Menshchikova Alena, Melnikov Zakhar,
Khrenova Alexandra, Pechenkin Valery,
Shvetsova Daria, Valov Alexander, Metzler
Vadim, Elpanov Alexander and Tomin Artem.
Part 1 Ch. 1 (drunk in a cart pulled by huge draft horses)
Raskolnikov walks down the street and falls intodeep thoughtfulness", but from
his thoughts are distracted by a drunk,
who was being transported at that time along the street in
cart, and who shouted to him: “Hey,
German hatter." Raskolnikov is not
I was ashamed and scared, because... he's absolutely
I wouldn't want to attract anyone's attention. In this scene, Dostoevsky introduces us to his hero:
describes his portrait, his rags, shows him
character and makes hints about Raskolnikov's plan.
He feels disgusted with everything around him and
those around him, he feels uncomfortable: “and he walked away, no longer noticing
surrounding and not wanting to notice him." He doesn’t care what about
they will think about him. Also, the author emphasizes this with evaluative
epithets: “deepest disgust”, “malicious contempt”
Part 2 Ch. 2 (scene on the Nikolaevsky Bridge, blow of the whip and alms)
On the Nikolaevsky Bridge, Raskolnikov peers into St. Isaac's Bridgecathedral The monument to Peter I sitting on a rearing horse is disturbing and
scares Raskolnikov. Before this majesty, before
imagining himself to be a superman, he feels “small”
man" from whom Petersburg turns away. As if ironically
over Raskolnikov and his “superhuman” theory, St. Petersburg
first with a whip blow on the back with a whip (allegorical rejection
Raskolnikov St. Petersburg) admonishes someone who hesitates on the bridge
hero, and then with the hand of a merchant’s daughter throws it at Raskolnikov
alms. He, not wanting to accept handouts from a hostile city,
throws the two-kopeck piece into the water. Moving on to artistic construction text and artistic
means, it should be noted that the episode is built on contrast
images, almost every scene has its opposite: a blow
contrasted with the alms of the old merchant's wife and her
daughters, Raskolnikov’s reaction (“angrily scraped and clicked
teeth") is contrasted with the reaction of others ("all around
there was laughter"), with the verbal detail "of course"
indicates the habitual attitude of the St. Petersburg public towards
“humiliated and insulted” - violence reigns over the weak and
mockery. The pitiful state in which the hero found himself as
cannot be better emphasized by the phrase "a true collector
pennies on the street."
Artistic means are aimed at enhancing feelings
Raskolnikov's loneliness and the display of duality
Petersburg.
Part 2, Chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)
Part 2, chapter 6 (a drunken organ grinder and a crowd of women at the “drinking and entertainment” establishment)Raskolnikov rushes through the quarters of St. Petersburg and sees scenes
one uglier than the other. IN lately Raskolnikov "
felt drawn to hang around" in seedy places, "when he felt sick
“I felt even nauseous.” Approaching one of
drinking and entertainment establishments, Raskolnikov’s gaze falls
at the poor people wandering around, at the drunken “ragamuffins”,
arguing with each other, like a “dead drunk” (evaluative epithet,
hyperbole) of a beggar lying across the street. The whole vile picture
complemented by a crowd of shabby, beaten women in only dresses and
simple-haired. The reality that surrounds him in this
place, all the people here can only leave disgusting
impressions (“..accompanied ... a girl, about fifteen, dressed
like a young lady, in a crinoline, a mantle, gloves and
a straw hat with a fiery feather; it was all old
and worn out"). In the episode, the author more than once notices the crowded
(“a large group of women crowded at the entrance, others
sat on the steps, others on the sidewalks..."),
gathered together in a crowd, people forget about grief,
their plight and are happy to gawk at
happening.
The streets are crowded, but the more acutely perceived
loneliness of the hero. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.
Part 2 ch.6 (scene on... bridge)
In this scene we watch how a bourgeois woman is thrown from a bridge on whichRaskolnikov is standing. A crowd of onlookers immediately gathers, interested
happening, but soon the policeman saves the drowned woman, and the people disperse.
Dostoevsky uses the metaphor "spectators" in relation to people
gathered on the bridge.
The bourgeoisie are poor people whose life is very difficult. Drunk woman
attempting to commit suicide is, in a sense,
a collective image of the townspeople and an allegorical image of all the sorrows and
the suffering they experience during the times described by Dostoevsky.
"Raskolnikov looked at everything with a strange feeling of indifference and
indifference." "No, it's disgusting... water... isn't worth it," he muttered to himself, as if
trying on the role of suicide. Then Raskolnikov finally gets ready
do something intentional: go to the office and confess. "No trace of the past
energy... Complete apathy has taken its place,” the author metaphorically notes how
would indicate to the reader the change within the hero that occurred after
what he saw.
Part 5 chapter 5 (death of Katerina Ivanovna)
Petersburg and its streets, which Raskolnikov already knows by heart,appear before us empty and lonely: “But the yard was empty and not
you could see those knocking.” In the scene street life when Katerina
Ivanovna gathered a small group of people on the ditch, in which
there were mostly boys and girls, scarcity was visible
interests of this mass, they are attracted by nothing other than the strange
spectacle. The crowd in itself is not something positive, it
terrible and unpredictable.
The topic of the value of any human life And
personality, one of the most important topics novel. Also, the death episode
Katerina Ivanovna seems to prophesy what kind of death could await
Sonechka, if the girl had not decided to keep it firmly in her soul
Love and God.
The episode is very important for Raskolnikov, the hero is becoming more and more established
them in correctness decision taken: to atone for guilt through suffering.
Conclusion:
F.M. Dostoevsky draws attention to the other side of St. Petersburg - withsuicides, murderers, drunks. Everything dirty and smelly ends up with
air into a person’s interior and gives rise to not the best feelings and emotions.
Petersburg stifles, oppresses and breaks the personality.
The writer attaches paramount importance to the depiction of corners and backyards
the brilliant capital of the empire, and together with the cityscape in the novel
Pictures of poverty, drunkenness, and various disasters of the lower strata of society arise.
From such a life people have become dull, they look at each other “with hostility and with
distrust." There can be no other relationship between them except
indifference, animal curiosity, malicious mockery. From meeting these
people, Raskolnikov is left with a feeling of something dirty, pathetic,
ugly and at the same time what he saw evokes in him a feeling of compassion for
"humiliated and insulted." The streets are crowded, but even more so
the hero's loneliness is perceived. The world of St. Petersburg life - the world
misunderstanding, indifference of people to each other.
