An additional element of the composition is part of a literary work. What are the elements of composition in literary criticism

1. The concept of composition literary work.

2. Compositional techniques.

3. Elements of composition and their role in revealing the ideological and artistic content of the work.

Bibliography

1) Borev Yu.B. Aesthetics. Theory of Literature: encyclopedic Dictionary terms. - M., 2003.

2) Introduction to literary criticism: textbook / ed. L.M. Krupchanov. - M., 2003.

3) Esin A.B. Principles and methods of analysis of a literary work. - 4th ed. - M., 2002.

4) Literary encyclopedic dictionary / ed. V.M. Kozhevnikova, P.A. Nikolaev. - M., 1987.

5) Literary Encyclopedia terms and concepts / ed. A.N. Nikolyukin. - M., 2003.

6) Dictionary literary terms/ ed.-stat. L.I. Timofeev, S.V. Turaev. - M., 1973.

7) Timofeev L.I.. Fundamentals of the theory of literature. - M., 1976.

A work of art is a complex whole, a series of images, a chain of their actions, events that happen to them. The writer must organize all these separate elements of the narrative into a coherent and organized whole that is fascinating to the reader. This one the organization of a work, proportionality and consistency, the ratio of all its parts and elements in literary criticism is usually called a composition.

A.I. Revyakin gives the following definition of composition: Composition (from lat. compositio - addition, composition, compono - to add, make up) - construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize life process shown in the work ».

Thus, the composition includes the arrangement of characters in the work, and the order of reporting on the course of events, and the change in narrative techniques, and the correlation of the details of the depicted, and portrait and landscape sketches, and the message about the place and time of the events taking place, and the division of the work into parts. and so on. In other words, composition is nothing but the structure of a work of art.

Whatever work we take, it has a certain composition - it is organized on the basis of the complexities of the real life situation that it reflects, and that understanding of life connections, causes and effects, which is inherent in this writer and determines his compositional principles. The composition of the work is determined primarily by the real patterns of reality depicted in the work, the ideological and aesthetic tasks set by the author, as well as artistic method, genre features, the worldview of the writer, his creative manner.

Many literary scholars, speaking about the composition of a work, distinguish its two main forms: event (plot) and non-event (non-plot). The event-based form of composition is characteristic in more for epic and dramatic works, non-eventful - for lyrical.

Since the main unit of the literary and artistic reflection of life is character, the composition of a work of art can be comprehended and studied precisely in connection with the characters depicted in it.

How the writer builds this or that character, how he correlates it with others, in what sequence he arranges the events in the work, what causes and effects he brings to the fore in the life depicted, how in connection with this he organizes the work externally - all this as a whole is the composition of the work, is determined by the creative principles of the writer.

The main requirements for the composition of a highly artistic work are life and artistic motivation and strict subordination of all elements of the work to the theme and idea.

In modern literary criticism, there is a tradition of highlighting such compositional techniques as repeat, amplify And installation . About compositional reception repeat they speak mainly in the case when the first and final poetic lines echo, giving the work a compositional harmony, creating a ring composition. A classic example of the use of a ring composition can serve as A. Blok's poems "Night, street, lamp, pharmacy ...", S. Yesenin "Shagane, you are mine, Shagane ..." others.

Reception amplification used in cases where a simple repetition is not enough to create an artistic effect. For example, the description of the interior decoration of Sobakevich's house in "Dead Souls" by N.V. Gogol. Here, every new detail reinforces the previous one: “everything was solid, clumsy to the highest degree, and had some strange resemblance to the owner of the house; in the corner of the drawing-room stood a pot-bellied walnut bureau, not preposterous on four legs, a perfect bear. The table, the armchairs, the chairs—everything was of the most heaviest and most restless quality—in a word, every object, every chair seemed to say: “Me, too, Sobakevich!” or “and I also look a lot like Sobakevich!”.

Reception mounting characterized by the fact that two images located side by side in the work give rise to a certain new meaning. For example, in A. Chekhov's story "Ionych", the description of the "art salon" is adjacent to the mention of the smell of fried onions and the clinking of knives. These details create the atmosphere of vulgarity that the author tried to convey to the reader's mind. In some works (M. Bulgakov's The Master and Margarita, Ch. Aitmatov's Block, etc.), montage becomes the compositional principle of organizing the entire work.

Along with the concept of compositional device in literary criticism, we are talking about composition elements . Following V.V. Kozhinov and other scientists, we single out the following items compositions: prelude, silence, chronological permutations, artistic framing, antithesis, landscape, portrait, interior, dialogue, monologue, digressions, introductory episodes.

Preliminary- notification in advance about something - this is an artistic device when the writer precedes the image of future events with episodes. An example of a prelude is an episode from the novel by A.S. Pushkin "Eugene Onegin", when Tatyana has a dream that Onegin kills Lensky (Chapter 5, stanza 21):

Argument louder, louder; suddenly Eugene

Enough long knife, and instantly

Defeated Lensky; scary shadows

Thickened; unbearable cry

There was a sound... The hut staggered...

And Tanya woke up in horror...

An example of anticipation in Mordovian literature can be found in N. Erkay's poem "Moro Ratordo" (the scene of the discovery by the main character in the hollow of a centuries-old oak of human bones, presented at the beginning of the work).

Artistic framing- the creation of paintings and scenes that are close in essence to the depicted phenomena and characters. "Hadji Murad" L.N. Tolstoy begins with a landscape sketch. The author tells how, having collected a large bouquet of different flowers, he decided to decorate it with blooming raspberry burdock, popularly called "Tatar". However, when he plucked it with great difficulty, it turned out that the burdock, due to its coarseness and coarseness, does not fit the delicate flowers of the bouquet. Further, the author shows a newly plowed field, on which not a single plant was visible, except for one bush: “The 'Tatarina' bush consisted of three shoots. One was torn off, and the rest of the branch stuck out like a severed hand. The other two had a flower each. These flowers were once red, but now they were black. One stalk was broken, and half of it, with a dirty flower at the end, hung down; the other, although smeared with black earth mud, still stuck up. It was evident that the whole bush had been run over by a wheel and after that it rose and therefore stood sideways, but still stood. It was as if a piece of his body had been torn out, his insides turned out, his arm was torn off, his eye was gouged out. But he still stands and does not surrender to the man who destroyed all his brothers around him. “What energy! I thought. “Man conquered everything, destroyed millions of herbs, but this one does not give up.” And I remember one old caucasian history, part of which I saw, part I heard from eyewitnesses, and part I imagined. This story, as it has developed in my recollection and imagination, that's what ... ".

An example of an artistic frame from Mordovian literature is an excerpt from the prologue of the novel in verse by A.D. Kutorkin "Apple tree at high road»:

Kavto Enov pryanzo kaysi Umarina poksh kint krayse. Paksyant kunshkas, teke stuvtovs, Those sulei maksytsya feeling, Tarkaks is the meadow of the musus. Laishiz varmat, frost narmunt. Tsyarakhmant baked some eisenze. Yalateke son viysenze Kirds calf lamo yakshamot, Ace orshnevemat, lyakshamot, Nachko lively trowel live. But tsidyards feel - ez sive, Staka davol marto arguing, Lamo Viy rushed the shadow of the koryas. You marinated kas ush pokshsto, Zardo sonze veike boxto Ker vatkakshnost petkel petne, Taradtkak syntrest chirketne, Right shovels kodaz lokshotne, But eziz mue makshotne Te chuvtont. Sleep keme, whole. Bogatyren shumbra body Nulan pack istya neyavkshny, Koda selms yala kayavkshny Te uminant komelse Se tarkas, costly petkelse Kener panks mind lutavkshnos. Pars tundos chuvtonten savkshnos. Erva tarads kodaz-kodavst, Mazy die news modas ...

