in Russian language and literature in the 2003/2004 academic year

In accordance with the “Regulations on the state (final) certification of graduates of IX and XI (XII) classes of general educational institutions of the Russian Federation” (Letter of the Ministry of Education of the Russian Federation dated 02/04/03 No. 03-51-17in/13-03), a written exam of XI (XII) graduates classes of general education institutions in Russian language and literature in the 2003/04 academic year will be carried out in the form of an essay or presentation with a creative task. The written exam in Russian language and literature will be carried out on an open list of essay topics grouped into sets. Examination materials are based on the optional minimum content of basic general and secondary (complete) general education (orders of the Ministry of Education of Russia No. 1236 of 05.19.98 and No. 56 of 06.30.99).

When preparing examination materials, comments and suggestions made in letters from educational authorities of 52 constituent entities of the Russian Federation will be taken into account: the number of topics formulated based on works that are studied in review will be reduced, complex quotation topics will be replaced by simpler ones, topics will be provided in each set various levels of difficulty.

“The list of essay topics for preparation for the written exam in Russian language and literature for the course of secondary (full) school in the 2003/2004 academic year” will be published in the third ten days of March 2004, “Sets of essay topics for the written exam in Russian language and literature for the course of secondary (full) school in the 2003/2004 academic year” in the second ten days of May 2004. These materials will be sent to the educational authorities of the constituent entities of the Russian Federation by e-mail and posted on the website of the Ministry of Education of Russia on the Internet (www.informika.ru)

Essay topics for the written exam in Russian language and literature for a secondary (full) school course in the 2003/2004 academic year will be grouped into 60 sets (5 topics in each set).

Each kit will be formed according to the following structure:

1. Analysis of a poem by a poet of the 19th-20th centuries or analysis of an episode from a work of art of Russian literature of the 19th-20th centuries (episodes are indicated).

2. A topic formulated in the form of a problematic question or statement about a work (the author, the work are indicated).

3. A topic related to a writer of the 19th century (author, work indicated).

4. A topic related to the work of a writer of the twentieth century (author, work indicated).

5. A topic related to philosophical, moral, social and social concepts (the 19th or 20th century is indicated; the student chooses a work of Russian literature).

Sample sets of essay topics:

Set No. 1

1. Duel between Pechorin and Grushnitsky. (Analysis of an episode from the chapter “Princess Mary” of M. Yu. Lermontov’s novel “A Hero of Our Time.”) The scene of Pechorin’s duel with Grushnitsky (Analysis of an episode from the chapter “Princess Mary” of M. Yu. Lermontov’s novel “A Hero of Our Time”).

2. “...The buyer of a living human conscience, Chichikov, is a real devil, a true provocateur of life” (A. Bely).

3. a) The tragedy of Bazarov’s image. (Based on the novel by I. S. Turgenev “Fathers and Sons.”)

b) Landscape in I. S. Turgenev’s novel “The Noble Nest.”

4. The problem of man and civilization in I. A. Bunin’s story “The Gentleman from San Francisco.”

5. “Laughter is often a great mediator in distinguishing truth from lies...” (V. G. Belinsky). (Based on a work of Russian literature of the twentieth century.)

Set No. 2

1. A. A. Akhmatova’s poem “Native Land” (perception, interpretation, evaluation).

Poem by A. A. Akhmatova “Today they didn’t bring me a letter...” (perception, interpretation, evaluation).

2. What is Chatsky fighting for and against? (Based on the comedy by A. S. Griboyedov “Woe from Wit.”)

3. The theme of the poet and poetry in the lyrics of A. S. Pushkin.

4. Thoughts about Man in M. Gorky’s play “At the Bottom.”

5. “Understand the living language of nature - and you will say: the world is beautiful...” (I. S. Nikitin). (Based on one of the works of Russian literature of the twentieth century.)

Tests

Test based on the novel by M. A. Bulgakov “The Master and Margarita”

1. What is the uniqueness of the novel’s composition?

a) ring composition

b) chronological order of events

c) parallel development of three storylines

d) parallel development of two storylines

2. What is the specificity of the image system of the novel “The Master and Margarita”?

a) based on the principles of duality

b) the characters are united by the general idea of ​​the work

c) the heroes form unique triads from representatives of the biblical world

d) the system of images is built on the principle of antithesis

3. “I, Yeshua, said that the temple of the old faith would collapse and a new temple of Truth would be created.” What is the meaning of this saying?

a) Yeshua is the new king of Judah, who erected a new Temple

b) this is not about faith, but about Truth

4. Why is Yeshua presented in the novel as a tramp?

a) correspondence to the biblical story

5. Match the names of the heroes who make up the triads of representatives of the ancient world, the author’s contemporary Moscow and the other world (or characters who penetrate both of these real worlds).

Gella; Azazello; Woland; Baron Meigel; Hippopotamus; Levi Matvey; Margarita; Aloysius Mogarych; Tuzbuben; Professor Stravinsky; Banta; Ivan Bezdomny; Alexander Ryukhin; Judas; Archibald Archibaldovich; Natasha; Nisa; Mark Ratboy; Pilate.

a) heroes have power in their world, but are still powerless over human choice

b) beauty and its service to the forces of darkness

c) heroes serve as executioners

d) traitors bearing fair punishment

e) the image of a student-follower

e) faithful friend, reliable assistant

6. Why is a similar row not formed for the image of Margarita?

a) there is no traditional love triangle in the novel

b) the image of Margarita is unique and does not require parallels

c) historically there were no parallels in the biblical and other worlds

7. Whose portrait is this: “His mustache is like chicken feathers, his eyes are small, and his trousers are checkered, pulled up so much that his dirty white socks are visible”?

a) Azazello

b) Koroviev

c) Varenukha

d) Homeless

8. During the meeting of Behemoth and Homeless with Woland, five proofs of the existence of God are mentioned, to which Kant added a sixth.

a) historical

b) theological

c) explanation of the structure of the universe

d) “by contradiction”

9. Match the hero and his gastronomic preferences.

a) lunch of N.I. Bosogo 1) “vodka, neatly chopped

herring, thickly sprinkled with greens

chopped onion

b) Behemoth snacks 2) “alcohol, salted and peppered

pineapple, caviar"

c) Stepan’s breakfast 3) “vodka in a pot-bellied decanter,

Likhodeev pressed caviar in a vase, white

marinated mushrooms, casserole

trulka with sausages, cooked

mi in tomato"

10. “Justice in Bulgakov’s understanding does not come down to punishment, retribution and retribution. Justice is administered by two departments, the functions of which are strictly separated: the department of retribution and the department of mercy. This unexpected metaphor contains an important idea: revenge is in vain; the right-wing force is not able to revel in cruelty, endlessly enjoy the vengeful feeling of triumph. Mercy is another face of justice.” (V. Ya. Lakshin)

1) Explain the meaning of the words “in vain” (from “to see” - “to see”), “right force” (righteous force).

2) Comment on this statement? From your point of view, what is justice?

11. Bulgakov’s novel is “a satirical chronicle of that city life of the 20-30s, which was accessible to the artistic gaze of the writer...” (P. A. Nikolaev)

1) What did the city life of that time appear to us like?

2) What satirical techniques did the author use when writing this chronicle?

