Construction of the organization of a work of art. Construction of a work of art

STYLE DOMINANTS

There are always some points in the text of a work at which the style “comes out.” Such points serve as a kind of stylistic “tuning fork”, tuning the reader to a certain “aesthetic wave”... Style is presented as “a certain surface on which a unique trace has been identified, a form that by its structure reveals the presence of one guiding force.” (P.V. Palievsky)

Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, all techniques and elements must be subordinated to them, the dominants.

Style dominants - This:

Plot, descriptiveness and psychologism,

Conventionality and life-likeness,

Monologism and heteroglossia,

Verse and prose,

Nominativity and rhetoric,

- simple and complex types of composition.

COMPOSITION -(from Latin compositio - composition, binding)

The construction of a work of art, determined by its content, character, purpose and largely determining its perception.

Composition is the most important organizing element of an artistic form, giving the work unity and integrity, subordinating its components to each other and to the whole.

In fiction, composition is the motivated arrangement of the components of a literary work.

A component (UNIT OF COMPOSITION) is considered to be a “segment” of a work in which one method of depiction (characterization, dialogue, etc.) or a single point of view(author, narrator, one of the characters) to what is depicted.

The relative position and interaction of these “segments” form the compositional unity of the work.

Composition is often identified with both the plot, the system of images, and the structure of a work of art.

In the very general view There are two types of composition - simple and complex.

SIMPLE (linear) composition comes down only to combining parts of a work into a single whole. In this case there is a straight line chronological sequence events and a single narrative type throughout the entire work.

For a COMPLEX (transformational) composition the order of combination of parts reflects the special artistic sense.

For example, the author begins not with exposition, but with some fragment of the climax or even the denouement. Or the narrative is conducted as if in two times - the hero “now” and the hero “in the past” (remembers some events that highlight what is happening now). Or a double hero is introduced - from a completely different galaxy - and the author plays on the comparison/contrast of episodes.

In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.

DIFFERENT ASPECTS OF THE COMPOSITION:

external composition

figurative system,

character system changing points of view,

parts system,

plot and plot

conflict artistic speech,

extra-plot elements

COMPOSITION FORMS:

narration

description

characteristic.

COMPOSITE FORMS AND MEANS:

repetition, reinforcement, contrast, montage

comparison,

"close-up" plan, "general" plan,

point of view,

temporary organization of the text.

REFERENCE POINTS OF THE COMPOSITION:

climax, denouement,

strong positions of the text,

repetitions, contrasts,

twists and turns in the fate of the hero,

spectacular artistic techniques and funds.

The points of greatest reader tension are called REFERENCE POINTS OF THE COMPOSITION. These are peculiar landmarks that guide the reader through the text, and it is in them that the ideological problematics of the work are most clearly manifested.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .

STRONG TEXT POSITIONS:

These include formally identified parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).

MAIN TYPES OF COMPOSITION:

ring, mirror, linear, default, flashback, free, open, etc.

PLOT ELEMENTS:

exposition, plot

action development

(vicissitudes)

climax, denouement, epilogue

EXTRA-PLOT ELEMENTS

description (landscape, portrait, interior),

insert episodes.

Ticket number 26

1.Poetic vocabulary

2. Epicness, drama and lyricism of a work of art.

3. The volume and content of the style of the work.

Poetic vocabulary

P.l.- one of the most important aspects of a literary text; subject of study in a special branch of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves correlating the vocabulary used in a separate example of artistic speech of a writer with the vocabulary in common use, that is, used by the writer’s contemporaries in various everyday situations. The speech of society that existed in the historical period to which the work of the author of the analyzed work belongs is perceived as a certain norm, and therefore is recognized as “natural.” The purpose of the study is to describe the facts of deviation of individual author's speech from the norms of “natural” speech. The study of the lexical composition of the writer’s speech (the so-called “writer’s dictionary”) turns out to be a special type of such stylistic analysis. When studying the “writer’s dictionary”, attention is paid to two types of deviations from “natural” speech: the use of lexical elements that are rarely used in “natural” everyday circumstances, i.e. “passive” vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargons (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The author’s introduction of words from one and the other group into the text determines the imagery of the work, and therefore its artistry.

(everyday vocabulary, business vocabulary, poetic vocabulary and so on.)

Poetic vocabulary. The archaic vocabulary includes historicisms and archaisms. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussars, food tax, NEP, October child (a child of primary school age preparing to join the pioneers), NKVD officer (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc. .P.). Historicisms can be associated both with very distant eras and with events of relatively recent times, which, however, have already become facts of history (Soviet power, party activists, general secretary, Politburo). Historicisms do not have synonyms among active words vocabulary, being the only names of the corresponding concepts.

Archaisms are names of existing things and phenomena, for some reason supplanted by other words belonging to the active vocabulary (cf.: every day - always, comedian - actor, zlato - gold, know - know).

