What is the name of a means of characterizing a character that is based on a description of his appearance (“He looked about forty-five years old...”)?
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.
It’s really not bad to eat,” Bazarov noted, stretching, and sank onto the sofa.
Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady’s handle and, bowing to the guest, retreated to the door and put his hands behind his back.
Here he is, Prokofich,” Nikolai Petrovich began, “he finally came to us... What? how do you find it?
“In the best possible way, sir,” said the old man and grinned again, but immediately frowned his thick eyebrows. - Would you like to set the table? - he said impressively.
Yes, yes, please. But won’t you go to your room first, Evgeny Vasilich?
No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.
Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your room for a minute?
“Yes, we need to clean ourselves,” Arkady answered and headed towards the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took his beautiful hand with long pink nails from the pocket of his trousers - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and gave it to his nephew. Having previously performed the European “shake hands,” he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.
“I already thought that you wouldn’t come today,” he spoke in a pleasant voice, swaying courteously, twitching his shoulders and showing his beautiful white teeth. - Did something happen on the road?
“Nothing happened,” answered Arkady, “so, we hesitated a little.”
I. S. Turgenev “Fathers and Sons”
Name the literary direction in which the work of I. S. Turgenev developed and the principles of which were embodied in “Fathers and Sons”.
Explanation.
Realism - from the Latin realis - real. The main feature of realism is considered to be a truthful depiction of reality. The definition given by F. Engels: “... realism presupposes, in addition to the truthfulness of details, the truthful reproduction of typical characters in typical circumstances.”
Answer: realism.
Answer: realism | critical realism
What genre does I. S. Turgenev’s work “Fathers and Sons” belong to?
Explanation.
A novel is a genre of narrative literature that reveals the history of several, sometimes many, human destinies over a long period of time, sometimes entire generations.
Answer: novel.
Answer: novel
Source: Demo version of the Unified State Exam 2014 in literature.
Establish a correspondence between the characters appearing in this fragment and their future fate. For each position in the first column, select the corresponding position from the second column.
Write down the numbers in your answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
Yevgeny Bazarov at the end of the novel dies from a serious illness.
Nikolai Kirsanov marries Fenechka, that is, makes her his legal wife.
Pavel Kirsanov is wounded in a duel with Bazarov.
The examination paper on literature consists of 3 parts.
- Part 1 includes an analysis of a fragment of an epic, or lyric epic, or dramatic work: 7 short-answer tasks (B1-B7), requiring the writing of a word, or a combination of words, or a sequence of numbers, and 2 tasks with a detailed answer (C1-C2) , in the amount of 5-10 sentences.
- Part 2 includes an analysis of the lyrical work: 5 tasks with a short answer (B8-B12) and 2 tasks with a detailed answer in the amount of 5-10 sentences (C3-C4). When completing tasks C1-C4, try to formulate a direct, coherent answer to the question posed, avoiding lengthy introductions and characteristics, observing the norms of speech. The indication of the volume of detailed answers in parts 1 and 2 is conditional; The assessment of the answer depends on its content.
- Part 3 includes 3 tasks, from which you need to choose only ONE and give a detailed, reasoned answer to it in the genre of an essay on a literary topic of at least 200 words.
When completing tasks with a detailed answer, rely on the author’s position, formulate your point of view, use theoretical and literary concepts to analyze the work.
The duration of the Unified State Examination in literature is 4 hours (240 minutes). We recommend spending no more than 2 hours to complete the tasks of parts 1 and 2, and 2 hours for part 3.
Answers on Unified State Exam forms are written clearly and legibly in bright black ink. You can use gel, capillary or fountain pens.
When completing assignments, you can use a draft, but the entries in it will not be taken into account when grading the work.
We advise you to complete the tasks in the order in which they are given. To save time, skip a task that you cannot complete immediately and move on to the next one. If you have time left after completing all the work, you can return to the missed tasks.
The points you receive for completed tasks are summed up. Try to complete as many tasks as possible and score the most points.
Part 1
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
“Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.
“It’s really not bad to eat,” Bazarov remarked, stretching, and sank down onto the sofa.
- Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty entered, white-haired, thin and dark, wearing a brown tailcoat with copper buttons and a pink scarf around his neck. He grinned, walked up to Arkady's handle and, bowing to his guest, retreated to the door and put his hands behind his back.
“Here he is, Prokofich,” began Nikolai Petrovich, “he has finally come to us... What? how do you find it?
“In the best possible way, sir,” said the old man and grinned again, but immediately frowned his thick eyebrows. - Would you like to set the table? - he said impressively.
- Yes, yes, please. But won’t you go to your room first, Evgeny Vasilich?
- No, thank you, there is no need. Just order my suitcase to be stolen there and these clothes,” he added, taking off his robe.
- Very good. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov’s “clothes” with both hands and, raising it high above his head, walked away on tiptoe.) And you, Arkady, will you go to your room for a minute?
“Yes, we need to clean ourselves,” answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather ankle boots, Pavel Petrovich Kirsanov, entered the living room. He looked about forty-five years old: his short-cropped gray hair shone with a dark shine, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn by a thin and light incisor, showed traces of remarkable beauty; The light, black, oblong eyes were especially beautiful. The whole appearance of Arkady's uncle, graceful and thoroughbred, retained youthful harmony and that desire upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took his beautiful hand with long pink nails from the pocket of his trousers - a hand that seemed even more beautiful from the snowy whiteness of the sleeve, fastened with a single large opal, and gave it to his nephew. Having previously performed the European “shake hands,” he kissed him three times, in Russian, that is, touched his cheeks with his fragrant mustache three times, and said: “Welcome.”
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible figure and smiled slightly, but did not offer his hand and even put it back in his pocket.
“I already thought that you wouldn’t come today,” he spoke in a pleasant voice, swaying courteously, twitching his shoulders and showing his beautiful white teeth. - Did something happen on the road?
“Nothing happened,” answered Arkady, “so, we hesitated a little.”
(I.S. Turgenev, “Fathers and Sons.”)
The answer to tasks B1-B7 is a word, or a phrase, or a sequence of numbers. Enter the answers first into the text of the work, and then transfer them to answer form No. 1 to the right of the number of the corresponding task, starting from the first cell, without spaces, commas or other additional characters. Write each letter (number) in a separate box in accordance with the samples given in the form.
Q1 Name the literary direction in which the work of I.S. developed. Turgenev and whose principles were embodied in “Fathers and Sons”.
Q2 What genre does the work of I.S. belong to? Turgenev "Fathers and Sons"?
Answer: ___________________________.
Q3 What is the name of a means of characterizing a character that is based on a description of his appearance (“He looked about forty-five years old...”)?
Answer: ___________________________.
Q4 Establish a correspondence between the characters appearing in this fragment and their future fate.
For each position in the first column, select the corresponding position from the second column.
Write down your answer in numbers in the table and transfer it to answer form No. 1.
| A | B | IN |
Q5 What is the name of a significant detail that is a means of artistic characterization (for example, Bazarov’s robe and Pavel Petrovich’s English suite noted by the author)?
Answer: ___________________________.
B6 Senior Kirsanov and Bazarov are presented in opposition from the first pages of the work. What is the name of the technique of sharp contrast used in a work of art?
Answer: ___________________________.
Q7 At the beginning of the above fragment, the characters communicate with each other, exchanging remarks. What is this type of speech called?
Answer: ___________________________.
To complete tasks C1 and C2, use answer form No. 2. First write down the task number, and then give a direct, coherent answer to the question (approximate volume - 5-10 sentences).
Rely on the author’s position and, if necessary, express your point of view. Justify your answer based on the text of the work.
When completing task C2, give at least two comparison positions (a comparison position is considered to indicate the author and title of the work of art with the obligatory justification for your choice; you can give two works of the same author as comparison positions, with the exception of the author whose work is considered in the task).
C1 How is the main conflict of the work outlined in this episode of Fathers and Sons?
C2 Which works of Russian classics depict the conflict between representatives of different generations, and in what ways can these works be compared with Turgenev’s “Fathers and Sons”?
Part 2
Read the work below and complete tasks B8-B12; C3, C4.
Again, like in the golden years,
Three worn out harnesses flutter,
And the painted knitting needles knit
Into loose ruts...