Dostoevsky's Petersburg in the novel “Crime and Punishment” Oh Petersburg, damned Petersburg Here, really, you can’t have a soul! Life here crushes and suffocates me! V.A. Zhukovsky The city is lush, the city is poor, The spirit of captivity, the slender appearance, The vault of heaven is green and pale, A fairy tale, cold and granite... A.S. Pushkin Among the classics of world literature, Dostoevsky deservedly bears the title of master in revealing the secrets of the human soul and creator of the art of thought. The novel “Crime and Punishment” opens a new, highest stage in Dostoevsky’s work. Here he first acted as the creator of a fundamentally new novel in world literature, which was called polyphonic (polyphonic). Interiors The interiors of “St. Petersburg corners” do not resemble human habitation. Raskolnikov's closet, Marmeladov's "passage corner", Sonya's "barn", a separate hotel room where Svidrigailov spends his last night - these are dark, damp "coffins". The novel is dominated by yellow. This color was not chosen by chance. In the novel we find a room old pawnbrokers with yellow wallpaper, furniture made of yellow wood, the hero’s pale yellow face, Marmeladov’s yellow face, on Petrovsky Island there are bright yellow houses, in the police office the hero is served a “yellow glass filled with yellow water”, Sonya lives on a yellow ticket. The yellow world of the outside world is adequate to the bilious character of the hero living in the “yellow closet”. Thus, the city and the hero are one. Raskolnikov lived in “...a tiny cell that had the most pitiful appearance, and was so low that you were about to hit your head...”. “...The lagging, yellow wallpaper...” causes the same stratification in the soul, crippling and breaking it forever. We see Raskolnikov’s bed as a coffin, “...an awkward large sofa...”, which, like a shroud, is completely covered with rags. Look outside: yellow, dusty, tall houses with “well courtyards”, “blind windows”, broken glass, torn asphalt - a person cannot exist for long in such a nightmare without harm to his sanity. Raskolnikov's Komorka reflects the whole of St. Petersburg. And so the terrible picture of stuffiness and cramped conditions is aggravated by relations between people in St. Petersburg. It is precisely in order to better show them that Dostoevsky introduces street scenes. Scenes of street life Scenes of street life in the novel show that St. Petersburg is a city of the humiliated, insulted, it is a city that is not alien to violence against the weak. All street life reflects the condition of the people living in it. Let us remember how Raskolnikov meets a drunken girl. She, still a child, will no longer be able to live normally with such shame. Perhaps we see the future of this girl later, when Raskolnikov sees suicide. On the bridge they whip him with a whip so that he almost falls under the cart. All this speaks of anger and irritability of people. In St. Petersburg we also see children, but they do not play with their inherent childish joy, even in them we see only suffering: “Have you really not seen children here, in the corners, whom their mothers send to beg? I found out where these mothers lived and in what environment. Children cannot remain children there. The seven-year-old there is depraved and a thief.” The author wants to show Raskolnikov's loneliness. But not only Raskolnikov is lonely, other inhabitants of this city are also lonely. The world that Dostoevsky shows is a world of misunderstanding and indifference of people to each other. People have become dull from such a life; they look at each other with hostility and distrust. Between all people there is only indifference, animal curiosity, malicious mockery. MIKHAIL SHEMYAKIN Mikhail Shemyakin was born in Moscow in 1943, spent his childhood in Germany, in 1957 he moved with his parents to Leningrad and fourteen years later was forced to leave it. Forcibly exiled from the country, he found refuge in Paris, where he gained fame as one of the leading representatives of aesthetic dissidence. Illustrations A series of illustrations for “Crime and Punishment” were made from 1964 to 1969. Shemyakin saw the main events of the novel primarily in Raskolnikov’s dreams and visions, which pose the hero with the problem of “crossing the threshold.” Having accumulated experience in resisting alien influences, the master felt deeply related to Dostoevsky’s idea that the “new” can enter life only as a result of the removal of the “old”, when the boundaries drawn by one or another tradition are boldly crossed. Fontanka embankment. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1966 Petersburgskaya street. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1965. Etching of Raskolnikov with a tradesman. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1967. Etching Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Etching of Raskolnikov and Sonechka. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Raskolnikov's Dream. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Raskolnikov. Sketch of an illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, ink, watercolor Raskolnikov's Dream. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Sonechka. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Raskolnikov and the old woman pawnbroker. Raskolnikov's dream. Sketch of an illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1964. Paper, pencil Confession on the square. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1965. Paper, pencil Raskolnikov and the old woman pawnbroker. Illustration for F. M. Dostoevsky’s novel “Crime and Punishment.” 1967. Paper, graphite pencil, collage Sketch for a ballet based on the novel by F.M. Dostoevsky “Crime and Punishment”. 1985. Paper, ink, watercolor
PLAN-OUTLINE LESSONliterature.
Lesson topic - F.M. Dostoevsky "Crime and Punishment". Petersburg by Dostoevsky"
Basic tutorial.
Purpose and objectives of the lesson :
Target: creating conditions for the formation moral values through understanding the meaning of the novel by F.M. Dostoevsky's "Crime and Punishment"
Educational-
Introduce students to the image of St. Petersburg in the work
F.M. Dostoevsky's "Crime and Punishment"
Analyze the landscapes of St. Petersburg, scenes of street life, the interiors of the apartments of the heroes of the novel, the appearance of people in the novel by F.M. Dostoevsky "Crime and Punishment".
Compare the image of St. Petersburg in the novel by F.M. Dostoevsky and the description of the city by A.S. Pushkin and N.V. Gogol.
Developmental-
Develop skills and abilities of an analytical and reflective nature;
To develop the ability to express one’s point of view in dialogue and solve a problem situation.
Educational-
Cultivate love for Russian classical literature and artistic expression;
Develop the skills of compassion, empathy, empathy;
Ability to work in a team.
Lesson type - lessoncombined
Forms of workstudents I- group form of training, individual, collective.
Required technical equipment:
Projector, board;
Presentation for the lesson;
L.V. Beethoven's Moonlight Sonata
X lesson od:
Lesson progress
Positive attitude to class (1 min.)
Good afternoon, guys. Today we have a literature lesson and I hope that we will all have fun in this lesson. You and I will succeed!
Lesson assessment (2 min.)
Let's agree on the rules of work in the lesson. Work in the lesson is carried out in a group. You determine your roles yourself, do the work together, and one person from the group presents the result of the work in class.
2. Setting a goal
The topic of today's lesson: "Petersburg by Dostoevsky» .
-What do you think we need to know in this lesson? (with the help of which Dostoevsky depicts the city)
What techniques does he use to do this??(description of streets, interiors, portraits, landscapes).
- To find out what we will do in this lesson?(analyze episodes in which descriptions of streets, interiors, portraits, landscapes are created, and compare images of St. Petersburg from other writers).
At home you read part 1 of the novel by F.M. Dostoevsky's "Crime and Punishment". What impression did this work make on you?
(children's answers)
About this city great poet A.S. Pushkin said this:
...there now
Along busy shores
Slender communities crowd together
Palaces and towers; ships
A crowd from all over the world
They strive for rich marinas;
The Neva is dressed in granite;
Bridges hung over the waters;
Dark green gardens
Islands covered it...
I love you, Petra's creation,
I love your strict, slender appearance,
Neva sovereign current,
Its coastal granite,
Your fences have a cast iron pattern,
of your thoughtful nights
Transparent twilight, moonless shine...
And the sleeping communities are clear
Deserted streets and light
Admiralty needle...