Obsolete words are heterogeneous in origin: among them there are original Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages ​​(abshid - “retirement”, voyage - “travel”).

Of particular interest stylistically are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms were assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also Old Church Slavonic words that in modern language are perceived as an echo of high style and retain their characteristic solemn, rhetorical coloring.

History is similar to the fate of Slavicisms in Russian literature poetic vocabulary, associated with ancient symbolism and imagery (so-called poetism). Names of gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtles), artistic images ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavicisms, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already among the successors of A.S. Pushkin's poetisms are archaized. Writers often turn to outdated words as an expressive means of artistic speech. The history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and “sweet” sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily incomplete vowels, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the basis of “poetic license”: poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp’s voice, will die quietly in the air. - Bat.). Over time, the tradition of “poetic license” is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.

Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. They were used in this function, for example, by A.N. Tolstoy:

“The land of Ottich and Dedich are those banks of deep rivers and forest glades where our ancestor came to live forever. (...) he fenced off his dwelling with a fence and looked along the path of the sun into the distance of centuries.

And he imagined many things - difficult and difficult times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears mounted under the banners of Dmitry on the Kulikovo field, and the blood-drenched ice of Lake Peipus, and the Terrible Tsar, who pushed apart the united, henceforth indestructible , the limits of the earth from Siberia to the Varangian Sea...".

Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Church Slavonic vocabulary performed this function even in ancient Russian literature. In poetic speech of the 19th century. Old Russianisms, which also began to be used to create the pathos of artistic speech, became stylistically equal to the high Old Slavonic vocabulary. The high, solemn sound of outdated words is also appreciated by writers of the 20th century. During the Great Patriotic War I.G. Ehrenburg wrote: “By repelling the blows of predatory Germany, it (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which goodness will shine. Our people showed their military virtues..."

Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an understanding, balanced child who grasps everything literally on the fly. But attempts to turn your child into a “miracle” tragically often end in failure (from the gas). The ironic rethinking of outdated words is often facilitated by the parodic use of elements of high style. In a parody-ironic function outdated words often appear in feuilletons, pamphlets, and humorous notes. Let us cite an example from a newspaper publication during the preparation for the day the president took office (August 1996).

Composition (from Latin compositio - composition, connection) - compound parts, or components, into a whole; structure of literary and artistic form. Composition - compound parts, but not these parts themselves; Depending on what level (layer) of the artistic form we are talking about, aspects of the composition are distinguished. This includes the arrangement of characters, the event (plot) connections of the work, the montage of details (psychological, portrait, landscape, etc.), and repetitions of symbolic details (forming motifs and leitmotifs), and the change in the flow of speech such forms as narration, description, dialogue, reasoning, as well as a change of subjects of speech, and division of the text into parts (including 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 in the composition of his artistic form at least two layers and, accordingly, two compositions that combine components that are different in nature.

A literary work appears to the reader as verbal text, perceived in time, having linear extension. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in broad meaning), which are collectively structured into world ( objective world) works.

Composition of a literary work. This is the relationship and arrangement of parts, elements within a work.

Composition of plot, scenes, episodes. The relationship between plot elements: retardation, inversion, etc.

Retardation(from lat. retardatio- slowdown) - literary and artistic device: delaying the development of action by including extra-fabular elements in the text - lyrical digressions, various descriptions (landscape, interior, characterization).

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

Gusev “The Art of Prose”: reverse time composition (« Easy breath"Bunin). Composition of direct time. Retrospective(“Ulysses” by Joyce, “The Master and Margarita” by Bulgakov) – different eras become independent objects of depiction. Intensification of phenomena– often in lyrical texts – Lermontov.

Compositional contrast(“War and Peace”) is an antithesis. Plot-compositional inversion(“Onegin”, “ Dead Souls»). Parallelism principle- in the lyrics, “The Thunderstorm” by Ostrovsky. Composition rings o – “Inspector”.

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

Composition. This is the composition and specific position of parts of elements and images of works in time sequence. Carries a meaningful and semantic load. External composition - dividing the work into books, volumes / is of an auxiliary nature and serves for reading. More meaningful elements: prefaces, epigraphs, prologues, / they help to reveal main idea work or identify the main problem of the work. Internal - includes various types of descriptions (portraits, landscapes, interiors), non-plot elements, staged episodes, all kinds of digressions, various shapes 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 with the help of a kind of compositional techniques - repeat- one of the simplest and most effective, it allows you to easily round out the work, especially the ring composition, when a roll call is established between the beginning and the end of the work, carries a special artistic meaning. Composition of motives: 1. motives (in music), 2. opposition (combining repetition, opposition is given by mirror compositions), 3. details, installation. 4. silence, 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: ideological-holistic, linguistic, spatial-temporal, psychological, external and internal. Types of compositions: simple and complex.