Russia, poor Russia,
I want your gray huts,
Your songs are windy to me -
Like the first tears of love!
I don't know how to feel sorry for you
And I carefully carry my cross...
Which sorcerer do you want?
Give me your robber beauty!
Let him lure and deceive, -
You won’t be lost, you won’t perish,
And only care will cloud
Your beautiful features...
Well then? One more concern -
The river is noisier with one tear,
And you are still the same - forest and field,
Yes, the patterned board goes up to the eyebrows...
And the impossible is possible
The long road is easy
When the road flashes in the distance
An instant glance from under a scarf,
When it rings with guarded melancholy
The dull song of the coachman!..
(A.A. Blok, 1908)
The answer to tasks B8-B12 is a word, or a phrase, or a sequence of numbers. Enter the answers first into the text of the work, and then transfer them to answer form No. 1 to the right of the number of the corresponding task, starting from the first cell, without spaces, commas or other additional characters. Write each letter (number) in a separate box in accordance with the samples given in the form.
B8 Name the modernist poetic movement of the early 20th century, one of the prominent representatives of which was A.A. Block.
Answer: ___________________________.
B9 Indicate the number of the stanza (ordinal number in the nominative case) in which the poet uses anaphora.
Answer: ___________________________.
B10 Indicate the technique the author resorts to in the lines:
I want your gray huts,
Your songs are windy to me -
Like the first tears of love!
Answer: ___________________________.
B11 From the list below, select three names of artistic means and techniques used by the poet in the fourth stanza of this poem.
1) hyperbole
2) inversion
3) irony
4) epithet
5) sound recording
Enter the corresponding numbers in the table in ascending order and transfer them to answer form No. 1.
B12 Indicate the size in which A.A.’s poem is written. Block “Russia” (without indicating the number of stops).
Answer: ___________________________.
To complete tasks C3 and C4, use answer form No. 2.
First write down the number of the task, and then give a direct, coherent answer to the question (approximate volume - 5-10 sentences).
Rely on the author’s position and, if necessary, express your point of view. Justify your answer based on the text of the work. When completing task C4, give at least two comparison positions (a comparison position is considered to indicate the author and title of the work of art with the obligatory justification for your choice; you can give two works of the same author as comparison positions, with the exception of the author whose work is considered in the task).
Write down your answers clearly and legibly, following the rules of speech.
C3 What feeling is imbued with the poet’s appeal to Russia?
C4 In what works of Russian poets is the image of Russia created and what are their similarities and differences with the poem by A.A. Blok?
Part 3
To complete the task of part 3, choose only ONE of the proposed essay topics (C5.1, C5.2, C5.3).
In answer form No. 2, indicate the number of the topic you have chosen, and then write an essay on this topic in a volume of at least 200 words (if the essay is less than 150 words, then it is scored 0 points).
Rely on the author's position and formulate your point of view. Argument your theses based on literary works (in an essay on lyrics, you must analyze at least three poems).
Use literary theoretical concepts to analyze the work.
Think over the composition of your essay.
Write your essay clearly and legibly, observing the norms of speech.
C5.1 As in the poem by M.Yu. Lermontov's "Mtsyri" reflects the clash of dreams with reality?
C5.2 What is the meaning of comparing the images of Katerina and Varvara? (Based on the play “The Thunderstorm” by A.N. Ostrovsky.)
C5.3 As in the prose of M.A. Bulgakov reveals the theme of a person’s moral choice? (Based on the novel “The White Guard” or “The Master and Margarita.”)
Evaluation system for examination work in literature
For the correct answer to tasks B1-B12, 1 point is given, for an incorrect answer or no answer - 0 points.
Answers to tasks B1-B12
| Job No. | Answer |
| B1 | realism |
| B2 | novel |
| B3 | portrait |
| B4 | 341 |
| B5 | detail |
| B6 | antithesis<или>contrast |
| B7 | dialogue |
| B8 | symbolism |
| B9 | sixth |
| B10 | comparison |
| B11 | 245 |
| B12 | iambic |
Criteria for checking and assessing the completion of tasks with a detailed answer
Assessment of the completion of tasks C1 and C3, which require writing a detailed answer in the amount of 5-10 sentences
The indication of volume is conditional; the assessment of the answer depends on its content (if there is deep knowledge, the examinee can answer in a larger volume; with the ability to accurately formulate his thoughts, the examinee can answer quite fully in a smaller volume).
| Criteria | Points |
Inclusion of the work in a literary context and persuasiveness of arguments | |
a) the examinee answers the question based on the author’s position, indicates the names of two works and their authors*, and convincingly justifies the choice of each work; | 4 |
b) the examinee answers the question based on the author’s position, indicates the names of two works and their authors, | 3 |
c) the examinee answers the question based on the author’s position; | 2 |
d) the examinee, when answering the question, does not rely on the author’s position, | 1 |
e) the examinee does not answer the question, or gives an answer that is not meaningfully related to the task and is not based on the author’s position; | 0 |
| Maximum score | 4 |
*It is acceptable to indicate two works by the same author, with the exception of the author whose work is considered in the assignment.
Assessment of the completion of tasks C5.1, C5.2, C5.3,
requiring writing a detailed, reasoned answer in the genre
essays of at least 200 words
Among the five criteria by which an essay is assessed, the first criterion (content aspect) is the main one. If, when checking the work, the expert gives 0 points according to the first criterion, the task of part 3 is considered unfulfilled and is not checked further. For four others (2, 3, 4, 5) in the “Protocol for checking answers to tasks” of form No. 2, 0 points are given.
The score for the first position of the assessment of the assignment of part 3 is put in column 7 of the protocol, for the second position - in column 8, for the third - in column 9, for the fourth - in column 10, for the fifth - in column 11.
When assessing the completion of tasks in Part 3, you should take into account the volume of the written essay. A minimum length of 200 words is recommended for examinees. If the essay contains less than 150 words (the word count includes all words, including function words), then such work is considered incomplete and is scored 0 points.
When the essay is from 150 to 200 words, the maximum number of errors for each point level does not change.
| Criterion | Points |
| 1. The depth of the judgments made and the persuasiveness of the arguments | |
a) the examinee gives a direct, coherent answer to the question, based on the author’s position, and, if necessary, formulates his point of view; convincingly substantiates his theses, confirms his thoughts with text, does not replace analysis with retelling of the text; there are no factual errors or inaccuracies; | 3 |
b) the examinee gives a direct, coherent answer to the question, relying on the author’s position, formulates his point of view if necessary, and does not replace analysis with a retelling of the text, | 2 |
c) the examinee understands the essence of the question, | 1 |
d) the examinee does not cope with the task: | 0 |
| 2. Level of proficiency in theoretical and literary concepts | |
| a) the examinee uses theoretical and literary concepts to analyze the work; there are no errors or inaccuracies in the use of concepts | 2 |
b) the examinee includes theoretical and literary concepts in the text of the essay, | 1 |
c) the examinee does not use theoretical and literary concepts; | 0 |
| 3. Validity of using the text of the work | |
a) the text of the work in question is used in a diverse and reasonable manner (quotes with comments to them, a brief retelling of the content necessary to prove judgments, reference to micro-themes of the text and their interpretation, various kinds of references to what is depicted in the work, etc.) | 3 |
b) the text is used in many ways, | 2 |
| c) the text is used only as a retelling of what is depicted | 1 |
| d) the text is not used, judgments are not substantiated by the text | 0 |
| 4. Compositional integrity and consistency of presentation | |
a) the essay is characterized by compositional integrity, its parts are logically connected, there are no violations of sequence or unreasonable repetitions within the semantic parts | 3 |
b) the composition is characterized by compositional integrity, its parts are logically interconnected, | 2 |
c) the compositional idea can be traced in the essay, | 1 |
d) there is no compositional intent in the essay, there are gross violations of the sequence of parts of the statement, which significantly complicates understanding the meaning of the essay | 0 |
| 5. Following speech norms | |
| a) there are no speech errors, or 1 speech error was made; | 3 |
| b) 2-3 speech errors were made; | 2 |
| c) 4 speech errors were made; | 1 |
d) the number of speech errors made significantly complicates understanding the meaning of the statement (5 or more speech errors were made) | 0 |
| Maximum score | 14 |
1. Portrait- image of the hero’s appearance. As noted, this is one of the techniques for character individualization. Through a portrait, the writer often reveals the inner world of the hero, the features of his character. In literature, there are two types of portraits - unfolded and torn. The first is a detailed description of the hero’s appearance (Gogol, Turgenev, Goncharov, etc.), the second is that as the character develops, characteristic details of the portrait are highlighted (L. Tolstoy, etc.). L. Tolstoy categorically objected to a detailed description, considering it static and unmemorable. Meanwhile, creative practice confirms the effectiveness of this form of portraiture. Sometimes an idea of the hero’s external appearance is created without portrait sketches, but with the help of a deep disclosure of the hero’s inner world, when the reader, as it were, completes the picture himself. “So, in Pushkin’s romance “Eugene Onegin” nothing is said about the color of the eyes or stripes of Onegin and Tatiana, but the reader imagines them as alive.
2. Actions. As in life, the character of a hero is revealed primarily in what he does, in his actions. The plot of the work is a chain of events in which the characters' characters are revealed. A person is judged not by what he says about himself, but by his behavior.
3. Individualization of speech. This is also one of the most important means of revealing the character of the hero, since in speech a person fully reveals himself. In ancient times there was an aphorism: “Speak so that I can see you.” The speech gives an idea of the hero’s social status, his character, education, profession, temperament and much more. The talent of a prose writer is determined by the ability to reveal the hero through his speech. All Russian classic writers are distinguished by the art of individualizing the speech of characters.
4. Biography of the hero. In a work of fiction, the hero’s life is depicted, as a rule, over a certain period. In order to reveal the origins of certain character traits, the writer often provides biographical information related to his past. Thus, in I. Goncharov’s novel “Oblomov” there is a chapter “Oblomov’s Dream,” which tells about the hero’s childhood, and it becomes clear to the reader why Ilya Ilyich grew up lazy and completely unadapted to life. Biographical information important for understanding Chichikov’s character is given by N. Gogol in the novel “Dead Souls”.
5. Author's description. The author of the work acts as an omniscient commentator. He comments not only on events, but also on what is happening in the spiritual world of the heroes. The author of a dramatic work cannot use this means, since his direct presence does not correspond to the peculiarities of dramaturgy (his stage directions are partially fulfilled).
6. Characteristics of the hero by other characters. This tool is widely used by writers.
7. Hero's worldview. Each person has his own view of the world, his own attitude towards life and people, so the writer, to complete the characterization of the hero, illuminates his worldview. A typical example is Bazarov in I. Turgenev’s novel “Fathers and Sons,” expressing his nihilistic views.
8. Habits, manners. Each person has his own habits and manners that shed light on his personal qualities. The habit of teacher Belikov from A. Chekhov’s story “The Man in a Case” to carry an umbrella and galoshes in any weather, guided by the principle “no matter what happens,” characterizes him as a hardened conservative.
9. The hero's attitude towards nature. By how a person relates to nature, to “our smaller brothers” animals, one can judge his character, his humanistic essence. For Bazarov, nature is “not a temple, but a workshop, and a person is a worker.” The peasant Kalinich has a different attitude towards nature (“Khor and Kalinich” by I. Turgenev).
10. Property characteristics. The caves surrounding a person give an idea of his material wealth, profession, aesthetic taste and much more. Therefore, writers widely use this tool, attaching great importance to the so-called artistic details. So, in the living room of landowner Manilov (“Dead Souls” by N. Gogol), the furniture has been standing unpacked for several years, and on the table there is a book, open for the same number of years on page 14.
11.Psychological analysis tools: dreams, letters, diaries, revealing the hero’s inner world. Tatyana's dream, letters from Tatyana and Onegin in A.S. Pushkin's novel “Eugene Onegin” help the reader understand the inner state of the characters.
12. Meaningful (creative) surname. Often, to characterize characters, writers use surnames or given names that correspond to the essence of their characters. Great masters of creating such surnames in Russian literature were N. Gogol, M. Saltykov-Shchedrin, A. Chekhov. Many of these surnames became household names: Derzhimorda, Prishibeev, Derunov, etc.
Reviewers: Stepanova T.M. – Doctor of Philology, Professor
Kuznetsova L.N. – teacher of Russian language and literature,
The textbook is addressed to high school students to prepare for the Unified State Exam
and contains material tested by the exam.