Only in this city you will see unique architectural monuments.
This is one of the most beautiful cities in the world. Its streets, avenues, embankment squares - original works art created according to the plans of great architects. It is a city of rivers and canals and associated bridges, many of which are famous throughout the world. It has many theaters. Among the most famous architectural structures The Peter and Paul Fortress, the Church of the Resurrection of Christ, the Admiralty, the slender tower of which has become a symbol of the city.
What other writer's work takes place in St. Petersburg?
(in N.V. Gogol’s story “The Overcoat”)
What kind of St. Petersburg is it? (A werewolf with a double face. A miserable life is hidden behind the ceremonial beauty)
What city is this in your opinion?
Let's return to Dostoevsky's Petersburg.
So, there are 4 groups in the class. 1- description of landscapes.
2-description street life scenes
3-descriptioninteriors
4- portraits
The tasks are on your sheets. Get started. You have 5 minutes.
Group work:
Restore the image of the city from Dostoevsky, fill out the table.
Tasks for group work.
Group 1: describe the landscapes in the novel (part 1: chapter 1; part 2: chapter 1;) Write down keywords to the table.
Group 2: compare scenes of street life (part 1: chapter 1) Write down the key words in the table.
Group 3: write down descriptions of the interiors (part 1: chapter 3 - Raskolnikov’s closet; part 1: chapter 2 - description of the tavern where Raskolnikov listens to Marmeladov’s confession; part 1: chapter 2 Write down the key words in the table.
Group 4: find portraits in the work. Write down the keywords in the table.
Components of the image | Characteristic signs |
|
Dark, stuffy, dirty, dust, “dirt, stench and all sorts of nasty things,” “dirty and stinking palaces of houses on Sennaya Square.” The general feeling in the description evokes a feeling of disgust - the impression of stuffiness, and for the hero the city evokes a feeling of oppression. Entry: the landscape is firmly connected with the image of Raskolnikov, passed through his perception. The streets of the city, where people swarm, evoke in his soul a feeling of deepest disgust. |
||
Scenes of street life. | – a child singing “Khutorok”; - drunk girl on the boulevard; – scene with the drowned woman; - drunken soldiers and others - each has their own destiny and each fights alone, but, having gathered together in a crowd, they forget about grief and are happy to look at what is happening. The streets are crowded, but the loneliness of the hero is perceived all the more acutely. The world of St. Petersburg life is a world of misunderstanding and indifference of people to each other. Entry: Because of such a life, people have become dull, they look at each other “with hostility and distrust.” There can be no other relationship between them except indifference, animal curiosity, and malicious mockery. From meetings with these people, Raskolnikov is left with a feeling of something dirty, pathetic, ugly and at the same time what he sees evokes a feeling of compassion in himTo"humiliated and insulted." |
|
Interiors. Portraits. | Raskolnikov’s closet – “wardrobe”, “coffin”; dirty, yellow wallpaper all around. The Marmeladovs’ room is a “smoky door”, a “holey sheet” as a partition. Sonya's room is an “ugly barn.” Poor, pitiful premises, the fear of being left without housing cannot contribute to the development of the characters’ personalities. It’s scary to live in these rooms - theories like Raskolnikov’s are born in them, and both adults and children die here. Entry: The interior of the St. Petersburg slums creates an atmosphere of stuffiness, hopelessness and deprivation. An unattractive picture, as if it was another city. In this quarter you meet the poorest, most disadvantaged, most unhappy people. Everyone looks alike: “ragamuffin,” “shaggy,” “drunk.” Gray, dull, like the streets they move through. Meeting them leaves you with a feeling of something dirty, pathetic, ugly, joyless and hopeless. Marmeladov - “with a yellow, swollen, greenish face, reddish eyes”, “dirty, greasy, red hands, with black nails”; the old woman-pawnbroker - “with sharp and evil eyes”, “blond hair, greased with oil, a thin and long neck, similar to a chicken leg”; Katerina Ivanovna - “a terribly thin woman”, “with cheeks flushed to spots”, “clogged lips |
One person from the group answers.
Summing up.( From the first pages we find ourselves in a city so stuffy that it’s hard to breathe. This is a city where the poor suffer and suffer: petty officials, students, women rejected by society, ragged and hungry, poor children. Narrow streets, cramped conditions, dirt, stench.
Dostoevsky's Petersburg is a city where crimes are committed, where it is impossible to breathe, it is a city of the humiliated and insulted.
Dostoevsky's Petersburg is a city of indifference, animal curiosity, malicious mockery.
Dostoevsky's Petersburg is a city of loneliness.
Dostoevsky’s Petersburg is “a city in which it is impossible to be.”)
Security questions:
Security questions:
– How do you see the streets along which Raskolnikov wanders? ( Dirt,stench, crowding human bodies in a small living space, crowded, dusty, stuffy, hot).
– What is your feeling when you leave the street and enter the tavern, the room where the Marmeladovs live? (Tavern: same stench, dirt, stuffiness, as on the streets. Suppression. The strongest feeling is I can't breathe. Raskolnikov: “ Dirty, dirty, disgusting, disgusting!”).
– What overall impression do you have of the general atmosphere of the streets in the part of the city where he lives? main character? (It’s uncomfortable, it’s uncomfortable, it’s scary, it’s cramped, you can’t breathe. I want to escape from these streets into the open spaces of wildlife).
– What are the apartments and rooms in which the heroes of the novel live? (Rodion Raskolnikov’s room: “ His closet was right under the roof of a tall five-story building and looked more like a closet than an apartment.", "It was a tiny cell, about six paces long, which had the most pitiful appearance with its yellow, dusty wallpaper falling off the wall everywhere, and so low that it was barely tall man it felt creepy in there, and it seemed like you were about to hit your head on the ceiling. The furniture corresponded to the room: there were three old chairs, not quite in good working order, a painted table in the corner..., and, finally, an awkward large sofa..., once upholstered in chintz, but now in rags, and which served as Raskolnikov’s bed”; Marmeladovs' room: " A small, smoky door at the end of the stairs. At the very top, it was open. The cinder illuminated the poorest room, ten steps long; all of it could be seen from the entryway. Everything was scattered and in disarray, especially the children's various rags. A sheet with holes was stretched across the back corner. Behind it there was probably a bed. In the room itself there were only two chairs and a very tattered oilcloth sofa, in front of which stood an old pine kitchen table, unpainted and not covered with anything. At the edge of the table stood a dying tallow candle in an iron candlestick. It turned out that Marmeladov was placed in a special room, and not in a corner, but his room was a walk-through""; room of the old woman-pawnbroker: “ A small room... with yellow wallpaper and muslin curtains on the windows... The furniture, all very old and made of yellow wood, consisted of a sofa.., a round table..., a toilet with a mirror in the wall, chairs along the walls and two or three penny pictures in yellow frames..."; Sonya Marmeladova’s room: “It was a large room, but extremely low...Sonya’s room looked like a barn, had the appearance of a very irregular quadrangle, and this gave it something ugly...In this large room there was almost no furniture at all...Yellowish, the scrubbed and worn wallpaper turned black in all corners; It must have been damp and fumes here in the winter. Poverty was visible; there weren’t even curtains near the bed”; the hotel room where Svidrigailov stays before committing suicide: “... room, stuffy and cramped... Uhit was such a small cell that it was almost not even tall enough for Svidrigailov; in one window;the bed was very dirty... The walls looked as if they had been knocked together from boards with shabby wallpaper, so dusty and tattered that their color (yellow) could still be guessed, but no pattern could be recognized.” Yard of Raskolnikov's house: yard-well, tight and oppressive. It never seems to get in here sunlight. He is surrounded by dark corners, impenetrable, dirty, gray walls).