Plot and plot. Categories of material and technique (material and form) in the concept of V.B. Shklovsky and their modern understanding. Automation and disengagement. The relationship between the concepts of “plot” and “plot” in the structure of the artistic world. The importance of distinguishing these concepts for the interpretation of the work. Stages in plot development.

The composition of a work is its construction, the organization of its figurative system in accordance with the author’s concept. Subordination of the composition to the author's intention. Reflection of the tension of the conflict in the composition. The art of composition, compositional 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 meaning, and applied not only to the work as a whole, but also to its individual elements: composition of image, plot, stanza, etc.

The concept of architectonics combines the relationship of parts of a work, the arrangement and mutual connection of its components (components), which together form some artistic unity. The concept of architectonics includes: external structure work, and the construction of the plot: dividing the work into parts, the type of narration (from the author or on behalf of a special narrator), the role of dialogue, one or another sequence of events (temporal or in violation of the chronological principle), the introduction of various descriptions and author’s reasoning into the narrative fabric and lyrical digressions, grouping of characters, etc. Architectural techniques constitute one of the essential elements of style (in the broad sense of the word) and along with it are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the emergence of new classes and groups on the historical stage. If we take, for example, Turgenev’s novels, we will find in them consistency in the presentation of events, smoothness in the course of the narrative, an emphasis on the harmonious harmony of the whole, and the important compositional role of the landscape. These features are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are constructed according to completely different laws: the action begins in the middle, the narrative flows quickly, in leaps and bounds, and the external disproportion of the parts is also noticeable. These properties of architectonics are in the same way determined by the characteristics of the depicted environment - the metropolitan philistinism. Within the same literary style, the techniques of architectonics vary depending on the artistic genre (novel, story, short story, poem, dramatic work, lyric poem). Each genre is characterized by a number of specific signs, requiring a unique composition.

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

Artistic speech absorbs the most different shapes 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 and impressive; hence the characteristic speech techniques - numerous repetitions, “embellishments”, emotionally charged words, rhetorical(!) questions, etc. Authors competed in eloquence, stylistics were 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 of educated people. Therefore, since the 17th century, all European culture evolves from complexity to simplicity. V.G. Belinsky calls rhetoric “false idealization of life.” Elements penetrate into the language of literature colloquial speech. Creativity A.S. Pushkin in this regard is, as it were, at the border of two traditions of speech culture. His works are often a fusion of rhetorical and colloquial speech (a classic example is the introduction to “ To the stationmaster"is written in an oratorical style, and the story itself is stylistically quite simple).

Colloquial speech It is connected, first of all, with the communication of people in their private lives, therefore it is simple and free from regulation. In the XIX – XX centuries. Literature in general is perceived by writers and scientists as a unique form of conversation between the author and the reader; it is not without reason that the address “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-fiction speech (for example, diaries or memoirs); it easily allows deviations from language norm and carries out innovations in the sphere of speech activity (let us recall, 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, they are often mixed different types arts: literature and painting/architecture (for example, the text itself fits into a certain geometric figure), literature and music (a soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the live journal culture), etc.

Features of the language of fiction.

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

Cognition function and communication function- two main, closely related aspects of language. In the process of 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 a cut piece (break off), etc. These examples suggest that the creation of a word is the knowledge of a phenomenon; language reflects the work of human thought, various aspects of life, and historical phenomena. It is estimated that there are about 90 thousand words 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 words surrounding it (context). An unfortunate example in this sense was given by Admiral Shishkov: “Carried by fast horses, the knight suddenly fell from his chariot and left his face bloody.” The phrase is funny because words of different emotional connotations are combined.

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

The language of fiction contains a huge aesthetic principle, therefore the author of a work of fiction not only generalizes linguistic experience, but also to some extent determines the speech norm and is the creator of language.

The language of a work of art. Fiction is a set of literary works, each of which represents an independent whole. A literary work that exists as a completed text, written in one language or another (Russian, French) is the result of the writer’s creativity. Usually the work has a title; in lyric poems, its functions are 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: during manuscript writing, and after the invention of printing. Diverse works: typological properties on the basis of which a work is classified as a specific one literary family(epic, lyric, 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 (life-likeness, conventionality, plot); literary trends(symbolism and acmeism).

Structure of a work of art

Artwork idea

The idea of ​​a work of art is a generalizing, emotional, imaginative thought underlying a work of art. In other words, this is what the work was written for.

The plot of a work of art

The plot of a work of art is the development of action, the course of events in narrative and dramatic works, sometimes in lyrical works. In other words, this is what the work is about. In modern literary and school practice, the terms “plot” and “fable” are understood as synonyms. Or “plot” refers to the entire course of events, and “plot” refers to the main conflict that develops in them.

