, portrait.

Detailing the objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition by the reader of mentally missing elements is called concretization (for example, the imagination of a certain appearance of a person, an appearance that is not given by the author with exhaustive certainty).

According to Andrei Borisovich Yesin, there are three large groups details:

• plot;
• descriptive;
• psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot ("Taras and Bulba"), descriptiveness ("Dead Souls"), psychologism ("Crime and Punishment").

Details can either “agree with each other” or be opposed to each other, “argue” with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the relationship between detail and detail as follows: detail gravitates toward singularity, detail affects multitudes.

Dobin believes that by repeating and gaining additional meanings, the detail grows into a symbol, and the detail is closer to a sign.

DESCRIPTIVE ELEMENTS OF COMPOSITION. PORTRAIT. SCENERY. INTERIOR.

Descriptive elements of the composition usually include landscape, interior, portrait, as well as characteristics of the heroes, a story about their multiple, regularly repeated actions, habits (for example, a description of the usual daily routine of the heroes in “The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” by Gogol ). The main criterion for a descriptive element of a composition is its static nature.

Portrait. A portrait of a character is a description of his appearance: physical, natural, and in particular age properties (facial features and figures, hair color), as well as everything in a person’s appearance that is formed by the social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

Traditional high genres are characterized by idealizing portraits (for example, the Polish woman in Taras Bulba). Portraitures in works of a humorous, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transformative, leading to a certain ugliness, incongruity) presentation of the human body.

The role of a portrait in a work varies depending on the type and genre of literature. In drama, the author limits himself to indicating age and general characteristics given in the stage directions. The lyrics make maximum use of the technique of replacing the description of appearance with an impression of it. Such a replacement is often accompanied by the use of epithets “beautiful”, “charming”, “charming”, “captivating”, “incomparable”. Comparisons and metaphors based on the abundance of nature are very actively used here (a slender figure is a cypress tree, a girl is a birch tree, a timid doe). Gems and metals are used to convey the shine and color of eyes, lips, and hair. Comparisons with the sun, moon, and gods are typical. In the epic, a character's appearance and behavior are associated with his character. Early epic genres, for example, heroic tales, are filled with exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. The behavior is also appropriate - the majesty of poses and gestures, the solemnity of unhurried speech.

In creating a portrait right up to late XVIII V. the leading tendency remained its conditional form, the predominance of the general over the particular. IN XIX literature V. Two main types of portrait can be distinguished: exposure (gravitating towards static) and dynamic (transitioning into the entire narrative).

An exhibition portrait is based on a detailed listing of the details of the face, figure, clothing, individual gestures and other features of appearance. It is given on behalf of the narrator, who is interested in the characteristic appearance of representatives of some social community. A more complex modification of such a portrait is a psychological portrait, where appearance features predominate, indicating character traits and inner world(Pechorin’s non-laughing eyes).

A dynamic portrait, instead of a detailed listing of appearance features, presupposes a brief, expressive detail that arises during the course of the story (images of heroes in “The Queen of Spades”).

Scenery. Landscape is most correctly understood as a description of any open space outside world. Landscape is not an obligatory component of the artistic world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality around us. The landscape carries several important functions:

• designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, the landscape is not a dry indication of the spatio-temporal parameters of the work, but artistic description using figurative, poetic language;
• plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). Landscape also occupies a lot of space in animal literature (for example, the works of Bianchi);
• a form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the internal state of the characters (for example, the role of the landscape in the sentimental “Poor Lisa”);
• form of the author's presence. The author can show his patriotic feelings by giving the landscape national identity(for example, Yesenin’s poetry).

The landscape has its own characteristics different kinds literature. He is presented very sparingly in the drama. In his lyrics, he is emphatically expressive, often symbolic: personification, metaphors and other tropes are widely used. In epic there is much more scope for introducing landscape.

The literary landscape has a very ramified typology. There are rural and urban, steppe, sea, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land author.

Interior. The interior, unlike the landscape, is an image of the interior, a description of an enclosed space. Mainly used for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov’s room).

"NARRATORY" COMPOSITION. NARRATOR, STORYTELLER AND THEIR RELATIONSHIP WITH THE AUTHOR. “POINT OF VIEW” AS A CATEGORY OF NARRATORY COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, records the passage of time, depicts the appearance of the characters and the setting of the action, analyzes the internal state of the hero and the motives of his behavior, characterizes him human type, without being either a participant in the events or an object of depiction for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann said, “the weightless, ethereal and omnipresent spirit of storytelling.” But the function of the narrator can be attached to the character, provided that the character as a narrator will completely differ from him as an actor. So, for example, the narrator Grinev in “The Captain's Daughter” is by no means a definite personality, in contrast to Grinev, the protagonist. Grinev's character's view of what is happening is limited by the conditions of place and time, including features of age and development; his point of view as a narrator is much deeper.

In contrast to the narrator, the narrator is entirely within the reality being depicted. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator certainly enters the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image, associated with a certain socio-cultural environment, from the position of which he portrays other characters. The narrator, on the contrary, is close in his outlook to the author-creator.

In a broad sense, a narrative is a set of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of “mediation” between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

Narrower and more precise, as well as more traditional meaning, narration is the totality of all speech fragments of a work, containing various messages: about events and actions of characters; about the spatial and temporal conditions in which the plot unfolds; about the relationships between the characters and the motives of their behavior, etc.

Despite the popularity of the term “point of view,” its definition has raised and continues to raise many questions. Let's consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Uspensky says about:

• ideological point of view, meaning by it the vision of the subject in the light of a certain worldview that is transmitted different ways, indicating his individual and social position;
• phraseological point of view, meaning by it the author’s use of different languages ​​or, in general, elements of foreign or substituted speech when describing different characters;
• spatio-temporal point of view, meaning by it the place of the narrator, fixed and defined in spatio-temporal coordinates, which may coincide with the place of the character;
• point of view in terms of psychology, understanding by it the difference between two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is psychological.

Corman is closest to Uspensky from a phraseological point of view, but he:

• distinguishes between spatial (physical) and temporal (position in time) points of view;
• divides the ideological-emotional point of view into a direct-evaluative one (an open relationship between the subject of consciousness and the object of consciousness lying on the surface of the text) and an indirect-evaluative one (the author’s assessment, not expressed in words that have an obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a “plane of psychology” in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his horizons - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing what is perceived; on the other hand, it expresses the author’s assessment of this subject and his outlook.