– Dostoevsky constantly draws our attention to such artistic detail, like the stairs along which the main character goes down and up. Find their description. (Staircase to Raskolnikov’s “closet”: "…ladder…narrow, steep, dark.With semicircular openings. Trampled stone steps. They lead underby myselfhouse roof..."; staircase in the house of the old money-lender: “ The staircase was dark and narrow, “black”; staircase in the police office: “The staircase was narrow, steep and covered in slop. All the kitchens of all the apartments on all four floors opened onto this staircase and stood like that for almost the whole day.That's why it was so stuffy"; from the stairs in front of the Marmeladovs' room “it stank”; narrow and dark staircase in the Kapernaumov house.)
– What is more in the depicted pictures – verbal “drawing” or “feeling”? (The depicted pictures are firmly connected with the image of Raskolnikov, passed through the prism of his perception. “Middle” streets of St. Petersburg, where people “ they're swarming"cause in Raskolnikov's soul "a feeling of deepest disgust").
– What are the signs of Dostoevsky’s urban landscape? (Dostoevsky’s cityscape is not only a landscape of impression, but also a landscape of expression. The writer never aims at a simple description of the situation. At the same time, he creates a mood, enhances and highlights social and psychological characteristics heroes, expresses what is internally connected with the depicted human world.
– Tell us about the appearance of the people Raskolnikov met and your impressions of them? (In this quarter you meet the poorest, most destitute, unhappy people. They all look alike: “ragamuffin,” “ragtag,” “drunk.” Gray, dull, like the streets along which they move. Meeting them leaves a feeling something dirty, pitiful, ugly, joyless and hopeless - “with a yellow, swollen, greenish face, reddish eyes”, “dirty, greasy, red hands, with black nails” - “with sharp and angry hands”; little eyes”, “blond hair, oiled with oil, a thin and long neck, similar to a chicken leg”; Katerina Ivanovna - “a terribly thin woman”, “with cheeks flushed to the point of stains”, “caked lips”).
– What does the main character himself look like? What distinguishes him and what makes him similar to those around him? (Rodion himself is “remarkably good-looking” but “has fallen down and become shabby”).
– What color predominates in the described pictures of the city? ( Gray and yellow).
- Raskolnikov on the banks of the Neva. How does the main character relate to living nature? (She evokes in his soul, on the one hand, deeply human feelings, touches its deepest foundations; on the other hand, he is indifferent to her and quickly “switches” from contemplation and relaxation to his problems and complexes. Thus, in relation to Raskolnikov nature clearly shows his attitude towards the world as a whole, his verdict on an unjust social order).
– How do the inhabitants of the “middle” St. Petersburg streets relate to each other? (There is no sense of solidarity and empathy among equally disadvantaged people. Cruelty, indifference, anger, ridicule, spiritual and physical abuse - this is what is typical for the relationships of the “humiliated and insulted”).
Reflection stage.
Compose a syncwine based on this work
1 noun
2 adjectives
3 verbs
Association.
Students read syncwines.
Now let's summarize the lesson. What goals did you set? Have you reached it?
Grading.
Homework: write a mini-essay “How F.M. portrays St. Petersburg. Dostoevsky?
Draw up a plan for characterizing Raskolnikov.
Literature:
AikhenwaldYu. Silhouettes of Russian writers. Moscow, Republic, 1994.
Kudryavtsev Yu.G. Three circles of Dostoevsky. Moscow University Publishing House, 1979.
ProkhvatilovaS.A. Petersburg mirage. St. Petersburg, 1991.
Rumyantseva E.M. Fyodor Mikhailovich Dostoevsky. Leningrad, Enlightenment, 1971.
History of world literature. Volume 7. Moscow, Science, 1990
Great Russians. Biographical library of F. Pavlenkov. Moscow, Olma-Press, 2004.
Saint Petersburg. Petrograd. Leningrad. Encyclopedic reference book. Leningrad, Scientific publishing house, 1992.
SCROLLUSEDIN THIS LESSON EER
2 . GUIDE CARDS for households:
1.Interior (room, apartment):
2. Street (crossroads, squares, bridges):
Library
materials
Objective of the lesson: show the specifics of Dostoevsky’s St. Petersburg, using the technique of comparison, turning to other authors and artists; update students' knowledge about St. Petersburg in Russian literature of the 19th century; continue to develop students’ ability to carefully read the text, comment and analyze it, the ability to compare, reflect, and express their judgments; know the content of F. M. Dostoevsky’s novel “Crime and Punishment”; the main images of the work.
Lesson equipment:
2) presentation;
Students should know:
Main images;
Students should be able to:
Highlight the main points in the text.
Lesson progress
I . Organizational moment(message topic and purpose)
II. Preparation for perception.
Teacher:
III. The main content of the lesson.
Teacher: What does the name Peter mean?
Students:
Teacher:
Teacher:
Students:
The city is lush, the city is poor,
Spirit of bondage, slender appearance,
The vault of heaven is pale green,
Fairy tale, cold and granite...
Teacher:
Teacher:
Students:
Teacher:
Students:
Teacher:
Scenery;
Scenes of street life;
Interior.
Teacher:
Scenery.
Teacher:
Teacher:
Students:
Teacher:
Students:
Teacher:
Students:
Teacher:
Students:
Teacher:
Students:
Teacher:
Teacher:
Students:
Teacher: Scenes of street life.
Teacher:
Teacher:
Screening of an excerpt from the film “Crime and Punishment.”(Death of Katerina Ivanovna).
Teacher:
Students:
Teacher:
Teacher:
Teacher:
Teacher:
Teacher:
Students:
Students
Teacher:
Teacher:
Students
Teacher:
Teacher:
Teacher:
this is a killer city
and a ghost town
and a dead-end city.
Raskolnikov thinks about him.
IV. Summing up the lesson.
V. Homework:
VI. Ratings.
IMAGE OF THE CITY
Essay writing algorithm
1. Stage principle;
4. Details of urban life.
IV. The writer’s traditions in creating the image of the city in his work and in Russian literature in general.
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The theme of the lesson is Dostoevsky’s Petersburg or “The Face of This World.”
Objective of the lesson:show the specifics of Dostoevsky’s St. Petersburg, using the technique of comparison, turning to other authors and artists; update students' knowledge about St. Petersburg in Russian literature of the 19th century; continue to develop students’ ability to carefully read the text, comment and analyze it, the ability to compare, reflect, and express their judgments; know the content of F. M. Dostoevsky’s novel “Crime and Punishment”; the main images of the work.
Lesson equipment:
1) technical teaching aids (computer, TV);
2) presentation;
3) texts of F.M. Dostoevsky’s novel “Crime and Punishment”;
4) Notebooks for works on literature.
Students should know:
The main idea of the work;
Main images;
The role of the city in the lives of the heroes;
The basic scheme of depicting the city of St. Petersburg in the novel (landscape, scenes of street life, interior).
Students should be able to:
Answer the questions correctly;
Summarize and systematize educational material;
Highlight the main points in the text.
Lesson progress
I. Organizational moment (message topic and purpose)
II . Preparation for perception.
Teacher: What is a city? (student answers: settlement; political, economic, administrative and cultural center).
It is the city that will be the hero of a great epic work in today’s lesson.
St. Petersburg... When you pronounce this name, a parallel immediately arises - Fyodor Mikhailovich Dostoevsky.
Petersburg by Dostoevsky... These words, like an aphorism, have firmly entered Russian classical literature.
The great writer presented us with the image of St. Petersburg “The Face of This World”, as he himself saw it, in which he lived then, in the mid-60s of the 19th century, when capitalism was emerging in Russia.
Today, together with the writer and his hero, Rodion Raskolnikov, we will walk through the streets of St. Petersburg, see the landscape and scenes of street life, and look into the corner rooms where his heroes live.
Dostoevsky is a St. Petersburg writer. The image of St. Petersburg is present in almost every one of his works. The main thing for Dostoevsky in St. Petersburg is that European and Russian civilizations came together in it, that it was a city built by force, unnaturally created. Therefore, Petersburg is a city of poor, unhappy people, a city of poverty and a city of extreme wealth.
III . The main content of the lesson.
Teacher: What does the name Peter mean?
Students: If you look at what the name Peter means, you can see one very interesting feature that to some extent explains Dostoevsky’s perception of this city. The name Peter means stone, so Petersburg is a bag of stones, a dead, faceless, cold, scary city. The image of the bronze horseman, taken from Pushkin, symbolizes the power and strength of this terrible city. For Dostoevsky, this power lies in the power of the city’s influence on people. It is no coincidence that Petersburg was built on the site of a swamp, the bronze horseman is a symbol of St. Petersburg, that is, for Dostoevsky, Petersburg is a bronze horseman in the middle of a swamp.
Teacher: In the novel “The Teenager” this is precisely the perception of the city. “And what if this fog scatters and goes up, won’t that whole rotten, slimy city go with it, rise with the fog and disappear like smoke, and the old Finnish swamp will remain, and in the middle of it, perhaps, for beauty, a bronze rider on a hot-breathing, driven horse.”
"Crime and Punishment" is called a "St. Petersburg novel." You remember that the image of St. Petersburg was created in their works by Pushkin and Gogol, and Nekrasov, revealing more and more of its facets.
Teacher: - Which of the Russian writers and poets touched on the topic of depicting St. Petersburg in their work?
Students: The theme of St. Petersburg was set in Russian literature by Pushkin. It was in his Bronze Horseman“, in “The Queen of Spades” we are faced with a two-great city: beautiful, mighty Petersburg, the creation of Peter, and the city of poor Eugene, a city whose very existence turns into a tragedy for the little man.
Pushkin's Petersburg is contradictory: the poet loves this city - a source of creativity, but debunks the “sovereign city” - a symbol of power that brings troubles to people. A.S. Pushkin composed a hymn to the great city in “The Bronze Horseman”, lyrically described its magnificent architectural ensembles, the twilight of the white nights in “Eugene Onegin”:
The city is lush, the city is poor,
Spirit of bondage, slender appearance,
The vault of heaven is pale green,
Fairy tale, cold and granite...
In the same way, Gogol’s Petersburg has two faces: a brilliant, fantastic city is sometimes hostile to a person whose fate can be broken on the streets of the northern capital.
N.V. Gogol continues tragic theme Petersburg, but here reality and nonsense, reality and nightmare merged together. “He lies all the time, this Nevsky Prospect.” This is a city of fantastic contrasts, growing into an unreal symbol of a ghost town.
Nekrasov's Petersburg is sad - the Petersburg of the ceremonial soulless entrances, the bloody Sennaya Square.
Belinsky admitted in his letters how much he hated Peter, where it was so difficult and painful to live.
Teacher: Dostoevsky has his own Petersburg. Scarce material resources and the writer’s wandering spirit forces him to often change apartments on the so-called “middle streets,” in cold corner houses where people “teem with people.”
This is a city of the humiliated and insulted, a city in which crimes are committed, a city whose very existence prompts a person to kill, either himself or another.
From a tiny cell along Sadovaya, Gorokhovaya and other “middle” streets, Raskolnikov goes to the old woman pawnbroker, meets Marmeladov, Katerina Ivanovna, Sonya... He often passes through Sennaya Square, where at the end of the 18th century a market was opened for the sale of livestock , firewood, hay, oats... A stone's throw from the dirty Sennaya was Stolyarny Lane, which consisted of sixteen houses in which there were eighteen drinking establishments. Raskolnikov wakes up at night from drunken screams when regulars leave the taverns.
Scenes of street life lead us to the conclusion: people have become dull from such a life, they look at each other “with hostility and distrust.” There can be no other relationship between them except indifference, animal curiosity, and malicious mockery.
The interiors of the “St. Petersburg corners” do not resemble human habitation: Raskolnikov’s “closet”, the Marmeladovs’ “passage corner”, Sonya’s “barn”, a separate hotel room where Svidrigailov spends his last night - all these are dark, damp “coffins”.
All together: landscape paintings of St. Petersburg, scenes of its street life, interiors of “corners” - create the overall impression of a city that is hostile to people, crowds them, crushes them, creates an atmosphere of hopelessness, pushes them to scandals and crimes.
Teacher: - Where does the action take place in the novel by F.M. Dostoevsky.
Students: Drinking bars, taverns, slums, police offices, brothels, back streets, palaces, wells, coffin rooms and closets, back stairs doused with slop. Sennaya Square and Kanava.
Teacher: Petersburg in the novel is not just a place of action or a background of events, it is the soul, a participant in the events. Can you name the places where the action takes place in the novel?
Students:
Sennaya Square, Stolyarny Lane, Ekaterininsky Canal, Bolshaya and Malaya Neva, Petrovsky Island, “Raskolnikov’s house”, “Sonya’s house”, “house of the old pawnbroker”.
Teacher: The novel takes place in the summer. Summer in St. Petersburg is northern. summer. Summer in the novel is hot, so hot that it’s hard to breathe. It’s hard to breathe on the streets, it’s hard to breathe in taverns, apartments, corners.
This suffocating atmosphere becomes a symbol of the city, where the thought of Raskolnikov’s murder is ripening, where the crime is being committed.