Composition of a work of art

The composition of a work of art is the arrangement and correlation of components in an artistic form, that is, the construction of a work determined by its content and genre. Main components of the composition:

1. Exposition- the part that precedes the action, telling, as a rule, about the place, time and conditions of the future action.

2. The beginning- the part in which the conflict of the work is indicated, the prerequisites are created for further development plot.

3. Development of action- the part in which the conflict deepens and becomes overgrown with details.

4. Climax - highest point plot development in which the conflict is maximally aggravated and requires immediate resolution.

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

6. Conclusion- a part that completes the work, provides additional information about the heroes of the work, draws the landscape, etc.

As an example, let us analyze the novel “Fathers and Sons” by Turgenev from the point of view of composition.

In order to determine the parts of the composition, it is necessary to determine the idea of ​​the novel, since the composition is nothing more than a consistent, logically substantiated proof of the idea of ​​the work.

The idea of ​​the novel is to debunk Bazarov’s “nihilistic doctrine” and the dogmatic hypocrisy of the generation of “fathers” represented by P. P. Kirsanov, contrasting them with true, “eternal” feelings (love, harmonious being, concern for the new generation, etc.), represented by the image of N . P. Kirsanov, as well as the love story of Bazarov for Odintsova and Pavel Petrovich for Fenechka. Bazarov's death is a natural result of the tragic contradiction into which his beliefs (nihilism) and inner human essence enter.

Based on this:

Exposition- N.P. Kirsanov and the old servant’s anticipation of Arkady’s arrival, a story about the Kirsanov estate, about the family’s past.

The beginning is the arrival of Bazarov, his unusual appearance and unusual behavior.

Development of action- verbal battles between Bazarov and Pavel Petrovich, meeting Sitnikov, Kukshina, a trip to Odintsova.

Climax- Bazarov’s explanation and Odintsova’s refusal.

Denouement- death of Bazarov.

Conclusion - a scene of a rural cemetery, Bazarov's parents at their son's grave, a narration about the further fate of the heroes of the novel - Arkady, Odintsova, Pavel Petrovich Kirsanov, etc.

Poetics of a work of art, figures of speech

Pathos(from the Greek pathos - suffering, inspiration, passion) - B.G. Belinsky viewed pathos as an “idea-passion” that the poet “contemplates not with reason, not with reason, not with feeling, but with all the fullness and integrity of his moral being.” In other words, this is the emotional orientation of the work (tragic, heroic pathos, satirical pathos, etc.).

Comparison- this is a figurative verbal expression in which the depicted phenomenon is likened to some other one according to some characteristic common to them in order to identify new, important properties in the object of comparison.

For example: “The poet’s eternal madness is like a fresh key among the ruins” (Vl. S. Solovyov), “Beautiful as a heavenly angel” (M. Yu. Lermontov).

Metaphor(from the Greek metaphora) - the transfer of the properties of one object (phenomenon or aspect of existence) to another, according to the principle of their similarity in some respect or contrast. Unlike comparison, in which both members of the comparison are present (for example, “Troubles grew like wings and separated from the earth” - B. L. Pasternak), metaphor is a hidden comparison in which the words “as”, “as if” ", "as if" are omitted, but implied.

For example: “Enchanted Stream” - V.A. Zhukovsky; “The Living Chariot of the Universe” - F. I. Tyutchev; “A disastrous fire of life” - A. A. Blok.

Epithet(from the Greek epiteton - letters, “attached”) - a figurative definition of an object (phenomenon), expressed mainly by an adjective, but also by an adverb, noun, numeral, verb. Unlike the usual logical definition, which distinguishes an object from many (for example, “quiet ringing”), an epithet highlights one of its properties in an object (“proud horse”), or transfers to one object the properties of another object (“living trace” ). For example, in folk poetry, the so-called “constant epithets” are common: good fellow, open field, beautiful maiden.

Personification- a type of epithet when the properties of the living are attributed to the properties of the inanimate (for example, “Frost the governor goes around his possessions on patrol” - N. A. Nekrasov, “Russia will awaken from sleep” - A. S. Pushkin, etc.).

Hyperbola(from the Greek hyperbole - exaggeration) - a stylistic figure, an artistic technique based on exaggerating certain properties of the depicted object or phenomenon. It is introduced into the work for greater expressiveness, characteristic of the poetics of epic folklore, the poetry of romanticism and the genre of satire (N.V. Gogol, M.E. Saltykov-Shchedrin, V.V. Mayakovsky).

For example, “And the mountain of bloody bodies prevented the cannonballs from flying” - M. Yu. Lermontov, “If the son is blacker than the night” - V. V. Mayakovsky.

Litotes- the concept opposite to hyperbole, i.e. excessive understatement (for example, “a little man as big as a fingernail” - N.A. Nekrasov, “This one, even though he is an inch tall, argues with a formidable bird” - V.V. Mayakovsky).