Training materials can also be used in organizing
additional classes outside of school hours, focused on deepening
lenient study of literature.
Section 1.
This textbook is intended to form a circle of knowledge and to develop the skills of students. Schoolchildren should have an understanding of the basic theoretical, literary and aesthetic categories and concepts necessary for analyzing a literary work.
The purpose of the manual is to develop the skills and abilities of philological analysis of a literary work acquired in primary school and expanded in high school.
We hope that this form of work, such as analysis of a portrait and its role, will help you master the skills of analyzing a work from a certain angle.
Information on the theory and history of literature and art
1.1 Portrait – lexical meaning, role in literature
Portrait (fr. Portrait) – a pictorial, sculptural, photographic or any other image of a certain person. (Dictionary of Foreign Words, 1988).
Portrait - 1.Image of a person in a painting, photograph, or sculpture. 2.trans. Artistic depiction, image of a literary hero. (S.I. Ozhegov and N.Yu. Shvedova. Explanatory dictionary of the Russian language, 1995).
Portrait (from fr. Portrait– portrait, image) in literary
work - an image of the hero’s appearance: his face, figure, clothes, demeanor.
The nature of the portrait and, consequently, its role in the work can be very diverse. In literature, a psychological portrait is more common, in which the author, through the appearance of the hero, seeks to reveal his inner world, his character. (Dictionary of literary terms, 1974).
The word “portrait” in relation to a literary work has two meanings.
Portrait – image of a person’s external appearance (his physical characteristics, demeanor, clothing, facial expressions, pantomimes), in order to reveal the character, psychological state of the hero, in order to create him
image.
In a different meaningliterary portrait – This is one of the genres of documentary literature, the main task of which is to create an image of an interesting personality. An example would be literary portraits
1.2 Development of the concept of “portrait” in literature
A person’s appearance speaks volumes – about his age, nationality, social status, tastes, habits, even about his temperament and character. Some features are natural; others characterize it as a social phenomenon (clothing and the way to wear it, manner of holding, speaking). Still others - facial expression, especially the eyes, facial expressions, gestures, postures - indicate the feelings being experienced. The evolution of figurativeness in literature can be described as a gradual transition from the abstract to the concrete and unique.
In ancient and medieval literature prevailedconventional portrait form with its characteristic static description. The character's appearance was depicted at the beginning of the work, and the author, as a rule, never returned to it. No matter what the characters had to endure during the course of the plot, outwardly they remained unchanged. A characteristic feature of the conventional description of appearance is the listing of emotions that the characters evoke in others or the narrator. The portrait is given against the background nature. In the literature of sentimentalism, the background became a flowering meadow or field, the bank of a river or pond. Romantics will prefer forests and mountains to meadows, and a stormy sea to a calm river,
native nature - exotic.
The literature of the 19th century presented a variety of ways and forms of drawing the appearance of characters. There are two main types of portraits: those that tend to be staticexpositional portrait and dynamic. Exhibition portrait based on a detailed listing of the details of the face, figure, clothing, and individual gestures. A more complex modification of an exposure portrait -psychological portrait , in which external features predominate, indicating the properties of character and inner world.
We find another type of realistic portrait in the works of writers of the second half of the 19th century, whose heroes are involved in the dynamic process of life (the heroes of Turgenev, Goncharov, Tolstoy, Dostoevsky). A detailed listing of a character's traits gives way to brief, expressive details that emerge as the story progresses. A laconic prototype of such a portrait is given by the prose of A.S. Pushkin.
Thus, the general evolution of the image of the “external” person in literature can be represented as a movement fromconventional portrait classicism, throughportrait-characteristic - To portrait as a means of penetration into the world of feelings and consciousness of a unique personality.
Portrait painting
Portrait - walk
Portrait - type
Costume portrait
Allegorical
Mythological
Historical
Family
Self-portrait
Religious
By the nature of the image artistic portraits are divided into:
Ceremonial portrait
Half-dress
Coronation (less common throne)
Equestrian
Military (in the form of a commander)
Chamber
Intimate
Small format and miniature
In spatial fine arts - painting, drawing, sculpture - the image of the appearance of characters is the only means of constructing an artistic image. From fine art the name portrait passed into literary theory.
In fiction as a verbal art, a portrait isonly one of the means of characterization, used in compositional unity with other similar means.Unlike painting and sculpture, a portrait in a literary work is the most dynamic: it conveys not a general stable appearance, but facial expressions, gestures, and personal movements. These ample opportunities are well used by Russian writers.
Comparing artistic and literary portraits is both a complex and fascinating process. By comparing his own representation of the characters with the representation of the artists, the reader creates in his mindsingle, final, complete image each of the characters in a literary work.
Section 2. Training test tasks
2.1. The examination paper on literature consists of three parts. In parts 1 and 2, tasks are proposed that include questions for the analysis of literary works. Part 3 of the work requires Unified State Examination participants to make a detailed statement on a literary topic. We propose to complete the tasks of part 1, where you need to give a short answer (B), requiring the writing of a word, or phrase, or sequence of numbers.The tasks are selected according to theme "Literary Portrait".
2.1. 1 Identify means of expression
B2. What is the name of a means of characterizing a character that is based on a description of his appearance?(“He looked about forty-five years old...”)?
Answer:______________________________________
B3. What is the name of the characterization tool, which is a description of a person’s appearance?
Q4. What term denotes an expressive detail that plays an important role in a work and is filled with a special meaning (for example, the hare sheepskin coat given by Pyotr Grinev to a stranger)?
Answer_______________________________________
B6. What is the name of an expressive detail that is important for characterizing a character or action (for example, a stranger’s “dry threatening finger”)?
Answer_______________________________________
B7. What is the name of an expressive detail that carries an important semantic load in a literary text (for example, a new moon covered in smoke at the beginning and end of a fragment)?
Answer_______________________________________
In the portrait descriptions of the heroes, numerous details are found that are “dispersed” throughout the work. Such a variety of portrait sketches allowed scientists to identify the followingtypes of portraits: portrait - impression, portrait-comparison, portrait-description.
Portrait - impression occurs through external manifestations of the hero’s state: facial expressions, gestures, actions. An image of the hero's inner world can be given through landscape, internal monologue, dialogue and psychological analysis. This type of portrait undoubtedly includes the portrait of Pechorin. Lermontov’s portrait of the hero in “Hero of Our Time” is built according to a certain scheme and in the following sequence:
external signs;
signs characterizing the inner essence of the character;
episodes that include a character in the plot of the story.
Portrait - comparison refers to portraits that are based on the principle of contrast, when one character is contrasted with another. The author compares appearance, clothing, behavior, etc. Such a portrait description is given in small portions, interspersed into the text during the narrative (portrait of Pavel Petrovich and Bazarov).
Portrait – description – this is a portrait that has an expanded description of the heroes, which reveals a special psychological type of personality and shows the social affiliation of the heroes (portraits of Sobakevich and Manilov).
1.3. Portrait in fine art
In fine art, a portrait is an independent genre, the purpose of which is to display the visual characteristics of the model. The portrait depicts the external appearance (and through it the internal appearance) of a specific person who existed in the past or exists in the present. The theme of a portrait in painting is the individual life of a person, the individual form of his being. So, for example, if the theme is an event, we have before us not a portrait, but a painting, although its characters can be depicted in portraiture. The boundaries of the portrait genre in fine art are very fluid, and often the portrait itself can be combined in one work with elements of other genres. An artistic portrait in painting is divided into the following
subgenres:
Historical portrait
Posthumous portrait
A.P. Chekhova, F.I. Chaliapin, French writer A. Maurois. The genre of literary portrait goes back to the genre of verbal depiction, which developed inXVIIcentury in France.
In fictioncharacter portrait – description of his appearance: face, figure, clothes. Closely connected with it is the depiction of visible properties of behavior: gestures, facial expressions, gait, demeanor.
The place of a portrait in the composition of a literary work extremely important and varied:
from a portrait maybebegin the reader's acquaintance with the hero (Oblomov), but sometimes the author shows the hero after he has committed some actions (Pechorin) or even at the very end of the work (Ionych);
portrait May be monolithic , when the author presents all the features of the hero’s appearance at once, in a single “block” (Odintsova, Raskolnikov), and"torn ", in which portrait features are scattered throughout the text (Natasha Rostova);
the portrait features of the hero can be described by the author, the narrator or one of the characters (the portrait of Pechorin is painted by Maxim Maksimych and the traveler - incognito);
the portrait can be fragmentary: not the entire appearance of the hero is depicted, but only a characteristic detail, feature; at the same time, the author powerfully influences the reader’s imagination, the reader becomes a co-author, completing the portrait in his own mind (Anna Sergeevna in “The Lady with the Dog” by Chekhov);
Portrait is one of the important means of creating an artistic image and acts in combination with othersartistic means:
speech characteristics of the hero, which includes dialogue and monologue
(sometimes the character himself talks about himself in the form of an oral story, letters, diaries, notes);
mutual characteristics - the story of one character about another (officials about each other in Gogol’s “The Government Inspector”);
scenery as a means of characterizing the hero and his moods (the landscape as perceived by Grinev before visiting the “military council” and after the visit).
...He, the gudgeon-son, perfectly remembered the teachings of the gudgeon-father, and he even reeled it into his mustache. He was an enlightened minnow, moderately liberal, and very firmly understood that living life is not like licking a whorl. “You have to live so that no one notices,” he said to himself, “or else you’ll just disappear!” – and began to get settled. First of all, I came up with a hole for myself so that he could climb into it, but no one else could get in! He dug this hole with his nose for a whole year, and during that time he took on so much fear, spending the night either in the mud, or under the water burdock, or in the sedge. Finally, however, he dug it out to perfection. Clean, neat - just enough for one person to fit in. The second thing, about his life, he decided this way: at night, when people, animals, birds and fish are sleeping, he will exercise, and during the day he will sit in a hole and tremble. But since he still needs to drink and eat, and he doesn’t receive a salary and doesn’t keep servants, he will run out of the hole around noon, when all the fish are already full, and, God willing, maybe he’ll provide a booger or two. And if he doesn’t provide, he will lie down in a hole hungry and tremble again. For it is better not to eat or drink than to lose life with a full stomach.
That's what he did. At night he exercised, bathed in the moonlight, and during the day he climbed into a hole and trembled. Only at noon will he run out to grab something - what can you do at noon! At this time, a mosquito hides under a leaf from the heat, and a bug buries itself under the bark. Absorbs water - and the Sabbath!
He lies in the hole day and day, doesn’t get enough sleep at night, doesn’t finish eating, and still thinks: “Does it seem like I’m alive? oh, will there be something tomorrow?
He falls asleep, sinfully, and in his sleep he dreams that he has a winning ticket and he won two hundred thousand with it. Not remembering himself with delight, he will turn over on the other side - lo and behold, half his snout has stuck out of the hole... What if at that time the pike was nearby! After all, he would have pulled him out of the hole!
One day he woke up and saw: a crayfish was standing right opposite his hole. He stands motionless, as if bewitched, his bony eyes staring at him. Only the whiskers move as the water flows. That's when he got scared! And for half a day, until it got completely dark, this cancer was waiting for him, and meanwhile he kept trembling, trembling.
Another time, he had just managed to return to the hole before dawn, he had just yawned sweetly, in anticipation of sleep - he looked, out of nowhere, a pike was standing right next to the hole, clapping its teeth. And she also guarded him all day, as if she had had enough of him alone. And he fooled the pike: he didn’t come out of the hole, and it was a sabbath.
And this happened to him more than once, not twice, but almost every day. And every day he, trembling, won victories and victories, every day he exclaimed: “Glory to you, Lord! alive!
But this is not enough: he did not marry and did not have children, although his father had a large family. He reasoned like this: “Father could have lived by joking! At that time, the pike were kinder, and the perches did not covet us small fry. And although one day he was about to get caught in the ear, there was an old man who rescued him! And now, as the fish in the rivers have increased, the minnows are in honor. So there’s no time for family here, but how to just live on your own!”
And the wise minnow lived in this way for more than a hundred years. He kept trembling, he kept trembling. He has no friends, no relatives; neither he is to anyone, nor anyone is to him.
(M.E. Saltykov-Shchedrin, “The Wise Minnow”)