The work in the lesson will go according to the following scheme:
Scenery;
Scenes of street life;
Interior.
Teacher: - What is a landscape? (View of an image of some area).
What is the atmosphere like on the streets of the city? (Let's confirm with quotes from the novel).
Scenery.
Part 1, chapters 1,2 - “disgusting and sad coloring” of a city day; first day with Raskolnikov in St. Petersburg, pp. 121, 126.
Part 2, chapter 1 – repetition of the previous picture, page 189.
Part 2, chapter 2 – magnificent panorama of St. Petersburg, page 204.
Part 2, chapter 6 – evening Petersburg, p. 235.
Part 6, chapter 6 – stormy evening and morning on the eve of Svidrigailov’s suicide, pp. 496, 505.
Through the eyes of Raskolnikov we look at summer Petersburg: “It’s hot outside...... the nerves of a young man.”
Reading by students of the indicated episodes.
Teacher: The general meaning of this landscape and its symbolic meaning will be given in the novel. further development. From this point of view, the images of summer Petersburg are interesting. “Near the taverns on the lower floors, in the dirty and smelly courtyards of the houses on Sennaya Square, and especially near the taverns, there were crowds of many different types of industrialists and rags.” “The heat outside was unbearable again; at least a drop of rain all these days. Again dust, brick and limestone, again the stench from the shops and taverns, again the constantly drunk Chukhon peddlers and dilapidated cab drivers.” “It was about eight o’clock, the sun was setting. The stuffiness remained as before; but he greedily breathed in this stinking, dusty, city-polluted air...” “In this garden there was one thin, three-year-old fir tree and three bushes - in addition, a “station” was built, essentially a drinking establishment, but you could also get tea there ..." All these excerpts from the novel leave the same impression of stuffiness, conveying this state as something common in the description of the urban environment.
Teacher: Name the general patterns in these landscape descriptions.
Students: All descriptions are based on the same details - terrible heat, dust, bad smells, crowd.
Teacher: The landscape in the novel is firmly connected with the image of Raskolnikov, passed through his perception. “The middle streets of St. Petersburg, where people are “teeming with people,” evoke in Raskolnikov’s soul “a feeling of deepest disgust.” The same response gives rise to a different kind of landscape in his soul. Here he is on the banks of the Neva:
Students: "... looks from Nikolaevsky Bridge to St. Isaac's Cathedral and the Winter Palace."
An inexplicable chill blew over him from this magnificent panorama; This magnificent picture was full of a mute and deaf spirit for him. This is the same Petersburg that surrounds Eugene in The Bronze Horseman, but here it is deprived of all the beautiful features that Russian history has endowed it with; It is no longer possible to say to this Petersburg, as Pushkin said: “I love you.”
You can’t talk to him at all - even as the unfortunate Eugene spoke to the “miraculous builder”, as the dreamer of “White Nights” spoke to the city. Before Raskolnikov, before all the heroes of the novel, there is a “mute and deaf” city, crushing all living things.
“The sky was without the slightest cloud, and the water was almost blue,” the shining “dome of the cathedral,” on which “even every decoration could be clearly seen through the clean air.”
Teacher: Maybe the hero likes this picture and finds peace and satisfaction from what he sees?
Students: And the beautiful space presses, torments, and oppresses Raskolnikov just as much as the stuffiness, cramped space, heat and dirt of the streets: “for him this magnificent picture was full of a dumb and deaf spirit.” In this respect, Raskolnikov's attitude to nature is his attitude to the world. The hero is suffocating in this dead, cold and indifferent city and world.
Teacher: Is there a place where Raskolnikov likes to visit?
Students: The hero prefers Sennaya Square, in the vicinity of which the poor live. Here he feels like he belongs.
Teacher: - Tell us about the appearance of the people he met on these streets. What impression did they make on you and why?
Students: This is Raskolnikov himself, “remarkably good-looking,” but “he has fallen down and become unkempt”; these are “drunks”, “all kinds of industrialists and rags”; Marmeladov with a yellow, swollen, greenish face, reddish eyes and “dirty, greasy, red hands with black nails; an old pawnbroker with “sharp and evil eyes”; Katerina Ivanovna.
Teacher: So, from meeting these people you are left with a feeling of something dirty, pathetic, ugly.
Teacher: The fate of the heroes is sometimes decided on the street, thereby the city of St. Petersburg becomes a city of death. Who dies on the streets in Dostoevsky's novel?
Students:
Dies under the wheels of Marmeladov's stroller;
Consumptive Katerina Ivanovna dies on the street;
Sonya goes out into the street to sell herself;
On the avenue, in front of the watchtower, Svidrigailov commits suicide;
A drowned woman is found on the Neva;
On Konnogvardeisky Boulevard, Raskolnikov sees a drunk girl;
Raskolnikov comes out to Sennaya Square to repent before people and before God;
He wanders the streets of the city even after the murder.
Teacher: Scenes of street life.
1) Part 1, chapter 4 – meeting with drunk girl, pp. 153 – 155.
2) Part 2, chapter 2 – scene on the Nikolaevsky Bridge, blow of the whip and alms, pp. 203 – 204.
3) Part 2, chapter 6 – a) an organ grinder and a crowd of women at a tavern, b) a scene on ... a bridge, a drowned woman, pp. 235 – 237, + 246.
4) Part 5, chapter 5 – death of Katerina Ivanovna, pp. 441 – 447.
Screening of an excerpt from the film “Crime and Punishment.”(Raskolnikov’s meeting with a drunk girl).
Teacher: The novel often depicts street scenes. Here is one of them. Raskolnikov stands in deep thought on the bridge and sees a woman “with a yellow, elongated, worn-out face and reddish, sunken eyes.” Suddenly she rushes into the water. And you can hear the screams of another woman. “I drank myself to hell, fathers, to hell... I realized I wanted to hang myself too, they took me off the rope.” It’s as if the door to someone else’s life, full of hopeless despair, opens for a moment.
Teacher: The symbolic image of the tortured horse from Raskolnikov’s dream echoes the image of the dying Katerina Ivanovna (“They drove away the nag... she was torn!”).
Screening of an excerpt from the film “Crime and Punishment.”(Death of Katerina Ivanovna).
Teacher: Retell Raskolnikov's dream about a slaughtered nag.
Raskolnikov's dream. Part 1, chapter 5 – about the downtrodden nag.
Students: He sees in a dream how drunken men beat a helpless horse to death, he cries, tries to protect it, but finds himself helpless in front of the unleashed evil.
Teacher: Let's read an excerpt from the novel “Scene on the Nikolaevsky Bridge, the blow of the whip and alms.”
Teacher: The city is also the houses in which people live. The houses where the heroes live are terrible.
Leaving the noisy, dirty streets, the writer leads us to the houses where his heroes live. Usually these are apartment buildings, typical of capitalist St. Petersburg. We enter “dirty and smelly courtyards, wells, and climbed dark stairs.
It’s scary to live in these rooms, theories like Raskolnikov’s are born here, both adults and children die here.
Teacher: How do Dostoevsky's heroes live in these rooms?
Here is one of them - “narrow, steep and covered in slop. All the kitchens, all the apartments, on all four floors opened onto this staircase and stood like that for almost the whole day. That’s why it was so stuffy.”
What about the rooms? They are usually drawn in semi-darkness, dimly lit by the slanting meadows of the setting sun or the dimly flickering stub of a candle...
Teacher: Let's read excerpts from the work that depict the characters' homes.
Part 1, chapter 3 – Raskolnikov’s closet, page 139.
Part 1, chapter 2 – room – “passage corner” of the Marmeladovs, p. 136.
Part 4, chapter 4 – room – Sonya’s “barn”, page 355.
Teacher: - What is your strongest impression when, “leaving” the street, “entering” Raskolnikov’s room, the Marmeladovs’ room, etc.?
Students: Here is Raskolnikov's room. ""It was a tiny cell, six mages long, which had the most pitiful appearance with its yellow, dusty wallpaper that was falling off the wall everywhere, and so low that even a slightly tall person felt terrified in it, and everything seemed to be... he hits his head on the ceiling. The furniture matched the room: there were three old chairs, not quite in good condition, a painted table in the corner... There was a small table in front of the sofa.”
Students : They will note the suffocating closeness of the room and point out that Raskolnikov’s closet is in miniature the world in which a person is oppressed and destitute.
The Marmeladovs’ room: “The small, smoky door at the end of the stairs, at the very top, was open. The cinder illuminated the poorest room, ten steps long; all of it could be seen from the entryway. Everything was scattered in disarray, especially various children's rags...")
When Raskolnikov comes to Sonechka, he is amazed by her room, which looks more like a barn.
Teacher: So, we can say that the image of the city landscape and interiors steadily pursues one goal: to leave the impression of something wrong, discordant, dirty, ugly.
The backdrop against which the novel unfolds is St. Petersburg in the mid-60s. Raskolnikov hatches his theory in the “cabin”, “closet”, “coffin” - this is the name of his kennel. Raskolnikov's tragedy begins in a tavern, and here he listens to Marmeladov's confession. Dirt, stuffiness, stench, drunken screams - a typical tavern environment. And the corresponding audience is here: “drunken Munich German”, “princesses” of entertainment establishments. The tavern and street elements - unnatural, inhuman - interfere with the fate of the novel's heroes. “It’s rare where you will find so many dark, harsh and strange influences on a person’s soul as in St. Petersburg,” Dostoevsky declares through the mouth of Svidrigailov. A man suffocates in Dostoevsky’s Petersburg, “like in a room without windows,” he is crushed in a dense crowd, and in a tavern, “packed,” and in closets.
Teacher: How did we see St. Petersburg in the novel “Crime and Punishment”?
Students : Everything bears the stamp of general disorder, the poverty of human existence.
St. Petersburg is a city of half-crazy, lonely people. The painter Mikolka said that in St. Petersburg you can find everything except father and mother.
Many heroes of St. Petersburg are homeless, and home, as you know, is a place where a person can find repentance, find a loving, necessary person, but people in St. Petersburg are a crowd that has fallen below moral standards, hearing and not understanding anything. A man in the city is lonely, no one needs him. In the city, isolation of man from man and overcrowding coexist.
It is also characteristic that Dostoevsky describes his heroes living between the Catherine Canal and the Fontanka, in one of the poorest and most terrible areas of the city. The writer never shows the beauty of the city. There is almost no nature, and if there is one (lawn, Petrovsky Island), its absence in other places is only emphasized.
Petersburg closets, staircases, brothels, taverns, market areas, terrible Petersburg puts pressure on a person, is deeply hostile and unpleasant to everything healthy. Dostoevsky's Petersburg is a peculiar hero of the novel, cruel and inhumane.
Teacher: The image of St. Petersburg, the image of Dostoevsky’s contemporary life becomes the embodiment of this crisis of humanity. Dostoevsky's Petersburg is a city in which it is impossible to live: it is inhuman. Wherever the writer takes us, we do not end up in human habitation. After all, it’s creepy to live not only in the “coffin” that Raskolnikov rents, but also in Sonya’s “ugly barn”, and in the “cool corner” where Marmeladov lives, and in a separate room, “stuffy and cramped”, in which he spends his last night of Svidrigailov. This is a city of street girls, beggars, homeless children, tavern regulars - those who are doomed to everyday tragic life. The atmosphere of Dostoevsky's St. Petersburg is an atmosphere of dead end and hopelessness.
Student’s message “The symbolism of color in Dostoevsky’s novel.”
Teacher:
Dostoevsky practically does not talk about beautiful Petersburg, even when he writes about a beautiful city, he immediately returns to dirty Petersburg.
Part 1, chapter 6 – Dream of a happy city. "Passing past Yusupov."
Teacher: Dostoevsky’s Petersburg is a city of contrasts: “the humiliated and insulted” and “ powerful of the world this”, this is a city where you can’t breathe, a city of indifference and inhumanity,
this is a killer city
And a ghost town
And the city is a dead end.
But Dostoevsky also has a dream of a happy city.
Raskolnikov thinks about him.
But this is a dream, and the city is horror and madness.
But the dream of a beautiful city, created for the happiness of people, lives in the soul of the writer and his hero, along with the idea of a crazy, ugly city.
In the most terrible moment of his life, when going to commit a crime, Raskolnikov thinks “about installing high fountains and how well they would freshen the air in all squares. Little by little he came to the conviction that if the Summer Garden were extended to the entire Field of Mars and even connected to the palace Mikhailovsky Garden, it would be a wonderful and most useful thing for the city.”
Dostoevsky's dream of a beautiful city.
IV . Summing up the lesson.
What can you say about Dostoevsky's Petersburg?
The motif of stuffiness, crowding, crowding, stench, dirt, which is born of the landscape, continues and is strengthened by the description of the external appearance of people, their lives and the closets in which they live. Man is suffocating in this city. The atmosphere of Dostoevsky's St. Petersburg is an atmosphere of dead end and hopelessness. This is a city that is impossible to be in.
V . Homework:
VI. Ratings.
IMAGE OF THE CITY
Essay writing algorithm
I. Most often, the city depicted in a literary work is independent artistic image(specific, collective or allegorical).
II. The image of the city reveals the most characteristic aspects life of Russian reality of the depicted period.
1. City authorities, officials, landowners, merchants, ordinary people and other social strata of society;
2. Pastime of city residents;
3. A comprehensive picture of government;
4. A comprehensive image of all spheres of life of citizens and their activities;
5. Emphasizing or violating the typical life of the city and its inhabitants;
6. City customs: gossip, balls, fights, etc.;
III. Means of revealing a generalized image of the city.
1. Stage principle;
2. “Unifying” principle - heroes as an image of the city as a whole;
3. Details of the city “portrait”: colors, sounds, descriptions of buildings, streets, interiors, etc.;
4. Details of urban life.
IV . The writer’s traditions in creating the image of the city in his work and in Russian literature in general.
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To ask questions.
№2.
informational
Electronic module
2 . GUIDE CARDS for households:
1.Interior (room, apartment):
Part 1, chapter 1,
Part 1, chapter 2,
Part 1, ch. 2,
Part 1, chapter 3,
Part 3, ch. 5,
Part 4, chapter 4,
Part 4, chapter 5.
2. Street (crossroads, squares, bridges):
Part 1, chapter 1,
Part 1, chapter 5,
Part 2, chapter 2,
Part 2, chapter 1,
Part 2, chapter 6,
Part 5, chapter 5,
Part 6, chapter 8
3. Tavern:
Part 1, chapter 1
Part 1, chapter 2
Part 2, chapter 6,
4. Color of the city : (yellow and red)
According to the text (can be given as an advanced task for a student with a high educational motivation)
ADDITIONAL MATERIALS “To help the teacher”:
EER card for the topic:“Russian literature of the 19th century. Roman F.M. Dostoevsky "Crime and Punishment".
EOR No. 1. | The image of St. Petersburg in the novel by F.M. Dostoevsky "Crime and Punishment" (basic study) | FCIOR www.fcior.edu.ru: | Electronic educational module “The Image of St. Petersburg in the novel by F.M. Dostoevsky's "Crime and Punishment" is intended for use in educational institutions in literature lessons in grades 8 and 9 at the stage of explaining new material and consolidating what has been learned on the topic “Russian literature XIX century. Roman F.M. Dostoevsky "Crime and Punishment". |
EOR No. 2. | The life and work of Fyodor Mikhailovich Dostoevsky (basic study) | The electronic educational module “The Life and Work of Fyodor Mikhailovich Dostoevsky” is intended for use in educational institutions in literature lessons to study the topic “Russian literature of the 19th century. Life and work of F.M. Dostoevsky." |
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EOR No. 3. | Fyodor Mikhailovich Dostoevsky's novel “Crime and Punishment” (basic study) | The electronic educational module “Fyodor Mikhailovich Dostoevsky’s novel “Crime and Punishment” is intended for use in educational institutions during literature lessons in the 10th grade at the stage of explaining new material and consolidating what has been learned on the topic “Russian literature of the 19th century. Roman F.M. Dostoevsky "Crime and Punishment". |
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EOR No. 4. | “Crime and Punishment” as a tragedy novel in 5 acts (basic study) | The electronic educational module “Crime and Punishment” as a tragedy novel in 5 acts” is intended for use in educational institutions during literature lessons in the 11th grade at the stage of explaining new material and consolidating what has been learned on the topic “Dostoevsky “Crime and Punishment”. |
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EOR No. 5. | Control test “The literary path of Fyodor Mikhailovich Dostoevsky” (basic study) | The electronic educational module “Control test “The Literary Path of Fyodor Mikhailovich Dostoevsky”” is intended for use in educational institutions during literature lessons to control knowledge on the topic “Russian literature of the 19th century. F.M. Dostoevsky." |
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EOR No. 6. | Control test “The Works of Fyodor Mikhailovich Dostoevsky” (basic study) | The electronic educational module “Control test “The Works of Fyodor Mikhailovich Dostoevsky” is intended for use in educational institutions in literature lessons to control knowledge on the topic “Dostoevsky. Crime and Punishment." |
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EOR No. 7. | Control test “The Works of Fyodor Mikhailovich Dostoevsky” (basic study) | The electronic educational module “Control test “The Works of Fyodor Mikhailovich Dostoevsky”” is intended for use in educational institutions in literature lessons to control knowledge on the topic “F.M. Dostoevsky "Crime and Punishment" |
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EOR No. 8. | Control test on Dostoevsky’s novel “Crime and Punishment” No. 1 (basic study) | The electronic educational module “Control test on Dostoevsky’s novel “Crime and Punishment”” is intended for use in educational institutions during literature lessons to test knowledge on the topic “Dostoevsky “Crime and Punishment””. |
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EOR No. 9. | Test on Dostoevsky’s novel “Crime and Punishment” (No. 2, basic study) | The electronic educational module “Control test on Dostoevsky’s novel “Crime and Punishment”” is intended for use in educational institutions in literature lessons to test knowledge on the topic “Russian literature of the 19th century. Dostoevsky's novel "Crime and Punishment" |
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EOR No. 10. | Gospel motives in the novel by F.M. Dostoevsky "Crime and Punishment" (basic study) | Electronic training module “Gospel motives in the novel by F.M. Dostoevsky’s “Crime and Punishment” is intended for use in educational institutions during literature lessons in the 10th grade at the stage of explaining new material and consolidating what has been learned on the topic “F.M. Dostoevsky "Crime and Punishment". |
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EOR No. 11. | Comparative characteristics heroes of the novel by F.M. Dostoevsky “Crime and Punishment”. Raskolnikov and Marmeladov (in-depth study) | Electronic educational module “Comparative characteristics of the heroes of F. M. Dostoevsky’s novel “Crime and Punishment.” Raskolnikov and Marmeladov" is intended for use in educational institutions and literature lessons. The module contains information for developing knowledge on the topic “Russian literature of the 19th century. Dostoevsky." |
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EOR No. 12. | Comparative characteristics of the heroes of F. M. Dostoevsky’s novel “Crime and Punishment.” Raskolnikov and Porfiry Petrovich (in-depth study) | Electronic educational module “Comparative characteristics of the heroes of F. M. Dostoevsky’s novel “Crime and Punishment.” Raskolnikov and Porfiry Petrovich" is intended for use in educational institutions, in literature lessons. The module contains information for developing knowledge on the topic “Russian literature of the 19th century. Dostoevsky." |
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EOR No. 13. | Comparative characteristics. Raskolnikov and Svidrigailov (basic study) | Electronic training module “Comparative characteristics. Raskolnikov and Svidrigailov" is intended for use in educational institutions, in literature lessons. The module contains information for developing knowledge on the topic “Russian literature of the 19th century. Dostoevsky." |
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EOR No. 14. | Comparative characteristics. Trainer for comparative analysis characters from the novel Crime and Punishment. Raskolnikov and Luzhin (in-depth study | Electronic training module “Comparative characteristics. A simulator for a comparative analysis of the characters in the novel “Crimes and Punishments.” Raskolnikov and Luzhin" is intended for use in educational institutions and literature lessons. The module contains information for developing knowledge on the topic “Russian literature of the 19th century. Dostoevsky." |
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EOR No. 15. | Collection “St. Petersburg - the capital of the Russian Empire” | The collection dedicated to St. Petersburg contains photographs of the main architectural and historical objects of the city, historical and architectural information about these buildings, a selection literary works about St. Petersburg-Leningrad |
Group 3: write down descriptions of the interiors (part 1: chapter 3 - Raskolnikov’s closet; part 1: chapter 2 - description of the tavern where Raskolnikov listens to Marmeladov’s confession; part 1: chapter 2 Write down the key words in the table.
Last name, first name