Metonymy(from the Greek metonumia - renaming) - metonymy is based on the principle of contiguity. Like metaphor, it follows from the ability of a word to have a kind of “doubling” (multiplication) of the nominative (denoting) function in speech. It represents the imposition of its direct meaning on the figurative meaning of a word. So in the phrase “I ate three plates” (I. A. Krylov), the word “plate” simultaneously means two phenomena - food and plate.

A type of metonymy is synecdoche(from the Greek synekdoche - letters, correlation) - a verbal device through which the whole is revealed through its part. For example: “Hey, beard! How do you get from here to Plyushkin?” (N.V. Gogol), “And you, blue uniforms...” (M. Yu. Lermontov).

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

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Composition of a work of art

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Vinogradov V.V. On the theory of artistic speech. - M., 1971, p. 49) The components of linguistic composition are word sequences. " Verbal sequence - this is a sequence (not necessarily continuous) of linguistic 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 the text.” (Gorshkov A.I. Russian stylistics. - M., 2001, p. 160)Language composition- this is a comparison, contrast and alternation of verbal series in a literary text.

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

Climax

Development Fall

Action Actions

Exposition Commencement Resolution Epilogue

Extra-plot elements

1.Description:

Scenery

Portrait

3.Inserted episodes

Strong text positions

1.Name.

2.Epigraph.

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

4.Words in rhyme of the poem.

Drama composition- organization of 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, nature and method of description, etc.) are important not in themselves, but as a reflection of the aesthetic program (thoughts, ideas) of the author, who selected the material and processed it in accordance with his understanding, attitude and assessment." (Kaida L. Compositional analysis of literary text. - M., 2000, p. 88)

V. Odintsov argued that “only after realizing general principle construction of the work, you 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 entire 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 an entire work precisely with reference points ... We will call the points of greatest reader tension the reference points of the composition... Analysis of the reference points is the key to understanding the logic of the composition, and therefore the entire internal logic of the work as a whole.” (Esin A.B. Principles and techniques for analyzing a literary work. - M., 2000, p. 51)

Composition anchor points

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

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

It is necessary to take into account variousgraphic highlights,repetitions of linguistic units 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 techniques for analyzing a literary work. - M., 2000, p. 150)

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

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

When studying composition, one should consider generic characteristics works. Compositional analysis of a poetic text may include, for example, operations.

Compositional analysis of poetic text

1. Stanzas and verses. Microtheme for each part.

2.Language composition. Key words, word series.

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

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

Compositional analysis of prose text

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

2. Reference points of the composition.

3.Repetitions and contrasts.

4.Composition techniques, their role.

5.Strong positions of the text.

6.Language composition. Key words, word series.

7.View and type of composition.

8. The role of the episode in the text.

9. Character image system.

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

11. Temporal organization of the text.

1. External architectonics. Acts, actions, phenomena.

2. Development of action in time and space.

3. The role of plot elements in the text.

4. The meaning of remarks.

5. The principle of grouping characters.

6.Stage and off-stage characters.

Analysis of an episode of prose text

What is an episode?

Assumption about the role of the episode in the work.

A condensed retelling of the fragment.

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

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

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

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

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

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

The role of the episode in the text

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

IPM – 3

Program

"The study of artistic composition

Works for literature lessons in grades 5 - 11"

Explanatory letter

Relevance of the problem

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

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

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

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

The way for children to acquire reading qualifications is through 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 an artistic image, to experience pleasure from perceiving the text, to want and be able to create their own interpretations of a literary text.

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

Goal and tasks

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

• Know the concepts of “composition”, “compositional techniques”, “types of composition”, “types of composition”, “linguistic composition”, “compositional forms”, “reference points of composition”, “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”.
• Be able to perform compositional analysis of prose text, poetic text, dramatic text.

5th grade

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

Verse and stanza.

Strong text positions: title, epigraph.

Text outline, microtheme.

Compositional techniques: repetition, opposition.

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

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

"Propp's Maps"

1. Absence of any family member.

3. Violation of the ban.

4. Scouting.

5.Issuance.

6. The catch.

7. Involuntary complicity.

8. Sabotage (or shortage).

9.Mediation.

10. Beginning counteraction.

11. The hero leaves the house.

12.The donor tests the hero.

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

14. Obtaining a magic remedy.

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

16. The hero and antagonist enter into a fight.

17. The hero is marked.

18. The antagonist is defeated.

19.The trouble or shortage is eliminated.

20. Return of the hero.

21. The hero is persecuted.

22. The hero escapes from persecution.

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

24. A false hero makes unreasonable claims.

25. The hero is offered a difficult task.

26.The problem is being solved.

27. The hero is recognized.

28. The false hero or antagonist is exposed.

29. The hero is given a new look.

30. The enemy is punished.

31. The hero gets married.

The plot of a folk fairy tale

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

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

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

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

5.Falling action: tense moments.