The apple tree at the high road nods its head in both directions. In the middle of the field, as if forgotten, This is a tree giving a shadow, I chose a green meadow as a place. The winds mourned her, the birds sang over her. The hail beat her. At the same time, with her strength, she resisted the winter cold, glaciation, hoarfrost, In rainy times - cold sweat. But the tree withstood - it did not break, Arguing with a strong hurricane, It became stronger even more. The apple tree had already grown, When on one side the bark was torn off with a pestle, And the branches were broken in arcs, The leaves were torn off with a wicker whip, But the tree did not wither, It is healthy, whole. Sometimes so heroic strong body Peeps through the tatters, When it catches the eye By the apple tree on the trunk That place where the pestle Has long been torn off the skin. Spring came to the yard for this tree. On each branch, intertwining with each other, Beautiful apples bowed to the ground ...

Default- an artistic technique when the writer in the work deliberately does not say anything. An example of default is a stanza from a poem by S.A. Yesenin "Song of the Dog":

She ran through the snowdrifts,

Running after him...

And so long, long trembling

Unfrozen waters.

Chronological permutations- such an element of the composition, when the writer in his work tells about events, violating the chronological sequence. A classic example of this kind of composition is the novel by M.Yu. Lermontov "A Hero of Our Time".

Quite often, writers include in their works the memories of heroes about the days of the past. This technique also serves as an example of chronological permutations. In A. Doronin's novel "Bayagan Suleyt" ("Shadows of the Bells"), which tells about the life of Patriarch Nikon, there are several such episodes:

“... Vladykaten flattered, meiste merrily left the code dream pongs tezen, vasolo enksoni usiyatnes. Those ulnes 1625 yen tundostont, zardo sonze, order to popont, ve clean kirga ormado kulost kavto tserkanzo. Te rizkstan Olda nize ez tsidardo, tus nun. Dy songak arces-teys pryanzo naravtomo. Kochkize Solovkan monastery, horse net ietnesteyak Rusen keles baked sodavixel. Ansyak code tey packodems? Syrgas Nizhny Novgorod. Kems, tosto mui Arkhangelskoent marto syulmavoz lomant dy Rav leygant syrgi martost od ki langov. (“Vladyka remembered how it all began and how he got here, to these remote places. It happened in the spring of 1625, when he, rural butt On the same day, two of his sons died of a sore throat. From such grief, his wife Olda could not stand it, she went to the nun. He, too, on reflection, decided to take the veil as a monk. I chose the Solovetsky Monastery, which was already very famous in Rus' in those days. But how to get there? Went to Nizhny Novgorod. He hoped that he would find people there who are connected with Arkhangelsk, and along the Volga River along with them he would follow a new path.

Antithesis- a contradiction, a sharply expressed opposition of concepts or phenomena. N.A. Nekrasov in the poem "To whom it is good to live in Rus'" there are the following lines:

You are poor, you are abundant,

You are powerful, you are powerless,

Mother Rus'.

An excerpt from D. Nadkin's poem "Chachoma ele" called "Iznyamo or Kuloma" ("Victory or Death") is also built on the antithesis:

Scenery- a description of nature in a literary work that performs various functions. Landscape sketches entered fiction a long time ago: we meet them in the works of ancient and medieval literature. Already in the Homeric poems there are small landscape paintings, performing the function of the background of the action, for example, mentioning the night that has come, the sunrise: “Then the dusk descended to the earth”, “The young woman with purple fingers Eos got up”. In the work of the Roman poet Lucretius “On the Nature of Things”, nature is also personified and acts both as a character and as a background of action:

Winds, goddess, run before you; with your approach

The clouds are leaving from heaven, the earth is a masterful lush

A flower carpet is laid, sea waves are smiling,

And the azure sky shines with spilled light ....

In the 18th century, in the literature of sentimentalism, landscapes began to perform a psychological function and were perceived as a means of artistic development of the inner life of a person (Goethe's "The Sufferings of Young Werther", Karamzin's "Poor Lisa").

Nature among romantics is usually restless, corresponds to the stormy passions of the characters and acts as a symbol (Lermontov's "Sail", etc.).

In realistic literature, landscapes also occupy a significant place and perform various functions, they are perceived both as a background of action, and as a subject of the image, and as a character, and as a means of artistic development of the inner world of heroes. As an example, let's cite an excerpt from N. Erkay's story "Alyoshka": Maryavi fox is just a weirdo chudikerksent sholnemazo. Sleep, the use of tseks, praise the smeared kizen valskent. Kaldastont kaiseti skaltenen stakasto lexemast dy porksen poremast. Leent chireva lugant langa rosas ashti because baygex. Break another skein of aras ... Koshtos dull, vanks dy ekshe. Leksyat eisenze, kodayak and peshkedyat.

Lomantne, narmuntne, mik tikshetneyak, weighty nature, sirey shozhdyne less scary. Mik teshtneyak pale avol baked waldo tolso, songak chamonit, ezt mesh udytsyatnenen ”(The river is not visible, it is wrapped in thick fog. You can hear the murmur of a stream flowing from a spring. He, like a nightingale, praises the beauty of a summer morning. From the fence you can hear the sighs of cows chewing The morning dew lies on the meadow along the river, people are still nowhere to be seen... The air is thick, clean and cool.

People, birds, grass, all nature sleeps under a light firmament. Even the stars do not burn brightly, they do not interfere with the sleepers.

Portrait- description appearance, the appearance of the characters. Pre-realistic literature is characterized by idealizing descriptions of the appearance of heroes, outwardly bright and spectacular, with an abundance of figurative and expressive means of language. Here is how Nizami Ganjavi describes the appearance of her beloved in one of the ghazals:

Only the moon can compare with this maiden from Khotan,

Her charms captivated a hundred Yusufs from Hanan.

Eyebrows are arched like arches, eyes look like the sun,

Brighter than Aden rubies, her ruddy cheeks color.

Proudly decorating a blooming garden with a scarlet rose,

She eclipsed the cypress with a regal high figure ....

Similar portraits take place in romantic literature. In realistic literature, a portrait has become widespread, which performs a psychological function, helping to reveal the spiritual world of characters (M. Lermontov "A Hero of Our Time", L. Tolstoy "War and Peace", A. Chekhov "Lady with a Dog" ...).

Quite often, it is through a portrait that one can reveal the attitude of the author towards his hero. Let us give an example from the story of S. Platonov “Kit-yant” (“Ways-roads”): “Vera orshazel kizen shozhda platiinese, horse stazel ​​serenze koryas dy sedeyak mazylgavts in the form of kilen kondyamo elgan rungonzo. Vasen varshtamsto sonze chamazo unaware avol ush ovse baked mazytnede. Ist chamast vese od teterkatnen, kinen and umok topodst kemgavksovo iet such set tundostont vasentseks blooming kuraksh alo lily of the valley tsetsineks. But buti sede forge vanat Veran chamas, sleep alamon-alamon lyakstomi, teevi lovtanyaks dy valdomgady, prok dawn chilisema enksos, zardo vir ekshste or paksia chiren tombalde appear chint syrezhditsa kirkseze, dy sedeyak pek maneigady, nalks ezevi weight valdosonzo, zardo mizoldomadont panzhovit peenze. But sehte remember sonze with gray selmenze, konat langozot vanomsto you don’t show steel kondyamoks, maile alamon-alamon yala senshkadyt, mumbledly dymik chopolgadyt, teev potmakstomoks. Vanovtonzo koryas ovse and charkodevi ezhozody meleze - paro te arsi or beryan. But varshtavksozo zardoyak a stuvtovi ”(“ Vera was dressed in a light summer dress, tailored to her height and emphasizing her slender figure. At first glance, her face cannot be classified as very beautiful. Most young girls who have recently turned eighteen have such faces and they blossomed for the first time, like forest lilies of the valley.But if you peer into Vera's face, it gradually changes, turns pale and brightens, like a morning dawn, when the first rays of the sun appear from behind the forest or from the side of the field, and becomes even more beautiful with a smile. Most of all, her gray eyes are remembered, which at first glance seem to be steel, then gradually darken and become bottomless. From her look it is impossible to understand her mood and thoughts - whether she wishes you well or not. But her look cannot be forgotten").