Test based on the novel by M. A. Bulgakov “The White Guard”

1. M. A. Bulgakov in a letter to the Soviet government (March 28, 1930) defined his literary and political principles. Which of the points most accurately reveals the writer’s tasks (several answers are possible):

a) deep skepticism about the revolutionary process.

b) an image of “the terrible features of my people.”

c) “persistent portrayal of the Russian intelligentsia as the best layer in our country

e) “to stand dispassionately above the reds and whites.”

2. What is the leitmotif of Bulgakov’s novel “The White Guard”?

a) historical events in Kyiv in 1918-1919.

b) preservation of home, home in all the vicissitudes of the revolution and civil war.

c) preservation of honor - the core of the personal behavior of the heroes of the novel.

3. “Having felt the ripened strength within himself, Bulgakov sets himself a task higher than himself... This task is a picture of the civil war, which, according to his plan, should not only be written in the traditions of War and Peace, but also be guided by its scope to Tolstoy's epic." (V. Ya. Lakshin)

4. “The challenging novelty of the novel was that five years after the end of the Civil War..., he dared to show the officers of the White Guard not in the poster guise of the “enemy”, but as ordinary... people, with obvious sympathy.” (V. Ya. Lakshin)

A) ring composition

B) chronological order of events

C) parallel development of three storylines

D) parallel development of two storylines
2. What is the specificity of the image system of this novel?

A) it is based on the principles of duality

B) the characters are united by the general idea of ​​the work

C) the heroes form unique triads from representatives of the biblical world

D) the system of images is built on the principle of antithesis
3. “I, Yeshua, said that the temple of the old faith would collapse and a new temple of Truth would be created.” What is the meaning of this saying?

A) Yeshua is the new king of Judah, who erected a new Temple

B) this is not about faith, but about Truth

A) correspondence to the biblical story

D) the author seeks to show Yeshua as a poor man
5. Match the names of the heroes who make up the triads of representatives of the ancient world, the author’s modern Moscow and the other world (or characters who penetrate both of these real worlds)
Gella; Azazello; Woland; Hippopotamus; Levi Matvey; Margarita;

Professor Stravinsky; Ivan Bezdomny; Judas; Mark Ratboy; Pilate.

B) beauty and its service to the forces of darkness

C) heroes serve as executioners

D) traitors bearing fair punishment

D) the image of a student-follower

E) faithful friend, reliable assistant

A) there is no traditional love triangle in the novel

B) the image of Margarita is unique and does not require parallels

C) historically there were no parallels in the biblical and other worlds

B) Koroviev

B) Varenukha

D) Homeless

1) Explain the meaning of the words “in vain” (from “to see” - “to see”), “right force” (righteous force).

2) Comment on this statement. From your point of view, what is justice?
9. Bulgakov’s novel is “a satirical chronicle of that city life

20-30s, which was accessible to the artistic gaze of the writer...” (P.A. Nikolaev)

1) What did the city life of that time appear to us like?

2) What satirical techniques did the author use when writing this chronicle?

A) Levi Matvey

B) Pilate

B) red roses

B) white lilies of the valley

D) yellow mimosa

A) Likhodeeva

B) Latunsky

B) Berlioz

D) Woland
13. What does Woland say after the performance in the variety show?

A) that people have changed for the better

B) that Moscow has not changed at all, there are no new houses in it

C) that the city has changed, but the people remain the same

D) that people have become much worse
14. Who turned Varenukha into a vampire?

A) Margarita

B) Azazello

B) Gella

A) in the museum

B) in the hospital

B) in the theater

D) in a variety show
16. What object tormented Frida, one of the participants at Satan’s ball?

A) broken mirror

B) blue scarf

B) lost necklace

D) unfastened bracelet
17. Whom does the Master forgive at the end of the novel, saying: “Free! Now you are free!”?

A) Levi Matthew

B) Woland

B) Ivan Bezdomny

D) Pilate
18. What is the name of the poet Ivan Bezdomny at the end of the novel?

A) Ivan Sergeev

B) Ivan Ponyrev

B) Ivan Lavrentv

D) Stepan Likhodeev

19. When does the novel take place (in both worlds)?

20. What two cities are mentioned in the novel?

21. About whom did the Master write his novel?

22. After Woland’s departure, who dreams the same dream every year at the same time?

““Methodological materials and fund of assessment tools” in the discipline “Literature” Specialty “Teaching in primary grades” Methodological materials and FOS were approved at a meeting of the PCC...”

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1. Give a general description of the socio-political development of the country in the 30s.

2. What is the significance of the first congress of Soviet writers?

3. What is the drama of revolutionary trials in the works of M. Sholokhov, N. Ostrovsky, V.

Kataeva, P. Vasilyeva, V. Kornilova, etc.?

4. Describe the complexity of creative searches and the fate of writers in the 30s. (A. Akhmatova, M.

Tsvetaeva, V. Pasternak, O. Mandelstam, N. Zabolotsky, etc.).

Topic 5.2.

Marina Ivanovna Tsvetaeva.

Key concepts: monologue-confession.

Practical lessons:

1. Brief sketch of the life and work of M.I. Tsvetaeva, the drama of fate.

2. The main themes, motives, images of Tsvetaeva’s lyrics in the first post-revolutionary years and the period of emigration; creativity of the 30s

3. Questions for studying lyrics:

The fate and poems of Marina Tsvetaeva: the poet’s childhood and youth (“The rowan tree was lit with a red thread…”), the years of the revolution (the cycles “Swan Camp” and “Andrei Chenier”), emigration (“Longing for the Motherland”

It's been a long time..."), returning to homeland ("I don't have France...", "I don't know what the capital is..."), the last year of life ("I keep repeating the first verse...);

The spiritual experience of M. Tsvetaeva’s lyrics (“Soul”, “Lives”, “So many of them have fallen into this abyss...”);

Learn the poem and prepare a commentary for it (“If only fate brought us together”, “Where does such tenderness come from?..”, “Your name is a bird in the hand...”, “Praise of Time”, “Opened the veins:

unstoppable...").

1. Means of artistic expression.

2. Pushkin’s theme in Tsvetaeva’s work.

1. What are the main themes, motives and images of M. Tsvetaeva’s lyrics.

2. Learn poems by heart and be able to analyze them.

Topic 5.3.

O. Mandelstam.

Key concepts: poetics.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. First experiences: symbolist environment, acquaintances, interests.

2. The first collection “Stone”: acmeistic principles and their individual content in O.

Mandelstam.

3. Mandelstam’s perception of the revolution (“Twilight of Freedom”, “Decembrist”, “For whom winter is arak and blue-eyed punch...”).

4. The originality of O. Mandelstam’s poetic world of the pre-revolutionary period.

5. The second collection of the poet “Tristia”: renewal of poetics.

6. Lyrics of the late 20-30s.

7. The tragic fate of the poet in the last years of his life: persecution, arrest, conviction, death in a transit camp hospital.

8. The meaning of O. Mandelstam’s lyrics.

List of independently studied questions on the topic: not provided.

Questions (tasks) for self-control:

1. What are the main themes, motives and images of the lyrics?

Topic 5.4.

Andrey Platonovich Platonov.

Key concepts: writer's style.