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

Ways to invent stories (according to D. Rodari)

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

"Fantastic Hypothesis"

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

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

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

"Limerick"

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

The first line is the hero.

The second line is the character's description.

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

The fifth line is the final description of the hero.

Once upon a time there was an old marsh man,

A cantankerous and burdensome grandfather,

He sat on the deck,

Sang songs to the little frog,

Corrosive old man from the swamp.

E. Lear

Another variant of the limerick structure is possible.

The first line is the choice of the hero.

The second line is the actions of the hero.

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

The fifth line is the output.

The old grandfather lived in Granier,

He walked on tiptoes.

Everything is against him:

I'll laugh with you!

Yes, a wonderful old man lived in Granier.

D.Rodari

"Mystery"

Constructing a riddle

Let's choose any item.

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

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

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

The fourth operation is an attractive form of riddle.

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

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

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

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

Fourth operation.

He's on a white - white field

Leaves a black mark.

"Tales from the Inside Out"

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

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

"Continuation of the fairy tale"

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

"Salad from fairy tales"

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

"An old fairy tale in a new key"

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

"Character Material"

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

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

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

"Binomial of fantasy"

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

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

6th grade

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

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

Language composition: keywords.

Types of composition : ring, linear.

Plot elements: exposition, epilogue.

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

Plot outline : plot elements and extra-plot elements.

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

7th grade

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

Language composition: verbal thematic series.

Compositional techniques: gain.

Types of composition : mirror, retrospection.

First person narration. Third person narration.

Plot and plot.

Justify the role of the episode in the text.

In 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 relationship of components (landscape, portrait, interior), the grouping of characters are determined by the author’s attitude to events and characters.” (Snezhnevskaya M.A. Theory of literature in grades 4 - 6 of secondary school. - M., 1978, p. 103 - 104)

8th grade

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

Compositional techniques: antithesis, montage.

Types of composition: free.

Plot and motive.

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

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

9th grade

Types of composition: open, default.

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

Types of composition

Episode comparison.

Justify role of the episode in the text.

Subject of speech : point of view bearer.

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

Language compositionas comparison, contrast, alternation of verbal series.

Composition of worksclassicism, sentimentalism, romanticism, realism.

Compositional analysis of dramatic text

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

10 – 11 grades

Deepening the concept of composition.

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

Compositional forms: narration, description, characterization.

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

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

Strong text positions: title, epigraph,

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

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

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

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

Composition of worksrealism, neorealism, modernism, postmodernism.

Compositional analysis of prose text.

Compositional analysis of poetic text.

Compositional analysis of dramatic text.

IPM – 4

System of methodological techniques for teaching composition

Analysis of a work of art.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

During the lessons you can use different forms of working with “Propp cards”: compose a fairy tale based on the proposed situations, create a formula for a fairy tale, create a formula for a fairy tale, give examples of functions from fairy tales, compare sets of fairy tale situations in different fairy tales. (IPM – 8).

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

Summary

Methodical techniques

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

1.External plot.

2. Fiction and reality.

3.Nature and man.

4. Peace and man.

5 people.

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

IPM – 5

Subject

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

Whispers, timid breathing,

The trill of a nightingale,

Silver and sway

Sleepy stream,

Night light, night shadows,

Endless shadows

Row magical changes

Sweet face

There are purple roses in the smoky clouds,

Gleam of amber

And kisses and tears;

And dawn, dawn!

1850

I. Perception of the poem.

What seemed unusual in the text?

What's not clear?

What did you see?

What did you hear?

How did you feel?

What is unusual in terms of syntax?

The poem consists of one exclamatory sentence.

What is unusual in terms of morphology?

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

II. Linguistic composition of the text.

What nouns refer to nature?

What nouns indicate the state of a person?

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

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

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

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

III. Compositional analysis.

First stanza

What is the microtheme?

A date between lovers in the evening by the stream.

What colors? Why?

Dim colors.

What sounds? Why?

Whisper, sway.

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

Second stanza

What is it about?

The night that lovers spend.

What sounds?

Silence.

What colors? Why?

No color definitions.

What is the role of epithets?

Third stanza

What is the microtheme?

Morning, separation of lovers.

What colors? Why?

Bright colors..

What sounds? Why?

Tears, kisses.

What is the role of artistic expression?

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

IV. Time and action.

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

Most nouns contain movement - trills, swaying.

What is the timing characteristic?

Evening, night, morning.

V. Rhythmic pattern of the poem.

Work in pairs or groups.

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

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

VI. Features of the composition of the poem.

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

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

Literature

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

IPM – 6

Summary of a literature lesson in 9th grade

Subject

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

I. Individual task.

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

II. Two views on Chekhov's heroine.

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

M. Gorky: “ Here Darling scurries anxiously, like a gray mouse, a sweet, meek woman who knows how to love so slavishly and so much. You can hit her on the cheek, and she won’t even dare to moan loudly, meek slave.”