After reading this passage, the reader feels that the author's sympathies are on the side of the heroine.

Interior- an image of a closed space, a human habitat, which he organizes in his own image, in other words, this is a description of the environment in which the characters live and act.

The description of the interior or the material world has entered Russian literature since the time of A. Pushkin (“Eugene Onegin” is a description of the hero’s office). The interior serves, as a rule, as an additional means of characterizing the characters of the work. However, in some works it becomes dominant artistic medium, for example, in "The Tale of how Ivan Ivanovich quarreled with Ivan Nikiforovich" N.V. Gogol: “A wonderful man Ivan Ivanovich! He loves melons very much. This is his favorite food. As soon as he dine and goes out in one shirt under a canopy, he now orders Gapka to bring two melons. And he will cut it himself, collect the seeds in a special piece of paper and begin to eat. Then he orders Gapka to bring the inkwell himself, with my own hand, will make an inscription over a piece of paper with seeds: "This melon was eaten on such and such a date." If at the same time there was some guest, then "participated such and such."

The late Judge Mirgorodsky always admired Ivan Ivanovich's house. Yes, the house is very good-looking. I like that sheds and canopies are attached to it on all sides, so that if you look at it from a distance, you can see only the roofs planted one on top of the other, which is very similar to a plate filled with pancakes, and even better, like sponges growing on tree. However, the roofs are all covered with an outline; willow, oak and two apple trees leaned on them with their spreading branches. Between the trees, small windows with carved whitewashed shutters flicker and even run out into the street. From the above passage it is clear that with the help of the interior, the world of things, in a Gogolian way, the Mirgorod inhabitants-landlords are sarcastically ridiculed.

Let us give an example from Mordovian literature, a description of the room in which V. Kolomasov's character Lavginov lives after a divorce from his wife: Arsyan, natoy skalon kardos sede vanks. Koshtos sonze kudosont istya kols, mik oymet and targavi. Kiyaksos - roujo fashion. Kov ilya varshta - mazyn kis vovodevst shanzhavon kodavkst. And wow! Awkward - mezeyak and maryat, prok meksh commanded to owl kudonten. Stenasont, obliquely sonze atsaz tarkinese, lazkstne peshkset kendyaldo, ceilingont ezga pixit cockroach ”(You should have seen what kind of house he has now. I think your cow yard is cleaner. The air in the house has deteriorated so much that it is impossible to inhale. The floor is black earth. Wherever you look, cobwebs hang everywhere for beauty. And flies! Buzzing - you can’t hear anything, as if a swarm of bees flew into the house. In the wall, near which now his bed, the cracks are full of bedbugs, cockroaches crawl on the ceiling). This kind of interior helps the reader to better understand the lazy nature of the depicted hero.

Sometimes the interior also performs a psychological function. Here is how L. Tolstoy describes the interior of the prison office, which Nekhlyudov came to after meeting with Katyusha Maslova in court: “The office consisted of two rooms. In the first room, with a large protruding shabby stove and two dirty windows, there was a black yardstick in one corner to measure the height of the prisoners, in the other corner hung - a constant accessory to all places of torment, as if in mockery of his teaching - a large image of Christ. There were several guards in this first room. In the other room, twenty men and women sat on the walls in separate groups or in pairs and talked quietly. There was a desk by the window. Such descriptions help reveal the state of mind of the characters.

Lyrical digressions- emotional reflections of the author about the events depicted. There are many lyrical digressions in Don Juan by D.G. Byron; "Eugene Onegin" A.S. Pushkin, "Dead Souls" N.V. Gogol; in "Apple Tree by the High Road" by A.D. Kutorkina:

A kind of lyrical digressions are also found in dramatic works, in particular, in the plays of B. Brecht there are a lot of songs (zongs) that interrupt the depicted action.

Dialogues and monologues- these are significant statements, as if emphasizing, demonstrating their "author's" affiliation. Dialogue is invariably associated with mutual, two-way communication, in which the speaker takes into account the direct reaction of the listener, while activity and passivity pass from one participant in the communication to another. Dialogue is characterized by the alternation of brief statements by two or more persons. A monologue is an uninterrupted speech by one person. Monologues are "solitary”, in the case when the speaker does not have direct contact with anyone, and "converted designed to actively influence listeners.

Opening episodes literary scholars are sometimes referred to as insert stories. These are the tale of Cupid and Psyche in Apuleius' novel "Metamorphoses" ("The Golden Ass"), the story of Captain Kopeikin in "Dead Souls" by N.V. Gogol.

In conclusion, it should be noted that any work of art has its own composition, a special structure. Depending on the goals and objectives that he has set for himself, the writer chooses certain elements of the composition. At the same time, all the elements of the composition listed above cannot be present even in large epic works. Such components as preliminaries, artistic framing, and introductory episodes are rarely found in fiction.

CONTROL QUESTIONS:

1. Which of the following definitions of composition is closer to you and why?

2. What terminology denoting the construction of a work can be used in the process of analyzing a work?

3. What are the main elements of the composition of a literary work?

4. Which of the elements of composition are less common than others in Mordovian literature?

The prologue is the introductory part of a work. It either anticipates the storyline or the main motives of the work, or represents the events that preceded those described on the pages.

The exposition is somewhat akin to the prologue, however, if the prologue does not have a special influence on the development of the plot of the work, then it directly introduces the reader into the atmosphere. It describes the time and place of action, central characters and their relationships. The exposure can be either at the beginning (direct exposure) or in the middle of the work (delayed exposure).

With a logically clear construction, the exposition is followed by a plot - an event that starts the action and provokes the development of the conflict. Sometimes the plot precedes the exposition (for example, Leo Tolstoy's "Anna Karenina"). In detective novels, which are distinguished by the so-called analytical construction of the plot, the cause of events (i.e., the plot) is usually revealed to the reader after the effect generated by it.

The plot is traditionally followed by the development of the action, consisting of a series of episodes in which the characters seek to resolve the conflict, but it only escalates.

Gradually, the development of the action approaches its highest point, which is called the climax. The climax is a clash of characters or a turning point in their lives. After the climax, the action moves irresistibly towards the denouement.

Resolution is the end of an action, or at least of a conflict. As a rule, the denouement occurs at the end of the work, but sometimes it also appears at the beginning (for example, I.A. Bunina “Easy breathing”).

Often the work ends with an epilogue. This is the final part, which usually tells about the events that followed the conclusion of the main plot, and about further destinies characters. Such are the epilogues in the novels of I.S. Turgenev, F.M. Dostoevsky, L.N. Tolstoy.

Lyrical digressions

Also, extra-plot elements may be present in the composition, for example, lyrical digressions. In them he himself appears before the reader, expressing his own opinions on various issues, which is not always directly related to the action. Special interest represent lyrical digressions in "Eugene Onegin" by A.S. Pushkin and in Dead Souls by N.V. Gogol.

All of the above allow you to give the work of artistic integrity, logic and fascination.

In literary criticism, they say different things about composition, but there are three main definitions:

1) Composition is the arrangement and correlation of parts, elements and images of a work (components art form), the sequence of introducing units of the depicted and speech means of the text.

2) Composition is the construction of a work of art, the correlation of all parts of the work into a single whole, due to its content and genre.

3) Composition - the construction of a work of art, a certain system of means of disclosure, organization of images, their connections and relationships that characterize the life process shown in the work.

All these terrible literary concepts, in essence, a fairly simple decoding: composition is the arrangement of novel passages in a logical order, in which the text becomes solid and acquires an inner meaning.

As, following the instructions and rules, we assemble a constructor or a puzzle from small details, so we assemble from text passages, whether it be chapters, parts or sketches, and a whole novel.

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The composition of the work is external and internal.

External composition of the book

The external composition (aka architectonics) is the breakdown of the text into chapters and parts, the allocation of additional structural parts and epilogue, introduction and conclusion, epigraphs and lyrical digressions. More external composition- this is the division of the text into volumes (separate books with a global idea, a branching plot and a large number of heroes and characters).

External composition is a way of dispensing information.

The novel text, written on 300 sheets, is unreadable without structural breakdown. At a minimum, he needs parts, as a maximum - chapters or semantic segments, separated by spaces or asterisks (***).

By the way, short chapters are more convenient for perception - up to ten sheets - after all, we, being readers, having overcome one chapter, no, no, let's count how many pages are in the next - and continue to read or sleep.

The internal composition of the book

The internal composition, unlike the external one, includes many more elements and techniques of text composition. All of them, however, come down to a common goal - to build the text in a logical order and reveal the author's intention, but they go to it in different ways - plot, figurative, speech, thematic, etc. Let's analyze them in more detail.

1. Plot elements of the internal composition:

• prologue - introduction, most often - prehistory. (But some authors take an event from the middle of the story as a prologue, or else from the final - an original compositional move.) The prologue is an interesting, but optional element of both external composition and external;
• exposition - the initial event in which the characters are introduced, a conflict is outlined;
• tie - events in which a conflict is tied;
• development of actions - the course of events;
• climax - highest point tension, clash of opposing forces, the peak of the emotional intensity of the conflict;
• denouement - the result of the climax;
• epilogue - a summary of the story, conclusions on the plot and assessment of events, outlines later life heroes. Optional element.

2. Figurative elements:

• images of heroes and characters - promote the plot, are the main conflict, reveal the idea and the author's intention. The system of actors - each image separately and the connections between them - is an important element of the internal composition;
• images of the environment in which the action develops are descriptions of countries and cities, images of the road and accompanying landscapes, if the characters are on the way, interiors - if all events take place, for example, within the walls of a medieval castle. The images of the environment are the so-called descriptive "meat" (the world of history), atmospheric (feeling of history).

Figurative elements work mainly for the plot.

So, for example, the image of a hero is assembled from the details - an orphan, without family or tribe, but with magical power and purpose - to learn about his past, about his family, to find his place in the world. And this goal, in fact, becomes a plot - and compositional: from the search for a hero, from the development of the action - from a progressive and logical progress forward - a text is formed.

And the same goes for the images of the environment. They both create the space of history, and at the same time limit it to certain limits - medieval castle, city, country, world.

Concrete images complement and develop the story, make it understandable, visible and tangible, like correctly (and compositionally) arranged household items in your apartment.

3. Speech elements:

• dialogue (polylogue);
• monologue;
• lyrical digressions (the author's word, not related to the development of the plot or the images of the characters, abstract reflections on a specific topic).

Speech elements are the speed of perception of the text. Dialogues are dynamics, while monologues and lyrical digressions (including descriptions of the action in the first person) are static. Visually, a text without dialogues seems cumbersome, uncomfortable, unreadable, and this is reflected in the composition. Without dialogues, it is difficult to understand - the text seems to be drawn out.

A monologue text, like a bulky sideboard in a small room, relies on many details (and contains even more), which are sometimes difficult to understand. Ideally, in order not to weigh down the composition of the chapter, monologue (and any descriptive text) should take no more than two or three pages. And by no means ten or fifteen, just few people will read them - they will miss them, they will look diagonally.

Dialogues, on the other hand, are composed of emotions, easy to understand and dynamic. At the same time, they should not be empty - only for the sake of dynamics and "heroic" experiences, but informative, and revealing the image of the hero.

4. Inserts:

• retrospective - scenes from the past: a) long episodes that reveal the image of the characters, showing the history of the world or the origins of the situation, can take several chapters; b) short sketches(flashbacks) - from one paragraph, often extremely emotional and atmospheric episodes;
• short stories, parables, fairy tales, stories, poems - optional elements that interestingly diversify the text (a good example of a composite fairy tale is Rowling's Harry Potter and the Deathly Hallows); chapters of another story in the composition “a novel within a novel” (“The Master and Margarita” by Mikhail Bulgakov);
• dreams (dreams-premonitions, dreams-predictions, dreams-riddles).

Inserts are extra-plot elements, and remove them from the text - the plot will not change. However, they can frighten, amuse, disturb the reader, suggest the development of the plot, if there is a complex series of events ahead. lines);

— arrangement and design of the text in accordance with the plot (idea)- this is, for example, the form of a diary, a student's term paper, a novel in a novel;

— the theme of the work- a hidden, cross-cutting compositional technique that answers the question - what is the story about, what is its essence, what main idea does the author want to convey to readers; in practical terms, it is decided through the choice significant details in key scenes;

— motive- these are stable and repetitive elements that create cross-cutting images: for example, images of the road - the motive of travel, adventurous or homeless life of the hero.

Composition is a complex and multi-layered phenomenon, and it is difficult to understand all its levels. However, you need to understand in order to know how to build the text so that it is easily perceived by the reader. In this article, we talked about the basics, about what lies on the surface. And in the following articles we will dig a little deeper.

Stay tuned!

Daria Gushchina
writer, fantasy writer
(page VKontakte

Composition (from lat. compositio - compilation, connection) - compound parts, or components, into a whole; the structure of the literary and artistic form. Composition - compound parts, but not the parts themselves; Depending on what level (layer) of the art form we are talking about, there are aspects of the composition. This is the arrangement of characters, and the event (plot) connections of the work, and the installation of details (psychological, portrait, landscape, etc.), and the repetition of symbolic details (forming motives and leitmotifs), and the change in the flow of speech of its forms such as narration, description, dialogue, reasoning, as well as the change of subjects of speech, and the division of the text into parts (including the frame and main text), and the discrepancy between poetic rhythm and meter, and the dynamics of speech style, and much more. Aspects of composition are diverse. At the same time, the approach to the work as aesthetic object reveals at least two layers in the composition of his artistic form and, accordingly, two compositions that combine components that are different in nature.

The literary work appears to the reader as word text, perceived in time, having a linear extent. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in a broad sense), which in the aggregate are structured in world (objective world) works.

The composition of a literary work. This is the ratio and arrangement of parts, elements in the composition of the work.

The composition of the plot, scenes, episodes. Correlation of plot elements: retardation, inversion, etc.

Retardation(from lat. retardation- deceleration) - a literary and artistic device: a delay in the development of an action by including extra-fable elements in the text - lyrical digressions, various descriptions (landscape, interior, characterization).

Inversion in literature- violation of the usual order of words in a sentence. In analytic languages ​​(for example, English, French), where word order is strictly fixed, stylistic inversion is relatively uncommon; in inflectional ones, including Russian, with a fairly free word order - very significantly.

Gusev "The Art of Prose": reverse time composition(“Easy breathing” by Bunin). Composition of direct time. Retrospective("Ulysses" Joyce, "The Master and Margarita" Bulgakov) - different eras become independent objects of the image. Forcing phenomena- often in lyrical texts - Lermontov.

compositional contrast (“War and Peace”) is the antithesis. Plot-compositional inversion("Onegin", "Dead Souls"). The principle of parallelism- in the lyrics, "Thunderstorm" by Ostrovsky. Composite rings o - "Inspector".

Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Ekaterina - Pugachev are bound together through an act of mercy.

Composition. This is the composition and a certain position of parts of the elements and images of works in time sequence. It carries a meaningful and semantic load. External composition - the division of the work into books, volumes / is auxiliary in nature and serves for reading. More meaningful elements: prefaces, epigraphs, prologues, / they help to reveal the main idea of ​​the work or identify the main problem of the work. Internal - includes Various types descriptions (portraits, landscapes, interiors), non-plot elements, set episodes, all kinds of digressions, various forms characters' speeches and points of view. The main task of the composition is the decency of the image of the artistic world. This decency is achieved through a kind of compositional techniques - repeat- one of the simplest and most valid, it makes it easy to round off the work, especially the ring composition, when a roll call is established between the beginning and end of the work, it has a special artistic sense. Composition of motifs: 1. motifs (in music), 2. opposition (combination of repetition, opposition is given by mirror compositions), 3. details, installation. 4. default, 5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Types of points of view: ideal-holistic, linguistic, space-temporal, psychological, external and internal. Types of compositions: simple and complex.

Plot and plot. Categories of material and reception (material and form) in the concept of VB Shklovsky and their modern understanding. Automation and removal. Correlation between the concepts "plot" and "plot" in the structure of the artistic world. The significance of the distinction between these concepts for the interpretation of the work. Stages in the development of the plot.

The composition of a work as its construction, as the organization of its figurative system in accordance with the concept of the author. Subordination of the composition author's intention. Reflection in the composition of the tension of the conflict. Art of composition, composition center. The criterion of artistry is the correspondence of the form to the concept.

Architectonics is the construction of a work of art. The term “composition” is more often used in the same sense, and in application not only to the work as a whole, but also to its individual elements: the composition of the image, plot, stanza, etc.

The concept of architectonics combines the ratio of parts of a work, the location and interconnection of its components (terms), which together form a certain artistic unity. The concept of architectonics includes both the external structure of the work and the construction of the plot: the division of the work into parts, the type of storytelling (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporary or in violation of the chronological principle), introduction to the narrative fabric of various descriptions, author's reasoning and lyrical digressions, grouping of characters, etc. Architectonics techniques constitute one of the essential elements of style (in the broad sense of the word) and, together with it, are socially conditioned. Therefore, they change in connection with socio-economic life. this society, with the appearance on the historical scene of new classes and groups. If we take, for example, Turgenev's novels, then we will find in them a sequence in the presentation of events, smoothness in the course of the narrative, an orientation towards the harmonious harmony of the whole, an important compositional role landscape. These traits are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are built according to completely different laws: the action begins from the middle, the narration flows quickly, in jumps, and the external disproportion of the parts is also noticed. These properties of architectonics are determined in exactly the same way by the features of the depicted environment - the metropolitan philistinism. Within the same literary style Architectonics techniques vary depending on artistic genre(novel, short story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific features that require a unique composition.

27. Language is the fundamental principle of literature. The language is colloquial, literary and poetic.

Artistic speech incorporates a variety of forms of speech activity. For many centuries the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing, impressing; hence the characteristic speech techniques- numerous repetitions, "decorations", emotionally colored words, rhetorical (!) questions, etc. Authors competed in eloquence, stylistics was determined by increasingly strict rules, and literary works themselves were often filled with sacred meaning(especially in the Middle Ages). As a result, by the 17th century (the era of classicism), literature turned out to be accessible and understandable to a rather narrow circle. educated people. Therefore, since the 17th century, the entire European culture has been evolving from complexity to simplicity. V.G. Belinsky calls rhetoric a "false idealization of life." Elements of colloquial speech penetrate the language of literature. Creativity A.S. Pushkin in this respect is, as it were, at the turn of the two traditions of speech culture. His works are often a fusion of rhetorical and colloquial speech (a classic example is the introduction to The Stationmaster written in an oratorical style, while the story itself is stylistically quite simple).

Colloquial speech connected, first of all, with the communication of people in their privacy, so it is simple and free from regulation. In the XIX - XX centuries. Literature as a whole is perceived by writers and scientists as a peculiar form of conversation between the author and the reader, and it is not for nothing that an address like “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs), it easily allows deviations from the linguistic norm and implements innovations in the field of speech activity (remember, for example, the word creation of Russian futurists).

Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, different types of art are often mixed: literature and painting / architecture (for example, the text itself fits into a certain geometric figure), literature and music (the soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the culture of the live magazine), etc.

Features of the language of fiction.

Language, of course, is inherent not only in literary creativity, it covers all aspects surrounding reality, therefore, we will try to determine those specific features of the language that make it a means of artistic reflection of reality.

The function of cognition and the function of communication- two main, closely related sides of the language. In progress historical development a word can change its original meaning, so much so that we begin to use some words in meanings that contradict them: for example, red ink (from the word black, blacken) or cut off chunk (break off), etc. These examples show that the creation of a word is the knowledge of a phenomenon, the language reflects the work of a person’s thought, various aspects of life, and historical phenomena. It is estimated that about 90 thousand words are used in modern usage. Each word has its own stylistic coloring (for example: neutral, colloquial, colloquial) and history, and, in addition, the word acquires additional meaning from the surrounding words (context). An unsuccessful example in this sense was given by Admiral Shishkov: "Carried by fast horses, the knight suddenly fell from the chariot and broke his face." The phrase is funny because words of different emotional coloring are combined.

The task of selecting certain speech means for a work is quite complicated. Usually this selection is motivated by the figurative system underlying the work. Speech is one of the important characteristics of the characters and the author himself.

The language of fiction carries a huge aesthetic beginning, therefore, the author of a work of art not only generalizes the language experience, but also to some extent determines the speech norm, is the creator of the language.

The language of a work of art. Fiction is a set of literary works, each of which is an independent whole. A literary work that exists as a complete text written in one language or another (Russian, French) is the result of the writer's creativity. Usually the work has a title; in lyrical poems, its function is often performed by the first line. The centuries-old tradition of the external design of the text emphasizes the special significance of the title of the work: when handwriting, and after the invention of printing. Diverse works: typological properties on the basis of which a work is attributed to a particular literary genre(epos, lyrics, drama, etc.); genre (story, short story, comedy, tragedy, poem); aesthetic category or mode of art (sublime, romantic); rhythmic organization of speech (verse, prose); stylistic dominance (lifelikeness, conventionality, plot); literary movements (symbolism and acmeism).

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

« What is composition?First of all, this is the establishment of the center, the center of the artist’s vision, ”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 relationship 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, in the 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 the 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, v.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, in turn, organizes 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, v.1, p.223) These authors distinguishthree compositional forms of prose speech

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

A. Esin gives the following definition: Composition - this is the composition and a certain arrangement of parts, elements and images of a work in some significant temporal sequence. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p. 127) He highlightsfour compositional techniques: repetition, amplification, opposition, montage.

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

V. Khalizev calls such compositional techniques and means: repetitions and variations; motives; close-up, general plan, defaults; point of view; co-and opposition; installation; temporal organization of the text. (Khalizev V.E. Theory of Literature. - M., 2005, p. 276) " Composition literary work, constituting 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 the composition:architectonics, or external composition of the text; character image system; change of points of view in the structure of the text; parts system; extracurricular 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: the figurative system, the system of characters, artistic speech, plot and conflict, extra-plot elements.

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

The reader perceives the text, first of all, through the features of its construction. wide view ofinstallation as a principle of joining the elements of the wholeunderlies the understanding of composition. S. Eisenstein stated: “... the method of composition always remains the same. In all cases, its main determinant remains primarily the attitude of the author ... Decisive elements compositional structure taken by the author from the foundations of his attitude to phenomena. It dictates the structure and characterization by which the image itself is deployed.” (Eisenstein S. Selected works. In 6 T. 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(opposition) determine the semantic structure of a literary text and are the most important compositional techniques.

Linguistic composition theoryoriginated at the beginning of the 20th century. V.V. Vinogradov wrote about verbal, linguistic composition. He advanced understanding compositions literary 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 the language composition are word sequences. " Word row - this is a sequence (not necessarily continuous) of language units of different tiers presented in the text, united by a compositional role and correlation with a certain sphere of linguistic use or with a certain method of constructing a text. (Gorshkov A.I. Russian stylistics. - M., 2001, p.160)Language composition- this is a comparison, opposition and alternation of word rows in a literary text.

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

climax

Development Fall

action actions

Exposition Ending Ending Epilogue

Extraplot Elements

1.Description:

Scenery

Portrait

3.Insert episodes

Strong positions of the text

1.Name.

2. Epigraph.

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

4. Words in the rhyme of the poem.

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

IPM - 2

Compositional analysis of a 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 artistic structure(facts, a set of these facts, their location, character 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 a literary text. - M., 2000, p. 88)

V. Odintsov argued that "only realizing general principle constructing a work, one can correctly interpret the functions of each element or component of the text. Without this, a correct understanding of the idea, the meaning of the whole work or its parts is unthinkable. (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 a whole work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition ... The analysis of the reference points is the key to understanding the logic of the composition, and hence the entire internal logic of the work as a whole. (Esin A.B. Principles and methods of analysis of a literary work. - M., 2000, p.51)

Composition anchor points

1. climax
2. denouement
3. The ups and downs in the fate of the hero
4. Strong positions of the text
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; the 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 the variousgraphic highlights,repetitions of language units of different levels, strong positions of the text (title, epigraph, beginning and end of the text, chapters, parts).

“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 methods of analysis of a literary work. - M., 2000, p.150)

The concept of text composition is effective at two stages of analysis: at the stage of acquaintance with a 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 the intertextual connections of different elements of the work are considered; methods of constructing a text (repetitions, leitmotifs, contrast, parallelism, montage, and others) are revealed.

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

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

Compositional analysis of a poetic text

1.Strophes and verses. The microtheme of each part.

2. Language composition. Key words, word series.

3.Compositional techniques. Repetition, amplification, 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-themes), plot scheme.

2. Reference points of the composition.

3. Repetitions and oppositions.

4. Compositional techniques, their role.

5. Strong positions of the text.

6. Language composition. Key words, word series.

7. Kind and type of composition.

8. The role of the episode in the text.

9. The system of character images.

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

11. Temporary 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 a prose text

What is an episode?

The assumption about the role of the episode in the work.

Concise retelling of the fragment.

The place of the episode in the composition of the text. What are the before and after pieces? Why exactly 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 of the heroes.

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

episode motives. Meeting, dispute, road, dream, etc.
Associations. Biblical, folklore, antique.
On whose behalf is the story being told? Author, narrator, character. Why?
Organization of speech. Narration, description, monologue, dialogue. Why?
Language means of artistic representation. Paths, figures.
Conclusion. The role of the episode in the work. What themes are developed in this episode? The meaning of the fragment for revealing 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.
Episode Reveals state of mind character.
3. Rotary.
The episode shows a new twist in the relationship of the characters
4. Estimated.
The author gives a description of a character or event.

IPM - 3

Program

"Studying the composition of artistic

Works at the lessons of literature in grades 5 - 11 "

Explanatory letter

Relevance of the problem

The problem of composition is the center of the study of the 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. Language composition is a comparison, opposition, alternation of word rows in a literary text.

Compositional analysis in accordance with the style 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 a text as a sign system, a work as a system of images, to see ways of creating artistic image, to experience pleasure from the perception of the text, to want and be able to create their own interpretations of a literary text.

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

Goal and tasks

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

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

5th grade

"Narration. The initial concept ofplot and conflictin epic work, portrait,building a work". (Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. - M., 2002, p.268)

Verse and stanza.

Strong positions of the text: title, epigraph.

Plan of the text, micro-theme.

Compositional techniques: repetition, opposition.

Plot elements: plot, 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 one of the family members.

3. Violation of the prohibition.

4. Finding out.

5. Issue.

6. Trick.

7. Involuntary complicity.

8. Wreckers (or shortage).

9. Mediation.

10. Beginning opposition.

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 magical remedy.

15. The hero is transferred, delivered, brought to the location of the "location" of the search items.

16. The hero and the antagonist enter the fight.

17. The hero is being marked.

18. Antagonist defeated.

19. Trouble or shortage is eliminated.

20. The return of the hero.

21. The hero is persecuted.

22. The hero flees from persecution.

23. The hero arrives unrecognized at home or in another country.

24. A false hero makes unfounded claims.

25. The hero is offered a difficult task.

26. The task is solved.

27. The hero will be recognized.

28. A 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. Start. Exposure: the situation before the start of the action.

2.Setting: the hero is faced with a new situation (sabotage, lack, the hero leaves the house).

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

4.Climax: the hero between life and death.

5. Falling action: tense moments.

6.Decoupling: resolution of contradictions (wedding, accession of the hero). Ending.

Ways of inventing stories (according to D. Rodari)

• Bean fantasy.
• Limerick.
• Mystery.
• Propp cards.
• Inside out story.
• An old fairy tale in a new way.
• character material.
• Salad from fairy tales.
• Continuation of the 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?

This question was answered by F. Kafka in the story "Transformation".

"Limerick"

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

The first line is a hero.

The second line is the description of the hero.

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

The fifth line is the final characteristic of the hero.

Once upon a time there lived an old marsh man,

Nonsensical grandfather and burdensome,

He was sitting on the deck

Sang songs to the frog

Corrosive old man swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the hero's choice.

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.

An old grandfather lived in Graniers,

He walked on tiptoe.

All vied with him:

Laugh with you!

Yes, a wonderful old man lived in Granieres.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

The first operation is elimination. Let's give the object such a definition, as if we see it for the first time in our lives.

The second operation is association and comparison. The object of association is not the subject 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 puzzle.

For example, let's think of a riddle about a pencil.

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

Second operation. A light surface is not only paper, but also a snow field. The trace of a pencil 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 is on a white - white field

Leaves a black mark.

"Fairy Tales Inside Out"

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

Little Red Riding Hood is evil, and the wolf is kind ... The boy - s - Finger conspired with the brothers to run away from home, leave their poor parents, but they holed his pocket and poured rice into it ... Cinderella, a mean girl, scoffed at her wonderful stepmother, beat off her fiancé from her sister ...

"Continuation of the fairy tale"

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

"Salad from fairy tales"

This is the story where the characters live various fairy tales. Pinocchio ended up in the house of the seven dwarfs, became the eighth friend of Snow White ... Little Red Riding Hood met the Boy - with - Finger 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 acquire an unusual coloring. Adventures of Kolobok in the 21st century…

"Character Material"

From characteristic features character can be logically deduced and his adventures. Let the glass man be the hero. The glass is transparent. You can read the thoughts of our hero, he cannot tell a lie. Thoughts can only be hidden by wearing a hat. Glass is fragile. Everything around should be upholstered with soft, handshakes are canceled. The doctor will be a glassblower ...

A wooden man must beware of fire, but he does not sink in water ...

The ice cream man can only live in the fridge, where his adventures take place...

"Beanome Fantasy"

Take any two words. For example, a dog and a closet. There are such options for connecting words: a dog with a closet, a closet of a dog, a dog on a closet, a dog in a closet, etc. Each of these pictures serves as the basis for inventing a story. A dog runs down the street with a wardrobe on its back. This is his booth, he always carries it on himself ...

In grade 5, “the teacher introduces schoolchildren to the construction of fairy tales, dialogue and monologue, story plan, episode, forms initial concept about a literary hero. Comprehending the structural elements of 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 high school. - M., 1978, p. 102)

6th grade

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

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

Language composition: keywords.

Types of composition : circular, linear.

Plot elements: exposition, epilogue.

Extraplot Elements: descriptions (landscape, portrait, interior).

Plot scheme : plot elements and non-plot elements.

In the 6th grade, you need to “acquaint students with 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, due to the writer's intention ... we draw the attention of children to the event side of the work and the means of depicting characters ... ". (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of high school. - M., 1978, p. 102 - 103)

7th grade

« The development of the concept of plot, composition, landscape, types of description.The role of the narrator in the story.(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, flashback.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

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

8th grade

« Development of the concept of plot and composition, and the antithesis 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 subjectivation: direct speech, indirect speech, inner speech.

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

Grade 9

Types of composition: open, default.

Extraplot Elements: author's digressions, inserted episodes.

Composition types

Episode Matching.

Justify the role of the episode in the text.

Subject of speech : point of view bearer.

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

Language compositionas a comparison, opposition, alternation of word rows.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

In grade 9, “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, “scene reversal”, changing the points of view of the narrator, conventionality of artistic time, building characters, etc.)”. (Belenky G., Snezhnevskaya M. Studying the theory of literature in high school. - M., 1983, p. 113)

10 - 11 grades

Deepening the concept of composition.

Different aspects of compositionartistic text: external composition, figurative system, system of characters, change of points of view, system of details, plot and conflict, artistic speech, extra-plot elements.

Compositional forms: narration, description, characterization.

Composite forms and means: repetition, amplification, opposition, montage, motif, 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, oppositions, ups and downs in the fate of the hero, spectacular artistic techniques and means.

Strong positions of the text: title, epigraph,

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

Plot elements: exposition, plot, development of the action (ups and downs), climax, denouement, epilogue.

Extraplot Elements: description (landscape, portrait, interior), author's digressions, inserted episodes.

Composition types : simple (linear), complex (transformational).

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of the poetic text.

Compositional analysis of dramatic text.

IPM - 4

The system of methodological techniques for teaching compositional

Analysis of a work of art.

Methodical methods of 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, Y. Lotman, E. Rogover, A. Esin, G. Belenky, M. Snezhnevskaya, V. Rozhdestvensky, L. Novikov, E. Etkind and others.

V. Golubkov believes that in the lessons of literature it is necessary to use works of painting. “In the artist’s picture, all its constituent parts are before your eyes, and it is not difficult to establish their connection. 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 aspects: 1) the course of action, 2) the character or other type of image (landscape, detail), its construction, 3) the system of images ... Take any central scene of a story or story and show how it is prepared by all previous and how it determines all subsequent scenes ... Take the denouement ... and prove by the whole course of action, by the characters of the characters, that this denouement is natural, that it cannot be otherwise ... The next question: about the roll call of the characters in the work, about their neighborhood, about contrasts, similarities, with the help of which the author makes the scenes and characters bright ... "(Rybnikova M. Essays on the methodology literary reading. - M., 1985, p.188 - 191).

• The methodologist cut the text of "Death of an official" by Chekhov, handed it out to the students on cards, the children arranged it in the right sequence.
• The students drew up a plan for Tolstoy's story "After the Ball", determined which part was central, and retold it in a horizontal order.

D. Motolskaya offers a whole group of techniques for analyzing composition.

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

2. “When analyzing a composition, it is taken into account ... how the writer arranges the storylines (does he give them in parallel, does one storyline intersect another, is one given after the other) ... how do 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 is the portrait or characterization of the character, in what place is the description of the situation, the description of nature ... why the author's reasoning or lyrical digressions appear precisely in this place of the work” (p. 69).

4. “... what is given by the artist in close-up, what is, as it were, relegated to the background, what the artist details, what, on the contrary, he writes about briefly” (p. 70).

5. "... the question of the system of means of revealing the human character: biography, monologue, replicas 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 ... the principle of dividing the material in them (volume, chapter) also plays a significant role ... which serves as the basis for the writer to divide into chapters ...” (p. 71-72).

D. Motolskaya believes that it is useful to start working on a work with a consideration of the composition. “The 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, the appeal to the “whole” is both the initial stage of the work and the final one” (p. 73).

When studying the 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, denouement, storylines, pulled together into one dramatic knot.

“When analyzing the composition of a lyrical work, one should not miss what is inherent in the lyrics ... 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 lyric work" (p. 120).

“When analyzing epic works imbued with a lyrical beginning, one should always raise the question of what place lyric 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 methods of composition analysis. “The main task of analyzing composition ... at school is to teach students not only to draw up an “external” plan, but also to capture its “internal” plan, the poetic structure of a work” (Sorokin V. Analysis of a literary work in high school. - M. , 1955, p. 250).

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

2. "... what is the significance of ... each character for revealing the main idea of ​​the work" (p. 261).

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

4. “At school, all the most important extra-plot elements in the analysis of works, students must identify and find out their ... expressiveness and relationship with the whole work” (p. 268).

5. "The epigraph is a responsible compositional element of the work" (p. 269).

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

“In grades 8-10, small but independently prepared messages 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, memorizing lyrical digressions, own composition with obligatory compositional techniques (for example, exposition, landscape, lyrical digressions) ”(p. 281).

L.Kaida developed a decoding technique for analyzing composition. “The study covers two stages: at the first stage, 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 (heading, 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 you need to start the analysis of the composition from the reference points. He refers the following elements to the reference points of the composition: climax, denouement, ups and downs in the fate of the hero, strong positions of the text, spectacular artistic techniques and means, repetitions, oppositions. “Analysis of reference points is the key to understanding the logic of composition” (Esin A.B. Principles and methods of analyzing a literary work. - M., 2000, p.51)

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

In the 5th grade, the teacher gives "the initial concept of the 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 on 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 high 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 “Grammar of Fantasy” (Rodari D. Grammar of Fantasy. An Introduction to the Art of Inventing Stories. - M., 1978, p. 81.). This idea is developed by Y. Sipinyov and I. Sipinyova in the manual "Russian culture and literature" (Sipinyov Y., Sipinyova I. Russian culture and literature. - S.-P., 1994, p. 308).

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

In the lessons, you can use different forms of work with "Propp cards": compose a fairy tale based on the proposed situations, draw up a fairy tale formula, draw up a fairy tale formula, 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 acquaintance with the work, when you need to imagine its architectonics, and at the final stage of the analysis, when the methods of constructing the text (repetitions, leitmotifs, contrast, parallelism, montage) are revealed and intratextual connections of the elements of the work are considered.

Summary

Methodological techniques

• Condensed retelling.
• Creation of a simple (complex, citation) plan.
• Mental rearrangement of episodes.
• Restoration of missing links of the text.
• Identification of the principle of grouping actors.
• Justification of the role of the episode in the text.
• Identification of the location of storylines.
• Detection of plot and extra-plot elements.
• Designing your own ending.
• Comparison of plot and plot.
• Drawing up a chronological scheme.
• Discovery of different points of view.
• Analysis of the composition of a painting.
• Selection of illustrations for episodes.
• Create your drawings.
• Identification of the principle of division of the material.
• 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 rows.
• Analysis of strong positions.
• Search for compositional techniques.
• Determining the type of composition.
• Finding the anchor points of the composition.
• Determining the composition type.
• The meaning of the title of the work.
• Search for repetitions and contrasts at all levels of the text.
• Reception by E. Etkind "Up the ladder of meanings"

1. External plot.

2. Fantasy and reality.

3. Nature and man.

4. World and man.

5 people.

• Detection of compositional forms in a literary text.
• Detection of verbal methods of subjectivation.
• Narrative type analysis.
• 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's maps".
• Oral word drawing.

IPM - 5

Subject

A.A. Fet "Whisper, timid breathing…»

Whisper, timid breath,

trill nightingale,

Silver and flutter

sleepy stream,

Night light, night shadows,

Shadows without end

A series of magical changes

sweet face,

In smoky clouds purple roses,

Reflection of amber

And kisses, and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What was unusual about the text?

What's not clear?

What did you see?

What did you hear?

What 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. Language 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 trills of a nightingale, the silver and the ripple of a sleepy stream, the light of the night, the shadows of the night, the purple roses in the smoky clouds, the reflection of amber, the dawn.

"Human" - a whisper, a timid breath, a series of magical changes in a sweet face, a kiss, tears.

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

III. compositional analysis.

First stanza

What is a micro theme?

Date of 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?

A night spent in love.

What sounds?

Silence.

What colors? Why?

There are no color definitions.

What is the role of epithets?

Third stanza

What is a micro theme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of means of artistic expression?

Conclusion. Fet uses the technique of color and sound contrast. In the first stanza, muted, soft colors, in the last - bright tones. This shows the flow of time - from evening through night to dawn. The nature and feelings of a person change in parallel: evening and a timid meeting, dawn and a stormy farewell. Through the sounds, the change in the 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 an action.

Most nouns contain movement - trills, swaying.

What is the time characteristic?

Evening, night, morning.

v. The rhythmic pattern of the poem.

Work in pairs or groups.

Meter - trochee. Size - diverse with pyrrhic. Constant on 5 and 7 syllables. Clause male and female. There is no caesura. Short and long lines alternate. Anakruza is variable. The rhyme in the verse is finite, male and female alternate, exact and inexact, rich, open and closed. The rhyme in the stanza is cross.

Conclusion. The rhythmic pattern is created by a multi-footed trochaic with pyrrhias. The constant, alternating on syllables 5 and 7, gives harmony to the rhythm. The alternation of long and short lines, feminine and masculine clauses gives a combination of soft and hard rhythmic beginnings. At the end of the stanza there is a solid masculine ending, the last line is short.

VI. Features of the composition of the poem.

There are three stanzas of 4 verses in the text. Composition of the stanza: in the first stanza, 1 verse - man, 2,3,4 verses - nature; in the second stanza, verses 1.2 - nature, verses 3.4 - man; in the third stanza verses 1,2,4 - nature, verse 3 - man. These lines intertwine, 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 fixes 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. In the school of poetry. - M., 1988
3. Etkind E. Talk about poetry. - M., 1970
4. Etkind E. Matter of verse. - St. Petersburg, 1998
5. Ginzburg L. About lyrics. - M., 1997
6. Kholshevnikov V. Fundamentals of versification. - 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 Fet: moments and eternity. - Star, 1995, No. 11
10. Sukhikh I. Shenshin and Fet: life and poems. - Neva, 1995, No. 11
11. Sukhova N. Masters of Russian lyrics. - M., 1982
12. Sukhova N. Lyrics by Afanasy Fet. - M., 2000

IPM - 6

Literature lesson summary in grade 9

Subject

"Darling" A. Chekhov. Who is Dushechka?

I. Individual task.

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

II. Two views on Chekhov's heroine.

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

M. Gorky: “ It's disturbing how Gray mouse sniffles Darling, “a sweet, meek woman who knows how to love so slavishly, 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.

2 group. Reading of written works “My attitude to Darling”.

1 group. Plan of the story, compositional techniques.

1. Darling is married to an entrepreneur Kukin.
2. Death of a husband.
3. Darling is married to the manager Pustovalov.
4. Death of a husband.
5. Roman Dushechki 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 the “understudy” of her husband. Under Kukin, she sat at his cash desk, looked after the orders in the garden, wrote down expenses, paid out salaries ... Under Pustovalov, “she sat in the office until the evening and wrote accounts there and sold the 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 their 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 strengths: title, beginning and end of each chapter.

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

Find key words, build a word sequence that creates the image of the heroine (I couldn’t sleep without it, I sat by the window, looked at the stars, compared myself with chickens, they don’t sleep, they are worried, there is no rooster in the chicken coop).

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

The heroine of the story is deprived of the ability to independently choose her life position, she 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 Sashenka in the finale?

“So, no degeneration 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 being communicated to us in the text, we will be forced to admit that the last attachment finally reveals Olga Semyonovna's failure as a person. Darling ... with her inability to self-determination, her 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).

The main types of composition

1. Ring
2. Mirror
3. Linear
4. Default
5. Retrospection
6. free
7. open

Plot elements

1. exposition
2. tie
3. Development of action
4. climax
5. denouement

1. The meaning of the title of the work.

IPM - 7

Literature lesson summary in grade 10

Subject

A man and his love in A. Chekhov's story "The Lady with the Dog".

Goals:

1. Cognitive:

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

2. Developing:

• development of the ability to think;
• complication of the semantic function of speech, enrichment and complication of vocabulary.

Equipment

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

Preparing for the lesson

1. Homework for the whole class. Reading the story “The Lady with the Dog”, draw up a plan for the story.
2. Individual assignments. Three students are preparing expressive reading fragments I, III chapters, comparison " stone guest” Pushkin with a story by Chekhov (Don Guan and Dmitry Gurov).

During the classes

I. Motivation of 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, is not torn. Do you agree with this statement? Why?

II. Goal setting.

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

III. Updating what has been learned.

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

2. Checking homework.

Reading and discussion of story plans.

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

Chapter 2 Love (?) and parting.

Chapter 3 Meeting of heroes in the city of S.

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

What is each chapter about? Brief retelling plot.

IV. Formation of the ability of compositional analysis of the text.

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

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

Individual message"Don Juan 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 rider's head cut off? Why does the doorman pronounce Diederitz's name incorrectly?

The student expressively reads a fragment with the words “In the first intermission, the husband went to smoke ...”. What has changed in chapter 3?

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

Reading the end of the story. Why “…the most difficult and difficult is just beginning”? Read the first and last sentences. Compare them. What is the role of each?

Why is the story called "The Lady with the Dog" (after all, it is 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 takes place under the influence of this love. Throughout the story, Gurov's point of view dominates, the reader looks through his eyes, first of all, a change takes place in him.

The lady with the dog has become a symbol of mental fracture, which 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 with the help of compositional analysis. What composition techniques did the author use and why? (Repetition and opposition).

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

V. Reflection.

Write a thumbnail gray people and gray everyday life” in “The Lady with the Dog”.

VI. Homework.

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

2. Individual assignments. What is the meaning of the title of the story "Ionych". Analysis of the first and last sentences in each chapter. Comparative characteristics of Gurov and Startsev.

Bibliography.

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

Application

Composition

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

Language composition

Comparison or opposition 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 scheme (plot elements and extra-plot elements).
2. Detect composition anchor points.
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. Build word thematic series.
7. Determine the type and type of composition.
8. Justify the role of a particular episode in the text.
9. The meaning of the title of the work.

IPM - 8

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