1. A.P. Platonov. Essay on life and creativity.

2. “At the dawn of foggy youth”, “In a beautiful and furious world” (teacher’s choice).

Labor as the moral content of human life. The idea of ​​the uniqueness of the human personality. Freedom and unity of people as a condition for achieving harmony.

3. The story “The Pit”. High pathos and sharp satire in the depiction of a utopian city of happiness.

4. What problem forms the basis of all the work of A. Platonov?

a) fathers and children,

b) the struggle for freedom,

c) the essence of life,

d) intelligentsia and revolution.

2. In which works of A. Platonov do dystopian features appear?

a) “The Hidden Man”, b) “The Pit”, c) “Chevengur”, d) “City of Grads”.

3. What is the main and constant conflict of all the prose of A. Platonov?

a) the contradiction between living nature and inanimate machines,

b) between man and nature,

c) between the forces of destruction and resistance to them,

d) between the old and new worlds.

4. What concepts become signs-symbols in the artistic world of A. Platonov?

a) orphanhood,

b) desert,

d) blizzard.

5. What is the main theme in the early work of A. Platonov?

How to understand Plato's definition of nature as “the beautiful and furious world”?

Who is the “hidden man” in the artistic world of A. Platonov?

What motif in the story “The Pit” and the novel “Chevengur” by A. Platonov expresses the idea of ​​a doomed future?

3. What is the meaning of the images of the house and the tower in the artistic structure of the novel?

a) an image of a house being built,

b) a symbol of the meaninglessness, absurdity of building a new society,

c) a reflection of the futile sacrifice of the builders.

4. Name the elements of dystopia in the novel:

a) Platonov describes not what should be, but what happens when utopia turns into life,

b) Platonov warns, but does not describe life.

5. What is the symbolic image of Nastya?

a) Nastya gives meaning to the construction process,

b) Nastya loves to watch how a house is being built, c) “Where there is a child, grief should be annulled.”

6. How do you understand the main idea of ​​A. Platonov’s novel “The Pit”?

a) a pit for a dream house, a grave for the future of Russia,

b) depiction of the meaninglessness of suffering for the sake of the happiness of “tomorrow”,

c) the triumph of the ideas of heroic construction of the future world.

How to understand the title of A. Platonov’s story “The Pit”?

How is labor shown in A. Platonov’s story “The Pit”?

What is the duality of the destinies of Plato’s “activists”?

List of self-study questions on the topic:

1. Features of A. Platonov’s style.

Questions (tasks) for self-control:

2. Describe the main characters.

Topic 5.6.

Mikhail Afanasyevich Bulgakov.

Key concepts: variety of types of novel.

Plan for studying the topic in lecture classes:

1. Life, creativity, personality of the writer. Innovation in themes, ideas, style. The fate of the writer's works.

2. “The Master and Margarita.” The novel is unusual, combining fantasy with philosophical and biblical motifs. Satire and deep psychologism, the composition of the novel. The originality of Bulgakov's “diabolica” in the light of the world literary tradition (Goethe, Hoffmann, Gogol). The problem of creativity and the fate of the artist. Theme of conscience. The tragic love of the novel's heroes, conflict with the environment.

3. Questions for studying the novel “The Master and Margarita”:

1. Why is Yeshua presented in the novel as a tramp?

2. “I, Yeshua, said that the temple of the old faith would collapse and a new temple of Truth would be created.” What is the meaning of this saying?

a) Yeshua is the new king of Judah, who erected a new Temple,

b) we are not talking about faith, but about Truth,

3. Why is cowardice one of the most terrible sins for Yeshua?

a) cowardice leads to betrayal,

b) cowardice - a conscious choice of a hesitant person towards evil,

c) cowardice - cowardice, lack of mental strength.

4. How is the image of Matthew Levi resolved in the novel?

a) a disciple of Yeshua, who accepted his ideas and follows them,

b) Levi Matvey believes fanatically, did not understand the main idea of ​​the teacher,

c) Levi cannot accept suffering with dignity, he renounces God,

5. What is the specificity of the image system of the novel “The Master and Margarita”?

a) based on the principles of duality

b) the characters are united by the general idea of ​​the work

c) the heroes form unique triads from representatives of the biblical world

d) the system of images is built on the principle of antithesis

6. Match the names of the heroes who make up the triads of representatives of the ancient world, the author’s contemporary Moscow and the other world (or characters who penetrate both of these real worlds).

Gella; Azazello; Woland; Baron Meigel; Hippopotamus; Levi Matvey; Margarita; Aloisy Mogarych; Tuzbuben; Professor Stravinsky; Banga; Ivan Bezdomny; Alexander Ryukhin; Judas; Archibald Archibaldovich; Natasha; Nisa; Mark Ratboy; Pilate.

a) heroes have power in their world, but are still powerless over human choice,

b) beauty and its service to the forces of darkness,

c) heroes perform the function of executioners,

d) traitors bearing fair punishment,

e) the image of a student-follower,

f) faithful friend, reliable assistant.

7. Why is a similar row not formed for the image of Margarita?

a) there is no traditional love triangle in the novel,

b) the image of Margarita is unique and does not require parallels,

c) historically there were no parallels in the biblical and other worlds.

8. Which of the novel’s “worlds” is the most populated?

a) biblical

b) otherworldly,

c) Moscow.

9. During the meeting of Behemoth and Homeless with Woland, five proofs of the existence of God are mentioned, to which Kant added a sixth.

a) historical,

b) theological,

c) an explanation of the structure of the universe, d) “by contradiction.”

10. Match the hero and his gastronomic preferences.

a) lunch of I. I. Bosogo 1) “vodka, neatly chopped herring, thickly sprinkled with green onions”

b) Behemoth snacks 2) “alcohol, salted and peppered pineapple, caviar”

c) Stepan’s breakfast 3) “vodka in a pot-bellied decanter, pressed Likhodeev caviar in a vase, pickled porcini mushrooms, a saucepan with sausages boiled in tomato”

11. Which writers’ traditions does M. Bulgakov inherit in the novel “The Master and Margarita”?

a) Gogol,

b) Dostoevsky,

c) Hoffman,

d) Tolstoy.

12. Where did the epigraph to M. Bulgakov’s novel “The Master and Margarita” come from?

a) "The Captain's Daughter" AS. Pushkin,

b) Gospel, c) “Faust” by Goethe.

13. Who is included in Woland’s retinue?

a) Afranius,

b) Azazello,

d) Archibald Archibaldovich,

d) Koroviev.

14. To which of the characters in M. Bulgakov’s novel “The Master and Margarita” does the following portrait belong: “...small, but unusually broad-shouldered, wearing a bowler hat on his head and with a fang protruding from his mouth, disfiguring his already unprecedentedly vile physiognomy. And at the same time still fiery red"?

a) Koroviev,

b) Styopa Likhodeev,

c) Nikanor Ivanovich,

d) Azazello.

15. What vice does M. Bulgakov consider the most terrible?

a) betrayal

b) murder,

c) cowardice,

d) cowardice.

16. Which hero of M. Bulgakov’s novel “The Master and Margarita” embodies the idea of ​​forgiveness?

a) Master,

b) Margarita.

d) Woland.

17. Which hero of M. Bulgakov’s novel “The Master and Margarita” embodies the idea of ​​mercy?

a) Master,

b) Margarita,

d) Woland.

18. What problems does the philosophical plan of M. Bulgakov’s novel “The Master and Margarita” include?

a) artist and power,

b) reward for good and evil,

c) the responsibility of the scientist,

d) moral choice.

19. How was Styopa Likhodeev punished ("The Master and Margarita" by M. Bulgakov)?

a) the tram cut off the head,

b) the hippopotamus tore off its head,

c) ended up in Yalta,

d) went crazy.

20. "The Master and Margarita" is

a) satirical novel,

b) a complex, multi-layered work reflecting real life and the age-old struggle of ideas,

c) realistic novel.

a) “Cowardice is the most terrible vice”, b) “The servants of evil will be destroyed by evil itself”, c) “...the image of the Russian intelligentsia as the best layer in our country” (M. Bulgakov).

a) an intermediate authority between Heaven and Hell,

b) the artist’s clear conscience in the eyes of the future, immortality for future readers; the clear conscience of a person not burdened with the pangs of shame,

c) an intermediate authority between Heaven and Hell, where people with a clear conscience find shelter, who have suffered in real life, but have sinned, and therefore are not awarded Heaven.

23. Identify the characters in the novel from the portrait:

a) “A shaved, dark-haired man, with a sharp nose, anxious eyes and a tuft of hair hanging over his forehead, about thirty-eight years old”;

b) “a man of about twenty-seven... His head was covered with a white bandage with a strap around his forehead...

The man had a large bruise under his left eye and an abrasion with dried blood in the corner of his mouth.

The man brought in looked with alarming curiosity...”

What is the place of these heroes in the system of characters in The Master and Margarita?

24. Compare the novel biography of Yeshua and the story of the biblical Jesus. What episodes are similar in them? How are they different? What is the significance of factual “inaccuracies” in the manifestation of the author’s artistic attitude?

25. Throughout the novel, many of its heroes undergo various metamorphoses, appearing before the reader in different guises. The nine portrait sketches quoted below represent the novel's three characters. Name these heroes. What events that happened in Moscow are connected with them?

a) “Huge, like a hog, black, like soot or a rook, and with a desperate cavalry mustache”;

b) “his mustache is like chicken feathers, his eyes are small, ironic and half-drunk, and his trousers are checkered”;

c) “on the neck... a white tailcoat tie with a bow, and on the chest there were mother-of-pearl ladies’ binoculars on a strap.... the mustache was gilded”:

d) “a reddish, short man, with a cataracted eye”;

e) both eyes... were the same, empty and black, and his face was white and cold... he flew in his true form, like... a killer demon”;

f) “a cracked monocle; the mustache on his insolent face was curled and pomaded... he was in a tailcoat. Only his chest was white”;

g) a dark purple knight with a gloomy and never smiling face....he was not interested in the earth beneath him, he was thinking about something of his own...”;

h) “a thin young man, a demon page, the best jester”;

i) “short, fiery red, with a fang, in a good-quality striped suit... The tie was bright... from the pocket... a gnawed chicken bone was sticking out.”

26. Remember what names the literary prototypes of Bulgakov’s Woland bore. How is the image of Woland in the novel related to his literary “relatives”? How is he different from them?

27. Prepare brief biographical information about the following characters: Frida, Baron Maigel, Mikhail Berlioz. What episode of the novel brings these characters together? How do their posthumous destinies turn out?

28. Determine the owner of the house based on the interior details. Try to remember the address of each house.

What concepts determine the life of their inhabitants in each case?

a) Books, a stove, two sofas, a wonderful night lamp, a small desk, a sink with water in the front room, lilac, linden and maple trees outside the window;

b) a Venetian window, climbing grapes, candles, not far from the house there is a stream with a rocky, mossy bridge.

29. Critical responses to which literary work were called “The Enemy Under the Editor’s Wing” and “The Militant Old Believer”? Remember the main theses of literary critics. How does their interpretation of the work differ from the perception of it by otherworldly guests of the capital?

30. From what realities is the literary world of Moscow built in the novel? What artistic techniques predominate in the depiction of Moscow in the 1930s?

31. What classic literary work is the following episode of the novel an allusion to?

“... Ryukhin stood up to his full height... and raised his hand, for some reason attacking the cast-iron man who was not touching anyone - no matter what step he took in life... everything turned to his glory1.”

What works of this Russian classic are read on the pages of Bulgakov’s novel? What are the artistic functions of literary reminiscences in a novel?

32. Remember how in “The Master and Margarita” the text of the novel about Pontius Pilate is restored. How do the “Moscow” and “Yershalaim” chapters correlate in the composition of “The Master and Margarita”?

33. What could be the possible interpretations of the otherworldly “sentence” to the Master: “He did not deserve light, he deserved peace”?

34. What is the real fate of the master and Margarita?

35. What is the denouement of the philosophical conflict of the novel?

36. What is the meaning of the epigraph to M. Bulgakov’s novel “The Master and Margarita”?

36. What are the features of the composition of M. Bulgakov’s novel “The Master and Margarita”?

37. What is the satirical line of M. Bulgakov’s novel “The Master and Margarita” connected with?

38. How is the problem of retribution for good and evil solved in M. Bulgakov’s novel “The Master and Margarita”?

39. What is the moral and philosophical meaning of the scene of the conversation between Pontius Pilate and Yeshua Ha-Nozri in M. Bulgakov’s novel “The Master and Margarita”?

40. What is the strength and what is the weakness of Yeshua’s sermon in M. Bulgakov’s novel “The Master and Margarita”?

41. Why is the Master awarded peace and not light as the highest reward?

42. Which expressions from M. Bulgakov’s novel “The Master and Margarita” became popular?

Practical exercises: not provided.

List of self-study questions on the topic:

1. “Heart of a Dog.”

2. The vitality of “Sharikovism” as a social and moral phenomenon.

4. Artistic features of the work.

Questions (tasks) for self-control:

1. What is the significance of the novel and its fate?

2. List the stylistic features of the novel.

Topic 5.7.

Mikhail Alexandrovich Sholokhov.

Key concepts: writer's style, epic novel.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. M.A. Sholokhov. The connection between the fate of the writer and the era, with the fate of the country.

2. Early works (“Don Stories”).

3. The novel “Quiet Don” as a reflection of the tragedy of the individual and the tragedy of the people. Image of Grigory Melekhov. Female images of the novel. The novel “Virgin Soil Upturned” (review). The dramatic fate of the village in the 30s. Types and characters of heroes. Tragic and comic in the novel.

4. Questions for studying M. Sholokhov’s novel “Quiet Don”:

a) The history of the creation of the novel.

b) History of the Cossacks:

Analyze scenes and episodes of Cossack life, which are an indicator of normal life according to Sholokhov (Book 1, part 1, chapters 2-4, 8, 9, 15, 21-23);

Sholokhov’s idealization of the Cossacks (Book 1, Part 1. Chapter 1, 7, 14);

The concept of “Cossack honor” and Cossack frugality (Book 1, part 1, chapter 8);

Shtokman, Mokhov and the Cossack environment (Book 1, part 2, chapter 1, 2, 4-6, 9).

c) Natural and historical time in the novel:

The cyclical nature of natural time, the connection of the peasant calendar with the annual cycle, the eternal repetition of the cycle;

Linearity of historical time, independence from the natural cycle and lack of repetition of events;

War as the intervention of historical time in the cycle of the natural cycle, the influence of natural time on the course of history.

d) The meaning of the epigraphs and the title of the novel, its ambiguity.

e) The role of landscape. Psychological parallelism:

The connection between the life of a Cossack farmer and nature;

The concept of psychological parallelism;

Analyze examples of psychological parallelism; prove that the phenomena of nature and the state of the human soul are internally interconnected (Book 1, part 2, chapter 13, 28; Book 4, part 7, chapter 1, 26).

f) History of the Melekhov family.

g) Portrait description of Gregory in comparison with his brother Peter.

h) Melekhovs and their attitude to work.

i) The image of Gregory at war as the embodiment of the author’s concept of war.

j) Typical and individual in the image of Gregory.

k) “Quiet Don” - a love story of a new type:

The contrast between “love-passion” and “family love” in classical literature;

Analyze the love triangle Grigory - Aksinya - Natalya from the point of view of two types of love;

Analyze the relationship between Peter and Daria; give an assessment from the point of view of a person of a patriarchal way of life;

Love in war: the opposition of love and duty (couple Bunchuk and Anna);

Analyze the history and nature of the relationship between Timofey and Lisa Mokhova: how their “free love” differs from the love of Grigory and Aksinya;

Love of Evgeny Listnitsky;

The ideal of love according to M. Sholokhov.

n) Artistic features of “Quiet Don” as an epic novel. "Quiet Don" and "War and Peace":

the originality of the novel by M. Sholokhov.

List of self-study questions on the topic:

1. Artistic features of the works.

Questions (tasks) for self-control:

1. What is the significance of Sholokhov’s personality and works in world culture?

2. Display the patterns of the era using the example of Sholokhov’s depiction of Cossack families.

SECTION VI

Poetry and prose of the period 1941–1945.

Key concepts: poetry, prose.

Plan for studying the topic during lecture classes: not provided.

Practical exercises: not provided.

List of self-study questions on the topic:

The Great Patriotic War in literature. Poetry and prose of the period 1941–1945. (review).

The heroic state of the world. The rise of lyrical genres. Publicism of works (A.

Akhmatova, V. Lebedev – Kumach, M. Isakovsky). Epic lyrics (A. Tvardovsky, A. Surkov, M. Isakovsky). Psychological lyrics (K. Simonov, A. Akhmatova, A. Mezhirov, M. Dudin). Lyrics by Y. Smelyakov, O. Berggolts, P. Kogan, M. Kulchitsky, M. Jalil, N. Mayorov, B. Slutsky, N.

Starshinov, N. Tikhonov and others. Poems by M. Aliger (“Zoya”), P. Antokolsky (“Son”), V. Inber (“Pulkovo Meridian”).

“Vasily Terkin” by A. Tvardovsky is a great epic of war. War in prose by K. Simonov (“Days and Nights”), L. Leonov (“The Capture of Velikoshumsk”), A. Platonov (“Recovery of the Dead”), A. Fadeev (“Young Guard”). Journalism by I. Ehrenburg, A. Tolstoy, M. Sholokhov. Plays: L. Leonov “Invasion”, E. Schwartz “Dragon”.

Questions (tasks) for self-control:

1. Characterize poetry and prose of the period 1941–45; lyrical genres; journalistic nature of works (A. Akhmatova, V. Lebedev - Kumach, M. Isakovsky); epic, psychological lyrics; journalism by I. Ehrenburg, A. Tolstoy, M. Sholokhov; plays: L. Leonov “Invasion”, E. Schwartz “Dragon”.

Topic 6.2.

Anna Andreevna Akhmatova.

Key concepts: traditions and innovation in poetry.

Plan for studying the topic in lecture classes:

1. Brief sketch of the life and work of A.A. Akhmatova.

2. Thematic, genre, artistic originality of Akhmatova’s lyrics. The drama of the lyrics.

3.Theme of the poet and poetry. Theme of the Motherland. Appeal to Pushkin's theme.

Practical lessons:

1. The artistic originality of A. Akhmatova’s lyrics (lyrical heroine, her “masks”).

2. The poet’s civic position in the post-revolutionary years (“We thought: we are poor, we have nothing ...”, “Londoners”, “It would be better for me to cheerfully call out ditties ...”, “Prayer”, “Native Land”, “Everything is plundered, betrayed , sold...", "I am not with those who abandoned the earth..."). Theme of the poet and poetry (“The last time we met was then…”, cycle “Secrets of the Craft”).

3. Poem “Requiem”: A) the image of the lyrical heroine (autobiographical features, folklore features, rapprochement with the image of the Mother of God); B) the theme of memory, connection with the theme of the poet’s duty to his people; C) the motive of muteness, petrification from grief; connection with the image of the monument to the poet; D) the contrast between the loneliness of maternal grief and the community of grief; D) why A. Akhmatova’s genre of “Requiem”

defined as “poem”, how this definition is related to the image of the lyrical heroine.

List of self-study questions on the topic:

1. The poem “Requiem” is a monument to the victims of Stalin’s repressions.

Questions (tasks) for self-control:

1. What are the features of the poet’s work “after Acmeism”.

2. Compare the poet’s early and late works.

3. Analyze the poem and the main themes and motifs of the poem.

Topic 6.3.

Boris Leonidovich Pasternak.

Key concepts: creative evolution.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. A brief sketch of the life and work of Pasternak.

2. Pasternak and the futurists. Early creativity. “My sister is life” is a picture of the world, eternity and time.

3. Philosophical orientation of poetry. Theme of the poet and poetry. The motive of a miracle. Nature, Love and Creativity in Pasternak's lyrics. “Themes and Variations”, “Rebirth” in the creative evolution of Pasternak.

4. The image of the century and man, history and eternity in the novel “Doctor Zhivago”.

5. Questions for studying B. Pasternak’s novel “Doctor Zhivago”:

1. Read R. Gul’s article “Pasternak’s Victory,” in which the researcher talks about a strange feeling after reading the novel: “...joyful emotional excitement...” of a “musical” order.

How do you feel after reading B. Pasternak’s novel?

Do you agree with the researcher’s statement that “having turned away from the Symbolists and Mayakovsky, Pasternak reaches out to Pushkin and Chekhov”? How is it shown?

2. Was B. Pasternak’s plan to write a book that would be, in his words, “...a hot piece of work? "Smoking conscience"? Give reasons for your answer based on the text of the novel, the article “Several Provisions” and “Memoirs” by N. Vilmont.

3. Why did the book “Doctor Zhivago,” which at one time became the cause of a political scandal and unprecedented sensational fame, gradually begin to turn into an object of quiet reading, love, appreciation and study?

4. The meaning of the title of the novel “Doctor Zhivago”. Is this the original name? Would you agree that the first paragraph of the novel is the key to everything that happens next? Is there a connection between this paragraph and the title of the novel?

5. What is the central theme of the novel?

6. Spiritual truths discussed in the novel. Are they relevant today?

7. Describe the images of Yuri Zhivago’s friends - Gordon, Dudorov, Shura Shlesinger. Which of them can be considered as Zhivago’s “doubles”? What changes occur with Dudorov and Gordon in the space of the novel? The function of these images in the novel.

8. The theme of war in the novel, with its “blood and horror, its homelessness, its savagery.” The image of Tarasyuk in the novel.

9. The function of landscape in the novel. The image of a large forest, “cut in half by artillery fire.” Semantic content of the image.

11. The theme of art, the purpose of poetry in the novel. Find fragments of the text where Pushkin’s motifs are discussed and the images of A. Blok and V. Mayakovsky are interpreted.

12. N. Vilmont writes about the evolution of the relationship between Lara and Zhivago as “the transition from lyrics - a direct outpouring of love feelings to a philosophical and explanatory love story.”

13. Is the author’s own social and moral worldview formulated and argued in the images of the novel’s heroes?

14. What semantic meaning do Yuri Zhivago’s poems carry?

15. The scene of Zhivago’s death is the climax of the novel. To what year does the writer refer the death of the hero? Is the choice of year random? The meaning behind this scene?

16. The fate of Zhivago – “Garden of Gethsemane”. Is there an analogy?

17. Are intellectuals like Zhivago victims of the “self-destructive dialectic of the soul”?

18. Do you agree with the opinion of D.S. Likhachev that Pasternak remains a lyricist even in prose.

Support your opinion with examples from his prose.

19. What poems by Yuri Zhivago do the following episodes of the novel echo: “The Christmas tree at the Sventitskys” - book 1, part 3; “Forest Army” - book 2, part 11?

20. Who, in your opinion, is the spiritual antipode of Yuri Zhivago on the pages of the novel? Prove with references to the text.

List of self-study questions on the topic:

1. Theme of the intelligentsia.

2. Female images of the novel.

Questions (tasks) for self-control:

2. What are the reasons for creating the novel?

3. Determine the place and significance of “The Poems of Yuri Zhivago” in the composition and concept of the novel.

Topic 6.4.

A. Tvardovsky.

Key concepts: genre, plot.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. The creative path of the poet.

2. The theme of war and memory in the lyrics.

3. Affirmation of moral values ​​in lyrics.

4. Poems “By Right of Memory” and “Vasily Terkin”

5. Questions for studying the poem “Vasily Terkin”:

1. Creative history of the poem.

2. Composition (independence of individual chapters), genre, plot

3. The meaning of the subtitle of the poem.

4. Vasily Terkin - appearance, biography, fate. How many characters in the poem bear the surname “Terkin”? What are the names of the different Terkins?

5. Vasily Terkin - what qualities made him the readers’ favorite hero.

6. What does the hero’s surname mean?

7. How does Terkin’s character develop throughout the poem?

List of self-study questions on the topic:

1. Poems, poems.

Questions (tasks) for self-control:

1. What are the main themes, motifs and images of the lyrics?

SECTION VII

New trends in literature.

7.1.1. Poetry and prose 1950-1980s.

Key concepts: multinationality of Soviet literature, art song, fantasy genres.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. Main trends in the development of the theme of the Great Patriotic War in the post-war period.

2. Problems of patriotism, true and false humanism, moral choice. Psychologism of literature about war, realistic coverage of events. Variety of genres and styles. Poetry of the post-war years (N. Starshinov, K. Vanshenkin, M. Matusovsky, M. Aliger, M. Dudin, D.

Samoilov, S. Orlov, A. Mezhirov, V. Vysotsky, etc.).

List of self-study questions on the topic:

1. Prose of the post-war period (V. Nekrasov, M. Sholokhov, V. Bogomolov, Yu Bondarev, G. Baklanov, V. Grossman, K. Vorobyov, V. Bykov, B. Vasiliev, V. Rasputin, V. Kondratyev, K Simonov, V.

Astafiev, A. Adamovich, S. Alexievich, etc.).

Questions (tasks) for self-control:

1. What are the main trends in the development of the theme of the Great Patriotic War in the post-war period and the problems of patriotism, true and false humanism, moral choice.

7.1.2. Poetry of the mid-50s–60s.

Key concepts: lyrical hero.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. The flourishing of lyrical poetry by artists of the older generation, its philosophical orientation, psychologism (N. Zabolotsky, N. Aseev, V. Lugovskoy, A. Akhmatova, A. Tvardovsky).

2. The romantic beginning of the poetry of L. Martynov, N. Aseev, M. Svetlov. Latest collections by B.

Pasternak. Poetic "boom".

3. Poetry in the role of journalism.

4. Discovery of the inhumanity of modern civilization. Creativity of E. Yevtushenko, A. Voznesensky, R. Rozhdestvensky.

List of self-study questions on the topic:

1. Poetry developing in line with the traditions of Russian classics: V. Bokov, V. Fedorov, A. Prasolov, S.

Narovchatov, E. Isaev, Y. Drunina, B. Slutsky and others.

Questions (tasks) for self-control:

1. What is the philosophical orientation, psychologism of poetry (N. Zabolotsky, N. Aseev, V. Lugovskoy, A. Akhmatova, A. Tvardovsky)?

2. Characterize the romantic beginning of the poetry of L. Martynov, N. Aseev, M. Svetlov.

7.1.3. Poetry of the mid-60s–80s.

Key concepts: theme, idea.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. Review. "Silent Lyrics" Halftones, microthemes, the theme of the “small Motherland” (St. Kunyaev, G. Gorbovsky, An. Peredereev, etc.) “Chamber flow” in poetry (B. Okudzhava, B. Akhmadulina).

2. Activation of philosophical thought, the image of time in the works of L. Martynov.

3. The work of poets of the war generation (D. Samoilov, M. Lukonin, Yu. Levitansky).

List of self-study questions on the topic:

1. The inner world of man in the lyrics of V. Solovyov, O. Chukhontsev, I. Shklyarevsky, Yu. Kuznetsov.

Creativity of N. Rubtsov, N. Tikhonov, E. Vinokurov. Poetry by V. Vysotsky and others.

Questions (tasks) for self-control:

1. Characterize the “chamber movement” in poetry, philosophical thought, the image of time in the work of poets.

7.1.4. Problems of the village in the literature of the 50s–80s.

Key concepts: essay.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. Review. Essays by V. Ovechkin, S. Zalygin, F. Abramov.

2. Reflection of the crisis of humanistic consciousness.

3. Return to original social values. Last bow to the village. (V. Belov “A Business as Usual”, V. Rasputin “Farewell to Matera”, V. Astafiev “Last Bow”).

4. Study of the destructive influence on the village and people from the folk environment of social experiments (F. Abramov “Pryasliny”, V. Belov “Carpenter’s Stories”, “Education According to Doctor Spock”, “Eves”).

List of self-study questions on the topic:

1. The depth and integrity of the spiritual world of man, connected with the earth, in the works of S. Zalygin, B. Mozhaev, V. Shukshin, M. Alekseev, P. Proskurin and others.

Questions (tasks) for self-control:

1. What are the features of depicting the problem of the village in prose of the 50-80s?

2. Compare the resolution of conflicts in the works of different writers.

7.1.5. Moral problems in literature of the 50s–80s.

Key concepts: short story.

Plan for studying the topic during lecture classes: not provided.

Practical lessons:

1. Moral problems in literature of the 50s–80s. Attention to the inner world of a person.

2. Man’s attitude to nature as a moral criterion. V. Astafiev “The Tsar is a Fish.”

3. The drama of the birth of moral consciousness in the mass man in the short story by V. Shukshin.

4. Problems of good and evil, destruction of folk ethics in V. Rasputin’s story “Fire”, in “The Sad Detective” by V. Astafiev.

5. The problem of mankurtism as a social phenomenon in the works of Ch. Aitmatov “The Scaffold”, “Stormy Stop”.

List of self-study questions on the topic:

1. Moral problems of plays by A. Volodin, A. Arbuzov, V. Rozov, A. Vampilov and others.

Questions (tasks) for self-control:

1. What are the moral issues in literature from the 50s to the 80s?

2. Describe the dramatic nature of the birth of moral consciousness in the masses using the example of one of the works.

7.1.6. Tragic pages of history in the literature of the 50s–80s. and in returned literature.

Practical lessons:

1. Tragic pages of history in the literature of the 50s–80s. and in “returned” literature.

2. “Little” man and “big” history in the works of A. Solzhenitsyn (“One Day in the Life of Ivan Denisovich”, “The Gulag Archipelago”), Y. Dombrovsky (“Faculty of Unnecessary Things”), F. Iskander (“Sandro from Chegem” ), V. Shalamov (“Kolyma Tales”), A. Zhigulina (“Black Stones”), M.

Dudintseva (“White Clothes”), An. Rybakova (“Children of Arbat”).

Questions (tasks) for self-control:

1. Describe the tragic pages of history in the literature of the 50s–80s. and in "returned"

literature.

2. How is the theme of the “little” man and the “big” story revealed in the works of writers?

Topic 7.2.

Alexander Isaevich Solzhenitsyn.

Key concepts: historical and philosophical generalization.

Plan for studying the topic in lecture classes:

1. Information from the biography.

2. A new approach to depicting the past.

3. The problem of generational responsibility.

4. The skill of a writer-psychologist: depth of characters, historical and philosophical generalization.

5. “One day in the life of Ivan Denisovich.”

Questions for studying the story “One Day in the Life of Ivan Denisovich”:

1. The history of the creation of the story “One Day in the Life of Ivan Denisovich.”

2. Features of the compositional structure of the story. The role in the construction of the narrative of the categories of time - minute, hour, day, term. The symbolic meaning of chronological and chronometric designations. Moral and ethical meaning of temporary designations.

3. Organization of the story space. The role of spatial nodes of the story. The symbolic meaning of a closed circle in artistic space. Function of narrowing of the spatial vertical. Expansion of space due to the internal vision of prisoners. The function of memory, memories in a story.

4. Narrative detail function. Cinematographic techniques

5. Specifics of the speech portrait of Ivan Denisovich. Author's speech.

7. How are other heroes depicted in the work?

8. The collision of bright human consciousnesses, the polyphony of consciousnesses and voices - reveal the meaning.

What is the role of incidental characters in the story?

9. The function of key episodes of the story (Ivan Denisovich is a witness to a fierce dispute between Caesar Markovich and an old convict; the scene of laying a wall in the cold).

10. Speech features of the story. The function of non-standard use of phraseological units, proverbs and sayings in the speech of heroes. Write down the aphorisms in the text, decipher them.

Practical exercises: not provided.

List of self-study questions on the topic:

1. The story “Matryonin’s yard”.

2. "GULAG Archipelago".

Questions (tasks) for self-control:

1. Tell the biography of the writer.

Topic 7.3.

Varlam Tikhonovich Shalamov.

Key concepts: story.

Plan for studying the topic in lecture classes:

1. Information from the biography.

2. Artistic originality of prose: absence of declarations, simplicity, clarity.

3. “Kolyma stories.”

Practical exercises: not provided.

List of self-study questions on the topic:

1. 2-3 stories.

Questions (tasks) for self-control:

1. Know the biography of the writer.

2. What are the features of the genre and composition of stories?

Topic 7.4.

Vasily Makarovich Shukshin.

Key concepts: village prose.

Plan for studying the topic in lecture classes:

1. Information from the biography.

2. A depiction of the life of a Russian village: the depth and integrity of the spiritual world of the Russian person.

3. Artistic features of prose.

4. Questions for studying stories:

2. The story “Weirdo”:

What are the signs of the times that are noticeable in the story?

Why is the story titled this way? Pay attention to the emotional and expressive coloring of the word.

What is the dominant idea of ​​the story (the main, dominant idea)?

How does Chudik appear externally (portrait description)?

Analyze landscape sketches.

Describe the speech of the Freak.

The role of color in creating images of heroes.

Why does everything always happen to Weird?

Why does Chudik suffer and who does he blame for his failures?

Does the story have social problems or is it a picture of morals?

Why doesn't the story end with the expulsion of the Weird? Why is the complex (two parts) ending given?

What is the composition of the story?

Can the story be called humorous?

3. The story “Pardon me, madam”:

What is the genre of the story?

What is the main character like?

What is Pupkov’s story about and how do listeners perceive it?

Similarities and differences in the images of Pupkov and Khlestakov from N. Gogol’s comedy “The Inspector General”.

For what purpose does Bronka tell her tale again and again?

4. What traditions did V. Shukshin continue in his work?

6. What do Shukshin’s heroes think and reflect on?

7. What, according to Shukshin, is the “wisdom of life”?

Practical exercises: not provided.

List of self-study questions

Test based on M. Bulgakov’s novel “The Master and Margarita”

1.What is the uniqueness of the novel’s composition?

A) ring composition

B) chronological order of events

C) parallel development of three storylines

D) parallel development of two storylines

2. Why is Yeshua presented in the novel as a tramp?

A) correspondence to the biblical story

C) avor emphasizes the hero’s inner freedom

3. “I, Yeshua, said that the temple of the old faith would collapse and a new temple of Truth would be created.” What is the meaning of this saying?

A) Yeshua is the new king of the Jews, who erected a new Temple

B) we are not talking about faith, but about truth

4. Why is cowardice one of the most terrible sins for Yeshua?

A) cowardice leads to betrayal

B) cowardice - a conscious choice of a hesitant person towards evil

C) cowardice - cowardice, lack of mental strength

5.How is the image of Levi Matthew resolved in the novel?

A) a disciple of Yeshua who accepted his ideas and follows them

B) he believes fanatically, did not understand the main idea of ​​the teacher

C) Levi cannot accept suffering with dignity; he renounces God

6.What is the specificity of the system of images in the novel “The Master and Margarita”?

a) it is based on the principle of duality

b) the characters are united by the general idea of ​​the work

c) the heroes form unique triads from representatives of the biblical world

) the system of images is built on the principle of antithesis

7.Which of the “worlds” of the novel is the most populated?

A) biblical b) otherworldly c) Moscow

8. Whose portrait is this: “He has mustaches like chicken feathers, small eyes, and checkered trousers, pulled up so much that dirty white socks are visible?

A) Azazello

B) Koroviev

B) Varenukha

D) Homeless

9. During the meeting of Behemoth and Homeless with Woland, five proofs of the existence of God are mentioned, to which Kant added a sixth.

A) historical

B) theological

C) an explanation of the structure of the universe

D) “by contradiction”

10. Relate the hero and his gastronomic preferences.

A) lunch of N.I. Bosy 1) “vodka, neatly chopped herring, thick

sprinkled with onions"

b) Behemoth snacks 2) “alcohol, salted and peppered pineapple, caviar”

c) Styopa Likhodeev’s breakfast 3) “Vodka in a pot-bellied decanter, pressed caviar in a vase,

pickled white mushrooms, saucepan with sausages"

1. The presented test can be used in the final lesson on M. Bulgakov’s novel “The Master and Margarita”. I

   Lesson

   District of Belgorod region Test By novel M.A. Bulgakov « Master And Margarita"for 11th grade... Novel first appeared in the magazine 1. “Moscow” 2. “Vekhi” 3. “Northern Star” 3. What manifests itself originality compositions novel « Master And Margarita»? ...

2. The literature course in 11th grade is based on the following types of activities to master the content of works of art and theoretical and literary concepts: Conscious, creative reading of works of art of different genres

   Document

   ... novel. Novel « Master And Margarita» (one of the following is offered for study novels – By choice). History of creation and publication novel. Originality genre and compositions novel...a poet? 3. B how manifests itself individuality of sound of patriotic lyrics...

3. M. A. Bulgakov the satirist. "Dog's heart". The novel "The Master and Margarita" the master and music. Rereading M. A. Bulgakov (excerpts)

   Document

   Artistic originality novel"Virgin soil upturned... bright manifests itself vital... Composition the plot of “Heart of a Dog” by M.A. Bulgakov. 4. Love and hate in novel M.A. Bulgakov « Master And Margarita" 5. Universe By Goethe and the Universe By Bulgakov ...

MBOU "Pogromskaya Secondary School named after.

HELL. Bondarenko" Volokonovsky district, Belgorod region

Test based on the novel by M.A. Bulgakov "The Master and Margarita"

for 11th grade

prepared

teacher of Russian language and literature

Morozova Alla Stanislavovna

2014

Explanatory note

The test allows you to determine the level of knowledge of 11th grade students of the novel

M. Bulgakov “The Master and Margarita”. The work contains questions on knowledge of the text, knowledge of the characters in the novel, questions on the genre and composition of the novel, and on the history of the creation of the work.

For each question, three answer options are given, of which only one is correct (except for question 8 I option with 2 answers).

The presented test can be used in the final lesson on the novel by M. Bulgakov"Master and Margarita".

Option I

1. Years of creation of M.A. Bulgakov’s novel “The Master and Margarita”

1. 1930 — 1941

2. 1928 — 1940

3. 1929 — 1939

2. The novel first appeared in the magazine

1. "Moscow"

2. "Milestones"

3. "Northern Star"

3. What is the uniqueness of the composition of the novel “The Master and Margarita”?

1. Chronological order of events;

2. parallel development of three storylines;

3. parallel development of two storylines.

4. What is the genre of the novel?

1. Philosophical;

2. loving;

3. multi-genre novel.

5. How many days did the events of the Moscow chapters last?

12 o'Clock in the noon

2. 3 days

3. 4 days

6. In which chapter does the Master appear?

1. 11

2. 13

3. 9

7. Why is Yeshua presented in the novel as a tramp?

1. Contrast with the biblical story;

3. The internal freedom of the hero is emphasized, opposed to the hierarchical world.

8. Bulgakov chose Goethe’s words as the epigraph to the novel: “I am part of that force that eternally wants... and eternally accomplishes...”. What words are missing in this aphorism?

1. Evil;

2. truth;

3. good;

4. good.

9. Time of the novel

1. Moscow. 20 – 30 years of the XX century;

2. Yershalaim. 1st century AD;

3. covers two eras at once.

10. Why was Pilate punished?

1. Cowardice;

2. evil;

3. conscience.

11. Who has the mission to punish for vices in the novel?

1. Pontius Pilate;

2. Master;

3. Woland.

12. How are the three worlds connected to each other in the novel?

1. Jesus Christ;

2. Woland;

3. Yeshua.

13. Who releases Pilate?

1. Woland;

2. Master;

3. Margarita.

14. Find out the portrait. “His mustache is like chicken feathers, his eyes are small, and his trousers are checkered and pulled up so much that his dirty white socks are visible.”

1. Azazello;

2. Koroviev;

3. Varenukha.

15. Find out the portrait. “Short, fiery red-haired, with a tuft of hair, in a good quality striped suit... a gnawed chicken bone was sticking out of his pocket.”

1. Azazello;

2. Koroviev;

3. Varenukha.

16. Yeshua said that “the temple of the old faith will collapse and a new temple of truth will be created.” What is the meaning of this saying?

1. Yeshua is the new king of Judah, who erected a new Temple;

2. we are not talking about faith, but about Truth;

17. What did Woland reward the Master with?

1. Light;

2. freedom;

3. peace.

18. Who does Ivan Bezdomny become in the epilogue of the novel?

1. Professor at the Institute of History and Philosophy;

2. Professor at the Institute of Literary Studies;

3. Chairman of MASSOLIT.

Option II

1. How many editions of the novel did M. Bulgakov make?

1. 6

2. 8

3. 10

2. How would you define the composition of the novel?

1. “a novel within a novel”

2. ring

3. free

3. Over how many days does the gospel chapters take place?

1. 2

2. 3

3. 1

4. In what year did the novel become called “The Master and Margarita”?

1. 1935

2. 1937

3. 1940

5. In what year did the full text of the novel appear in the writer’s homeland?

1. 1970

2. 1972

3. 1973

6. Who spilled the oil on which Berlioz slipped?

1. Annushka

2. Margarita

3. Gella

7. What was the name of the building in which MASSOLIT was located?

1. Pushkin's house

2. Griboedov's house

3. Lermontov's house

8. The description of which character is given in the episode: “... a man of about twenty-seven... was dressed in an old and torn blue tunic. His head was covered with a white bandage with a strap around his forehead, and his hands were tied behind his back. Under the left eye... a large bruise, in the corner of the mouth - an abrasion with dried blood"?

1. Mark Ratboy

2. Levi Matvey

3. Yeshua Ha-Nozri

9. Who did Margarita save from eternal torment?

1. Frosyu

2. Frida

3. Francescu

10. Which of Woland’s retinue had a fang?

1. the cat Behemoth

2. by Koroviev-Fagot

3. at Azazello's

11. Indicate the real name of Ivan Bezdomny.

1. Ivan Nikolaevich Ponyrev

2. Ivan Ivnovich Latunsky

3. Ivan Nikolaevich Likhodeev

12. When does the novel take place?

1. in spring

2. in summer

3. in autumn

13. Where does Woland leave Moscow with his retinue? ?

1. from Sparrow Hills

2. from the Patriarch's Ponds

3. with Sadovaya

14. To what city was Styopa Likhodeev sent?

1. to Leningrad

2. to Kyiv

3. to Yalta

15. Where did Ivan Bezdomny meet the master?

1. at the Patriarch's Ponds

2. in a “madhouse”

3. in Variety

16 . Which character's portrait is shown here: “...shaven, dark-haired, with a sharp nose, anxious eyes and a tuft of hair hanging over his forehead, a man of about thirty-eight years old” ?