Whose side are you on? Why?

III. Checking homework.

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

1 group. Story outline compositional techniques.

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

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

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

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

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

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

The heroine of the story is deprived of the ability to make independent choices life position, uses other people's self-definitions. Chekhov's irony develops into sarcasm.

V. Conclusions.

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

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

Bibliography.

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

Application

Composition

Language composition

Compositional techniques

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

Strong positions of the text.

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

Main types of composition

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

Plot elements

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

1. The meaning of the title of the work.

IPM – 7

Summary of a literature lesson in 10th grade

Subject

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

Goals:

1. Cognitive:

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

2. Developmental:

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

Equipment

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

Preparing for the lesson

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

During the classes

I. Motivation for cognitive activity.

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

II. Goal setting.

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

III. Updating what has been learned.

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

2. Checking homework.

Reading and discussing story plans.

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

Chapter 2 Love (?) and separation.

Chapter 3 Meeting of heroes in the city of S.

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

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

IV. Formation of skills in compositional text analysis.

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

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

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

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

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

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

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

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

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

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

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

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

V. Reflection.

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

VI. Homework.

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

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

Bibliography.

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

Application

Composition

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

Language composition

Comparison or contrast of verbal series.

Compositional techniques

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

Strong positions of the text.

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

Scheme of compositional analysis of prose text

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

IPM – 8

Bibliography

1. Lazareva V.A. Principles and technology of literary education for schoolchildren. Article one. – Literature at school, 1996, No. 1.
2. Collection of normative documents. Literature. Federal component of the state standard. – M., 2004.
3. Lavlinsky S.P. Technology of literary education. Communicative-activity approach. – M., 2003.
4. Loseva L.M. How the text is constructed. – M., 1980.
5. Moskalskaya O.I. Text grammar. – M., 1981.
6. Ippolitova N.A. Text in the system of studying the Russian language at school. – M., 1992.
7. Vinogradov V.V. On the theory of artistic speech. – M., 1971.
8. Russian writers about literary work. – L., 1956, vol.IV.
9. Uspensky B. Poetics of composition. – St. Petersburg, 2000.
10. Tamarchenko N.D., Tyupa V.I., Broitman S.N. Theory of literature. In 2 volumes. – M., 2004, vol. 1.
11. Kozhinov V.V. Plot, plot, composition. – In the book: Theory of Literature. - M., 1964.
12. Esin A.B. Principles and techniques of analyzing a literary work. – M., 2000.
13. Khalizev V.E. Theory of literature. – M., 2005.
14. Nikolina N.A. Philological analysis of the text. – M., 2003.
15. Great Soviet Encyclopedia - M., 1973. T.12. Article 1765.-p.293.
16. Eisenstein S. Selected works. In 6 T. T.3. - M., 1956.
17. Gorshkov A.I. Russian stylistics. – M., 2001.
18. Kaida L. Compositional analysis of literary text. – M., 2000.
19. Odintsov V. Stylistics of the text. – M., 1980.
20. Bogdanova O.Yu., Leonov S.A., Chertov V.F. Methods of teaching literature. – M., 2002.
21. Snezhnevskaya M.A. Theory of literature in grades 4–6 of secondary school. – M., 1978.
22. Belenky G., Snezhnevskaya M. Studying the theory of literature in secondary school. – M., 1983.
23. Golubkov V. Methods of teaching literature. – M., 1962.
24. Rybnikova M. Essays on the methodology of literary reading. – M., 1985.
25. Motolskaya D. Study of the composition of a literary work. – In the book: Questions of studying the craft of writers in literature lessons in grades VIII – X, L., 1957.
26. Sorokin V. Analysis of a literary work in secondary school. – M., 1955.
27. Rodari D. Grammar of fantasy. An introduction to the art of storytelling. – M., 1978.
28. Sipinev Yu., Sipineva I. Russian culture and literature. – S.-P., 1994.
29. Fundamentals of literary criticism. Ed. V. Meshcheryakova. – M., 2003.

30. Galperin I.R. Text as an object of linguistic research. – M., 1981.

31.Gadamer G.G. The relevance of beauty. – M., 1991.

32. Linguistics and poetics. – M., 1979.

33. Zhinkin N.I. Speech as a conductor of information. – M., 1982.

34. Zarubina N.D. Text. – M., 1981.

35. Turaeva Z.Ya. Linguistics of text. – M., 1986.

36. Wells G. Understanding the text. – Questions of psychology, 1996, No. 6.

37. Muchnik B.S. Man and text. – M., 1985.

38. Ricoeur P. Conflict of interpretation. Essays on hermeneutics. – M., 1995.

39. Granik G.G., Soboleva O.V. Understanding the text: earthly and cosmic problems. – Questions of psychology, 1993, No. 5.

40. Soboleva O. On understanding a mini-text. – Questions of psychology, 1995, No. 1.

41.Granik G.G., Kontsevaya L.A., Bondarenko S.M. On the implementation of patterns of understanding in educational texts. – In the book: Problems of a school textbook. Issue 20. M., 1991.

42. Bakhtin M.M. Aesthetics of verbal creativity. – M., 1979.

43. Granik G., Bondarenko S.M., Kontsevaya L.A. When a book teaches. – M., 1988.

44.Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach schoolchildren to read thoughtfully. – Education of schoolchildren, 1991, No. 5, 6, 1992, No. 5-6.

45.Granik G., Bondarenko S.M., Kontsevaya L.A. How to teach to work with a book. – M., 1995.

46. ​​Granik G.G. The role of attitude in the process of text perception. – Questions of psychology, 1993, No. 2.

47.Granik G.G. Study of the reading position of schoolchildren. – Questions of psychology, 1994, No. 5.

48.Granik G.G. Schoolchildren's perception of literary text. – Questions of psychology, 1996, No. 3.

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50.Granik G.G. and others. Literature. Learning to understand literary text. Problem book - workshop. – M., 2001.

Composition of a work of art

Composition- this is the construction of all elements and parts of a work of art in accordance with the author’s intention (in a certain proportion, sequence; compositionally designed figurative system characters, space and time, sequence of events in the plot).

Compositional and plot parts of a literary work

Prologue- what led to the emergence of the plot, previous events (not in all works).
Exposition- designation of the original space, time, heroes.
The beginning- events that give development to the plot.
Development of action- development of the plot from beginning to climax.
Climax- the moment of the highest tension of the plot action, after which it moves towards the denouement.
Denouement- termination of action in a given conflict area when contradictions are resolved or removed.
Epilogue- "announcement" further developments, summing up.

Composition elements

Compositional elements include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of “publishers” (created by the author’s imagination of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (Oblomov’s dream in Goncharov’s novel “Oblomov”, letters from Tatyana to Onegin and Onegin to Tatyana in Pushkin’s novel “Eugene Onegin”); all artistic descriptions (portraits, landscapes, interiors).

Compositional techniques

Repeat (refrain)- the use of the same elements (parts) of the text (in poems - the same verses):
Protect me, my talisman,
Keep me in the days of persecution,
In days of repentance and excitement:
You were given to me on the day of sorrow.
When the ocean rises
The waves are roaring around me,
When the clouds burst into thunder -
Protect me, my talisman...
(A.S. Pushkin “Keep Me, My Talisman”)

Depending on the position, frequency of appearance and autonomy, the following compositional techniques are distinguished:
Anaphora- repeat at the beginning of the line:
Past the lists, temples,
past temples and bars,
past gorgeous cemeteries,
past the big markets...
(I. Brodsky “Pilgrims”)

Epiphora- repeat at the end of the line:
My horse, don’t touch the earth,
Don’t touch my star’s forehead,
Don't touch my sigh, don't touch my lips,
The rider is a horse, the finger is a palm.
(M. Tsvetaeva “The Khan is full”)

Simploca- the next part of the work begins in the same way as the previous one (usually found in folklore works or stylizations):
He fell on the cold snow
On the cold snow, like a pine
(M.Yu. Lermontov “Song about Tsar Ivan Vasilyevich ...”)

Antithesis- opposition (works at all levels of text from symbol to character):
I swear by the first day of creation,
I swear by his last day.
(M.Yu. Lermontov “Demon”)
They got along. Wave and stone
Poetry and prose, ice and fire...
(A.S. Pushkin “Eugene Onegin”)

Compositional techniques related with time shifts(combination of time layers, retro jump, insert):

Retardation- stretching a unit of time, slowing down, braking.

Retrospection- returning the action to the past, when the reasons for the narrative taking place at the present moment were laid (the story about Pavel Petrovich Kirsanov - I.S. Turgenev “Fathers and Sons”; the story about Asya’s childhood - I.S. Turgenev “Asya”).

Changing “points of view”- a narration about one event from the point of view of different characters, character and narrator (M.Yu. Lermontov “Hero of Our Time”, F.M. Dostoevsky “Poor People”).

Parallelism- the arrangement of identical or similar in grammatical and semantic structure of speech elements in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words.
Your mind is as deep as the sea
Your spirit is as high as the mountains
(V. Bryusov “Chinese poems”)
An example of compositional parallelism in a prose text is the work of N.V. Gogol "Nevsky Prospekt".

Main types of composition

1. Linear composition: natural time sequence.
2. Inversion (retrospective) composition: reverse chronological order.
3. Ring composition: repetition of the initial moment in the finale of the work.
4. Concentric composition: plot spiral, repetition of similar events as the action progresses.
5. Mirror composition: combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite.