What is the name of the highest point in the development of the plot. The plot and plot of a literary work

Prologue	A kind of introduction to the work, emotionally and event-wise adjusts the reader to the perception of the content of the work.
Exposition	Introductory, initial part of the plot, the image of external conditions, life situation, historical events. Does not affect the course of subsequent events in the work.
Tie	The event from which the action begins, entailing all subsequent significant events in it.
Action development	Description of everything that happens, the course of events.
Climax	The moment of greatest tension in the development of the action of a work of art.
Interchange	The position of the characters, which has developed in the work as a result of the development of the events depicted in it, are the final scenes.
Epilogue	The final part of the work, in which the further fate of the heroes and the development of events can be determined. It could also be a quick recap of what happened after the end of the main storyline.

Off-plot elements

Introductory episodes	"Plug-in" episodes that are not directly related to the plot of the work, but are given as memories in connection with the events described.
Lyrical digressions	They can be actually lyrical, philosophical and journalistic. With their help, the author conveys his feelings and thoughts about the depicted. These can be the author's assessments of heroes and events, or general reasoning on any occasion, an explanation of one's goal, position.
Artistic framing	Scenes that begin and end an event or work, complementing it with a special meaning.

TOPIC - Subject, main content of reasoning, presentation, creativity. (S. Ozhegov. Dictionary of the Russian language, 1990.)

TOPIC (Greek Thema) - 1). Subject of presentation, image, research, discussion; 2). Statement of the problem that predetermines the selection of life material and the nature of artistic narration; 3). The subject of linguistic utterance (...). (Dictionary of Foreign Words, 1984.)

Already these two definitions are capable of confusing the reader: in the first, the word "theme" is equated in meaning with the term "content", while the content of a work of art is immeasurably wider than the theme, the theme is one of the aspects of the content; the second makes no distinction between the concepts of topic and problem, and although topic and problem are philosophically related, they are not the same thing, and you will soon understand the difference.

Preferably the following definition of the topic, adopted in literary studies:

TOPIC - This is a life phenomenon that has become the subject of artistic consideration in the work. The circle of such life phenomena is THEME literary work. All phenomena of the world and human life constitute the artist's sphere of interests: love, friendship, hatred, betrayal, beauty, disgrace, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent, and mediocrity, joys of life, money, relationships in society, death and birth, secrets and mysteries of the world, etc. etc. - these are the words that call life phenomena that become themes in art.

The artist's task is to creatively study a life phenomenon from the sides interesting to the author, that is artistically reveal the topic.Naturally, this can be done only posing the question(or several questions) to the phenomenon under consideration. This is the question that the artist asks, using the imaginative means available to him, is problemliterary work.

So, PROBLEM is a question that does not have an unambiguous solution or assumes a set of equivalent solutions. The problem differs from the tasks.The set of such questions is called PROBLEMATIC.

The more complex the phenomenon of interest to the author (that is, the more difficult the chosen topic),the more questions (problems)it will cause, and the more difficult these issues will be to solve, that is, the deeper and more serious it will be problematicliterary work.

The theme and the problem are historically dependent phenomena. Different epochs dictate different themes and problems to artists. For example, the author of the ancient Russian poem of the 12th century "The Lay of Igor's Host" was worried about the princely strife, and he asked questions: how to make the Russian princes stop worrying only about personal gain and to be at enmity with each other, how to unite the scattered forces of the weakening Kiev state? The 18th century invited Trediakovsky, Lomonosov and Derzhavin to think about scientific and cultural transformations in the state, about what an ideal ruler should be, put in literature the problems of civic duty and the equality of all citizens, without exception, before the law. Romantic writers were interested in the secrets of life and death, penetrated into the dark corners of the human soul, solved the problems of human dependence on fate and unsolved demonic forces of interaction of a talented and extraordinary person with a soulless and mundane society of the inhabitants.

The 19th century, with its focus on the literature of critical realism, drew artists to new themes and forced them to reflect on new problems:

the "little" man entered literature through the efforts of Pushkin and Gogol, and the question arose about his place in society and relations with "big" people;

the most important became the women's topic, and with it the so-called social "women's question"; A. Ostrovsky and L. Tolstoy paid much attention to this topic;

the theme of home and family acquired a new meaning, and L. Tolstoy studied the nature of the connection between upbringing and a person's ability to be happy;

the unsuccessful peasant reform and further social upheavals awakened keen interest in the peasantry, and the theme of peasant life and fate, discovered by Nekrasov, became the leading one in literature, and with it the question: how will the fate of the Russian peasantry and all great Russia develop?

tragic events in history and public sentiment brought to life the theme of nihilism and opened up new facets in the theme of individualism, which were further developed by Dostoevsky, Turgenev and Tolstoy in their attempts to resolve the questions: how to warn the young generation against the tragic mistakes of radicalism and aggressive hatred? How to reconcile generations of "fathers" and "children" in a turbulent and bloody world? How is the relationship between good and evil to be understood today, and what is meant by both? How to avoid losing yourself in striving to be different from others? Chernyshevsky turns to the topic of public good and asks: "What to do?" So that a person in Russian society can honestly earn a comfortable life and thereby multiply public wealth? How to "equip" Russia to a prosperous life? Etc .

note! A problem is a question, and it should be formulated mainly in an interrogative form, especially if the formulation of problems is the task of your essay or other work on literature.

Sometimes in art it is the question posed by the author that becomes a real breakthrough - a new one, previously unknown to society, but now burning, vital. Many works are created in order to pose a problem.

So, IDEA (Greek Idea, concept, representation) - in literature: the main idea of \u200b\u200ba work of art, the author's proposed way of solving the problems he posed. The set of ideas, the system of the author's thoughts about the world and man, embodied in artistic images, is called IDEAL CONTENT artwork.

Thus, the scheme of semantic relations between a topic, problem and idea can be represented as follows:

Controlled element code 1.7. The language of a work of art. Visual and expressive means in a work of art.

Visual and expressive means in a work of art
Concept	Definition	Examples of
Trope - a turn of speech, built on the use of words or expressions in a figurative meaning, sense (from the Greek tropos-turn).
Allegory	Allegorical image of an abstract concept or phenomenon of reality with the help of a specific life image. Allegory is often used in fables.	Cunning allegorically depicted in the form of a fox, greed- in the guise of a wolf, deceit in the form of a snake.
Hyperbola	A figurative expression consisting in an exaggerated exaggeration of the strength, value, size of the depicted phenomenon.	... a rare bird will fly to the middle of the Dnieper. (N.V. Gogol, "Terrible revenge").
Irony	A subtle undercurrent of mockery, a kind of humor. Irony can be good-natured, sad, angry, caustic, angry, etc.	Did you all sing? This case ... (IA Krylov, "Dragonfly and Ant").
Litotes	This is an understatement of the magnitude, strength, significance of the depicted object.	For example, in the works of oral folk art - a boy with a finger, a hut on chicken legs. Steel knife - steel nerves. Bee out cells wax Flies for the field tribute.
Metonymy	Transfer of meaning (name) based on contiguity of phenomena.	So eat some more a plate,my dear! (IA Krylov, "Demyanova's ear") - in this example, we do not mean the plate itself as a dish item, but its contents, i.e. ear. All flags will visit us.
Impersonation (prosopeia)	One of the methods of artistic representation, which consists in the fact that animals, inanimate objects, natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts.	Be comforted silentsadness And frisky ponder joy… (AS Pushkin, "To the portrait of Zhukovsky").
Sarcasm	An evil and caustic mockery, the highest degree of irony, one of the strongest means of satire.	Helps to reveal the unseemly essence of a person's behavior or motives, shows a contrast between subtext and external meaning.
Synecdoche	Replacing the name of a life phenomenon with the name of its part instead of the whole.	As a girl, she did not stand out in the crowd of brown dresses. (IA Bunin, "Light Breathing").
Comparison	Definition of a phenomenon or concept in artistic speech by comparing it with another phenomenon that has common features with the first. Comparison either simply indicates similarity (it looked like ...), or is expressed through similar words how, exactly, likeetc.	He was looks like evening clear ... (M.Yu. Lermontov, "The Demon").
Periphrase	Replacing the name of an object or phenomenon with a description of the essential, defining features and signs that create a vivid life picture in our mind.	It's a sad time! Charm of the eyes! (about autumn). (AS Pushkin, "Autumn").
Epithet	A figurative definition that characterizes the property, quality of a person, phenomenon, object.	The cloud slept gold On the chest a giant cliff. (M.Yu. Lermontov, "Cliff").
Antithesis	A stylistic figure of contrast in artistic or oratorical speech, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning.	They got along. Wave and stone Poems and prose, ice and fire Not so different among themselves. (AS Pushkin, "Eugene Onegin").
Oxymoron	A stylistic figure or stylistic mistake, a combination of words with the opposite meaning (that is, a combination of incongruous). An oxymoron is characterized by the deliberate use of contradiction to create a stylistic effect. From a psychological point of view, an oxymoron is a way to resolve an unexplained situation. Oxymoron is often found in poetry.	And the day has come. Gets up from the bed Mazepa, this frail sufferer, This corpse alive, just yesterday Moaning weakly over the grave. (AS Pushkin, "Poltava").
Stylistic figures are syntactic constructions built in a special way; they are necessary to create a certain artistic expression.
Anaphora (monotony)	The turnover of poetic speech, consisting in the repetition of the consonance of individual words. Sound monotony consists in the repetition of individual consonances.	Black-eyed girl A black-eyed horse! .. (M.Yu. Lermontov, "Desire").
Antithesis	The turn of poetic speech, in which, in order to enhance expressiveness, directly opposite concepts, thoughts, character traits of the characters are sharply opposed.	They got along. Water and stone. Poems and prose, ice and fire Not so different among themselves ... (AS Pushkin, "Eugene Onegin").
Gradation	Gradual strengthening or aggravation - one of the stylistic figures, consists in the grouping of definitions with increasing or decreasing meaning.	Don't think to run! It's me I called. I'll find it. I will drive. I'll finish it. I'll torture you! (VV Mayakovsky, "About this").
Inversion	Violation of the direct word order, rearrangement of parts of the phrase, giving it special expressiveness, an unusual sequence of words in a sentence.	And the song of the virgin is barely audible Valleys in deep silence. (AS Pushkin, "Ruslan and Lyudmila").
Oxymoron	Turnover, consisting in a combination of sharply contrasting, internally contradictory in meaning attributes in the definition of phenomena.	Ringing silence, sweet pain etc.
Rhetorical appeal	(from the Greek rhetor- orator) rhetorical appeals are very characteristic of poetic speech and are often used in publicistic texts. Their use makes the reader or listener an interlocutor, a participant in a conversation, conversation.	Or has the Russian lost the habit of victories?
Default	Consists in the fact that the thought remains not fully expressed, but the reader guesses about the unsaid. Such a statement is also called interrupted.
Ellipsis	Missing in speech of any easily understood word, a member of a sentence, most often a predicate.

Phonetic means of expression
Euphony	Consists of the beauty and naturalness of sound.
Alliteration	Repetition of the same, consonant consonant sounds to enhance the expressiveness of artistic speech.	The Neva swelled and roared, A cauldron bubbling and swirling ... (AS Pushkin, The Bronze Horseman).
Assonance	Repetition of uniform vowel sounds in a line, phrase, stanza.	It's time! It's time! Horns are blowing ... (AS Pushkin, "Count Nulin").
Sound writing	The use of the sound composition of the word, its sounding to enhance the expressiveness of poetic speech.	For example, onomatopoeia, which can be used to convey the singing of birds, the stamping of hooves, the noise of a forest and a river, etc.
Pictorial syntax tools
Syntactic parallelism (from the Greek parallelos-going next)	One of the techniques of poetic speech. It consists in comparing two phenomena by means of their parallel representation in order to emphasize the similarity or difference of the phenomena. For syntactic parallelism, a characteristic feature is the uniformity of phrase construction.	Curly birch, There is no wind, but you are making noise: Zealous my heart, There is no grief, but you are in pain. (1) For ten years he had been selecting option after option. (2) It's not about school hard work and patience - he knew how to invent all new combinations, come up with all new questions. (3) So Johani Bach erected his fugues, extracting inexhaustible variations from one theme. This example uses syntactic parallelism and lexical repetition to link sentences 2 and 3.
A rhetorical question	The turnover of poetic speech, consisting in making a statement in an interrogative form. Their use makes the reader or listener an interlocutor, a participant in the conversation.	Or is it new for us to argue with Europe? Or has the Russian lost the habit of victories? (AS Pushkin, "Slanderers of Russia").
Exclamation, exclamation point.	This is a type of sentence that contains emotional relationships expressed in a syntactic way (particles what, how, what, like that, well and etc.). By these means, the expression is given the meaning of a positive or negative assessment, feelings of joy, sadness, fear, surprise, etc. are conveyed.	Oh, how bitter you are, to the edge, later, youth is needed! (A. Tvardovsky, "Beyond the Distance"). Do you love me? Yes? Yes? Oh what a night! What a wonderful night! (A.P. Chekhov, "Jumping").
Appeal	The turn of poetic speech, consisting in an emphasized, sometimes repeated appeal of the writer to the hero of his work, to natural phenomena, to the reader, in the hero's appeal to other characters.	Do not sing beauty in my presence. (AS Pushkin, "Don't Sing ..."). And you, Arrogant descendants! (M.Yu. Lermontov, "The Death of a Poet").
Non-union (asyndeton)	The turnover of poetic speech, which consists in a gap between words and sentences of connecting conjunctions. Their absence gives speech impetuosity, expressiveness, conveys accelerated intonation.	Swede, Russian - pricks, chops, cuts. Drum beat, clicks, grinding. The thunder of the guns, the stomp, the neighing, the groan ... (AS Pushkin, "Poltava").
Multi-union (repeating unions)	The turnover of poetic speech, consisting in the repetition of the same unions.	And the spruce turns green through the frost, And the river shines under the ice ... (AS Pushkin, "Winter Morning").

Controlled element code 1.8. Prose and poetry. Basics of versification: poetic meter, rhythm, rhyme, stanza.

Composition is the construction of a work of art. The effect that the text produces on the reader depends on the composition, since the theory of composition says: it is important not only to be able to tell amusing stories, but also to present them correctly.

Gives different definitions of composition, in our opinion, the simplest definition is as follows: composition - the construction of a work of art, the arrangement of its parts in a certain sequence.
Composition is the internal organization of a text. Composition is about how the elements of the text are located, reflecting different stages of the development of the action. The composition depends on the content of the work and the goals of the author.

Stages of action development (composition elements):

Composition elements - reflect the stages of development of the conflict in the work:

Prologue -introductory text that opens the work, precedes the main story. Typically, thematically related to the subsequent action. Often it is the “gateway” of the work, that is, it helps to penetrate the meaning of further narration.

Exposition - the background of the events underlying the work of art. As a rule, the exposition contains the characteristics of the main characters, their arrangement before the beginning of the action, before the set. The exposition explains to the reader why the hero behaves in this way. The exposure can be direct and delayed. Direct exposure is located at the very beginning of the work: an example is the novel "The Three Musketeers" by Dumas, which begins with the history of the D'Artagnan family and the characteristics of a young Gascon. Delayed exposure is placed in the middle (in the novel by I.A. Goncharov "Oblomov" the story of Ilya Ilyich is told in "Oblomov's Dream", that is, almost in the middle of the work) or even at the end of the text (a textbook example of "Dead Souls" by Gogol: information about the life of Chichikov before arrival in the provincial town are given in the last chapter of the first volume). The delayed exposure lends mystery to the piece.

Action binding Is an event that becomes the beginning of an action. The tie either reveals an already existing contradiction, or creates, "ties" conflicts. The plot in "Eugene Onegin" becomes the death of the protagonist's uncle, which forces him to go to the village and enter into an inheritance. In the story about Harry Potter, the plot is an invitation letter from Hogward, which the hero receives and thanks to which he learns that he is a wizard.

Basic action, development of actions -the events committed by the heroes after the set and preceding the climax.

Climax (from the Latin culmen - top) - the highest point of tension in the development of action. This is the highest point of the conflict, when the contradiction reaches its greatest limit and is expressed in a particularly acute form. The climax in "The Three Musketeers" is the scene of the death of Constance Bonacieux, in "Eugene Onegin" - the scene of Onegin and Tatiana's explanation, in the first story about "Harry Potter" - the scene of a poebda over Voldemort. The more conflicts in a work, the more difficult it is to reduce all actions to only one culmination, so there can be several culminations. The culmination is the most acute manifestation of the conflict and at the same time it prepares the denouement of the action, therefore it can sometimes precede it. In such works, it can be difficult to separate the climax from the denouement.

Interchange - the outcome of the conflict. This is the final moment in creating an artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. The denouement can resolve the conflict: for example, in The Three Musketeers it is the execution of Milady. The final outcome in Harry Potter is the final victory over Voldemort. However, the denouement may not eliminate the contradiction, for example, in Eugene Onegin and Woe from Wit, the heroes remain in difficult situations.

Epilogue (from Greekepilogos - afterword) - always concludes, closes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky, in the epilogue "Crime and Punishment", talks about how Raskolnikov changed in hard labor. And in the epilogue of War and Peace, Tolstoy tells about the life of all the main characters of the novel, as well as how their characters and behavior have changed.

Lyrical digression - deviation of the author from the plot, author's lyrical insertions, little or no connection with the theme of the work. A lyrical digression, on the one hand, hinders the development of the action, on the other hand, it allows the writer to openly express his subjective opinion on various issues that have a direct or indirect relationship to the central themes. Such are, for example, famous lyrical digressions in Eugene Onegin by Pushkin or Dead Souls by Gogol.

Types of composition:

Traditional classification:

Straight line (linear, sequential)– the events in the work are shown in chronological order. "Woe from Wit" by AS Griboyedov, "War and Peace" by Leo Tolstoy.
Annular -the beginning and the end of the work have something in common, often completely coincide. In Eugene Onegin: Onegin rejects Tatiana, and in the novel's finale Tatiana rejects Onegin.
Mirror -combining the techniques of repetition and opposition, as a result of which the initial and final images are repeated exactly the opposite. One of the first scenes in "Anna Karenina" by L. Tolstoy depicts the death of a man under the wheels of a train. This is how the main character of the novel takes her own life.
Story in story -the main story is told by one of the characters in the work. The story of M. Gorky "The Old Woman Izergil" is based on this scheme.

A. Besin's classification (based on the monograph "Principles and Methods of Analysis of a Literary Work"):

Linear - the events in the work are shown in chronological order.
Mirror -the initial and final images and actions are repeated exactly the opposite, opposing each other.
Annular -the beginning and end of the work echo each other, have a number of similar images, motives, events.
Retrospection -in the process of narration, the author makes "retreats into the past." V. Nabokov's story "Mashenka" is built on this technique: the hero, having learned that his former lover is coming to the city where he now lives, is looking forward to meeting her and recalls their epistolary novel, reading their correspondence.
Silence -about the event that happened before the rest, the reader learns at the end of the work. So, in "Blizzard" by A.S. Pushkin, the reader learns about what happened to the heroine during her escape from home, only during the denouement.
Free -mixed actions. In such a work, you can find elements of a mirror composition, and methods of silence, and restrospection and many other compositional methods aimed at retaining the reader's attention and enhancing artistic expression.

The plot of a literary work is a combination of events,
revealing the characters and relationships of the heroes. Through
plot reveals the essence of characters, circumstances,
their inherent contradictions. The plot is connections, sympathies,
antipathies, history of growth of a particular nature, type.
Exploring the plot, you need to remember about its elements such as
exposure, initiation of action, development of action, culmination,
denouement, epilogue.
PLOT - (French sujet, literally - subject), in an epic, drama, poem,
scripts, film - a way to unfold the plot,
consistency and motivation for the presentation of the
events. In traditional usage, the course of events in
literary work, space-time
the dynamics of the image.

Plot is a system of events in a work of art,
presented in a specific connection, revealing the characters
characters and the attitude of the writer to portrayed
life phenomena; sequence. Course of events,
constituting the content of a work of art;
the dynamic aspect of the artwork.
The plot defies retelling, it is closely related
with the theme, problem and idea of \u200b\u200bartistic
works.

(about what?) - the main subject of the story, then, for the sake of
what this story began.
The narrative not only tells about something, but
does it for some purpose: to explain something, to prove something,
to teach something. Such a goal, the main task
narration is called
.
(for what?) - the main task of the narration:
explain, prove, teach.
In a work, the author can refer to several
problems and consider several topics.
The totality of themes is the theme of the work.
A set of problems, problematics of the work.

How to solve the main problem?
Resolving the main problem
works. The solution to the whole
problematics of the work -
ideological sound of the work.
How does the author relate to what he portrays
events, actions of heroes, etc., what
gives a moral assessment to all this?
The author's position is manifested through
evaluative (expressively colored)
vocabulary.
The position of the author is hidden, it needs to be unraveled, sometimes - in
lyrical digressions - the author clearly formulates his
attitude to the depicted.

The plot is a series of events that serve as the basis of literary
works, amenable to retelling.
The plot is the factual side of the narrative, those events
cases, actions, conditions in their causal-chronological
sequences that are assembled and formed
the author in the plot based on the patterns seen
the author in the development of the depicted phenomena.
It should be distinguished:
1. the "factual" basis of the work, the events about which in it
described as a pre-selection product
artist of the phenomena of reality or fiction, as
can be called a plot, that is, a narrative theme,
subject to further processing in the plot;
2.and the very development of the narrative theme, which is associated with
resolving any problem on the data material
events (i.e. plot).

Depending on the nature
understanding reality and
the nature of the object itself
plots can be
mythological, fabulous,
romantic, utopian,
realistic, etc.
Thematic diversity
the plot is inexhaustible. Each
historical period, each
stage in development
artistic creation,
every literary
direction create their
characteristic plots, which primarily determine
specific historical features of the plots.

Conflict - (Latin Conflictus - "collision") - acute
contradiction finding its way out and resolution
in action, in struggle.
Conflict is the “spring” of literary narration.
Artistic conflict arises from
clashes of any characters or confrontations
any forces.
This is the engine of the story. It is the conflict that develops
the action of the narrative, determines its rhythm and
sequence of events.

appears
across
In its development, the artistic conflict passes
several stages, each of which is very important for
the artistic world of the work as a whole, which determines
construction of a work, or
composition.

Ilya Muromets
Nightingale the robber
Physical strength
Ilya Muromets
Prince Vladimir
Moral strength
Ilya Muromets emerges victorious from this conflict,
having won a moral superiority over Prince Vladimir \u003d\u003e
popular ideal \u003d\u003e reaching the main idea of \u200b\u200bthe work

Historical and social
1.
2.
3.
Ilya Muromets destroys
obstacle in the way
unification of Russia \u003d\u003e
destruction of barriers that
divided Chernigov and Kiev.
Faith of the people in their mighty
strength.
Confrontation: Ilya
Muromets - peasant village and prince Vladimir
Moral
The prince, according to his position, must
Act as the protector of the earth
Russian, but he is inactive, tk.
is the bearer of evil.
The people themselves, represented by Ilya Muromets
defends the human
dignity \u003d\u003e moral
superiority of Ilya Muromets over
Prince Vladimir
The main idea of \u200b\u200bthe epic:
protection and unification of the Russian land in the hands of the people

Composition - (Latin compositio - composing,
binding, addition, connection).
Organization, location and communication of dissimilar components
the artistic form of a literary work.
Composition includes: placement and correlation
characters (Composition as a "system of images"), events and
actions (plot composition), inserted stories and
lyrical digressions (Composition outside the plot
elements), ways or angles of narration (actually
narrative composition), details of the situation,
behavior, experiences (Composition of details).
location, alternation, ratio and relationship of parts
literary work serving the most complete
the embodiment of the artist's intention.

The culmination is the highest
point in the development of action
exposition
I. Introduction
epilogue (afterword)
II. Main part III. Conclusion

A part of the work separated from the main narrative and
preceding it.
Background, initial acquaintance with the main characters
works, a place where events will unfold, time
etc.
The emergence and registration of the conflict.
Consistent strengthening, development of the conflict.
the opposing forces are taking some action
in relation to each other.
The critical point in achieving artistic
conflict, cannot develop further and requires its
immediate resolution.
The very resolution of the conflict
The part separated from the main narrative may contain
a short message about the life of the characters after the events described.

External composition -
this is the articulation of the text,
characterized by
continuity, on
discrete units.
Internal
(meaningful)
composition
determined by the system
character images,
features
conflict and
the originality of the plot,
Composition is therefore a manifestation of meaningful
discontinuity in continuity.

Composition
exposition
tie
action development
The climax is the highest
point in the development of action
decline in the development of action
denouement
epilogue (afterword)
Complex plan
I. Introduction (exposition)
II. Main part
1. The tie.
2. Development of action.
2.1. …………………
2.2. …………………
2.3. …………………
3. Climax.
4. Decline in development
actions.
5. Interchange.
III. Conclusion.

Time
Quality
Plot
Space
amount
Fable

Composition is important
a way to implement the author's idea.
Art
form
consistent
Linear,
or
"story
in the story "
flashbacks
mirror
annular
reverse

Assumes such a construction of the narrative, when the tie,
development of action, climax and denouement follow each other
friend.
The work begins with a denouement (characteristic of
detective genre).
The work ends with the same thing from which it began.
Allows you to combine two or more narratives that have
independent artistic conflict, so that there is
a story within a story, or multiple stories are combined
one common story (frame).

Hero Appearance:
resentment, threefold
coming to Ilmenozero
Interchange - release of Sadko
exposition
The beginning - the beginning of the dialogue
with the sea king
Moral victory
over the sea king
Return of Sadko to Veliky
Novgorod and retribution to God for
your salvation

Leads to the story
Linnet; occasion
for the story
Relationship history
Little and Hans and
Gyu-Melnik
Denouement - the death of Little Hans
exposition
The plot is the beginning of the story
about Little Hans
"What a delight to listen to you"
Conclusion: Water
The rat did not understand the moral
O. Wald's fairy tale "The Faithful Friend" - the story of the fall
sublime, tender, sensitive and responsive soul

Had only gusli - the main thing
spiritual wealth \u003d\u003e
brings people joy
my talent
Accepts gifts
the king of the sea
most changes
to its purpose
Challenge with
lord the great
Novgorod -
loses it
Return
to my
appointment
in life
Accepts help
Mikola Mozhaisky
Playing the harp to the sea king \u003d\u003e death of people

Plot (from Frenchsujet - subject, content) - the system of events that constitutes the content of a literary work. Sometimes, in addition to the plot, the plot of the work is also distinguished. The plot is the chronological sequence of events described in the work. Lermontov's novel "A Hero of Our Time" is a well-known example of the plot and plot mismatch. If we adhere to the plot (chronological) sequence, then the stories in the novel should have been arranged in a different order: "Taman", "Princess Mary", "Bela", "Fatalist", "Maxim Maksimovich".

The plot of the work includes not only events from the life of the characters, but also the events of the spiritual (inner) life of the author. Thus, the lyrical digressions in Eugene Onegin by Pushkin and in Dead Souls by Gogol are deviations from the plot, not from the plot.

Composition (from latin compositio - compilation, connection) -construction of a work of art. The composition can be organized by plot (J 1. Tolstoy "After the Ball") and non-plot (I. Bunin "Antonovskie apples"). A lyrical work can also be plot-based (Nekrasov's poem "Reflections at the front entrance", which is characterized by an epic event plot) and non-plot (Lermontov's poem "Gratitude").

The composition of a literary work includes:

- arrangement of character images and grouping of other images;

- plot composition;

- composition of off-plot elements;

- ways of narration (from the author, from the narrator, from the hero; in the form of an oral story, in the form of diaries, letters);

- composition of details (details of the situation, behavior);

- speech composition (stylistic techniques).

The composition of a work depends on its content, kind, genre, etc.

The development of an action in a work of art includes several stages: exposition, outset, climax, denouement, epilogue.

Exposition (from latin expositio - presentation, explanation) - prehistory of the events underlying the work of art. Usually it gives the characteristics of the main characters, their arrangement before the start of the action, before the tie. The exposition motivates the behavior of the characters. The exposition can be direct, that is, standing at the beginning of the work, or delayed, that is, in the middle or end of the work. For example, information about Chichikov's life before his arrival in the provincial town is given in the last chapter of the first volume of Gogol's Dead Souls. Delayed exposure usually gives a work of mystery, ambiguity.

Tie - this is the event that is the beginning of the action. The plot either reveals the already existing contradictions, or creates ("ties") conflicts by itself. For example, the plot in Gogol's comedy "The Inspector General" is the receipt by the mayor of a letter informing about the arrival of the inspector.

Climax (from latin culmen - top) - the highest point of tension in the development of action, the highest point of conflict, when the contradiction reaches its limit and is expressed in a particularly acute form. So, in Ostrovsky's drama "The Thunderstorm", the culmination is the recognition of Katerina. The more conflicts in a work, the more difficult it is to reduce the tension of action to just one climax. The climax is the most acute manifestation of the conflict and at the same time prepares the denouement of the action.

Interchange - outcome of events. This is the final moment in creating an artistic conflict. The denouement is always directly related to the action and, as it were, puts the final semantic point in the narrative. Such, for example, is the so-called silent scene in N. Gogol's "The Inspector General", where all the plot nodes of the comedy are "untied" and the final assessment of the characters' characters is given. The denouement can resolve the conflict (Fonvizin "The Minor"), but it may not eliminate conflict situations (in "Woe from Wit" by Griboyedov, in "Eugene Onegin" by Pushkin, the main characters remain in difficult situations).

Epilogue (from greek epilogos - afterword) - always concludes the work. The epilogue tells about the further fate of the heroes. For example, Dostoevsky in the epilogue "Crime and Punishment" reports on how Raskolnikov changed in hard labor.

Lyrical digression - deviation of the author from the plot, author's lyrical inserts on topics that have little or no connection with the main theme of the work. On the one hand, they inhibit the plot development of the work, and on the other hand, they allow the writer to openly express his subjective opinion on various issues that are directly or indirectly related to the central theme. Such, for example, are the lyrical digressions in Pushkin's novel Eugene Onegin and in Gogol's Dead Souls.

Conflict (from latin conflictus - collision) - collision between characters or between characters and environment, hero and destiny, as well as the internal contradictions of the character. Conflicts can be external (Chatsky's clash with the "Famusian" society "in Griboyedov's Woe from Wit) and internal (internal, psychological conflict of Chatsky himself). Often, external and internal conflicts are closely interconnected in the work ("Woe from Wit" by Griboyedov, "Eugene Onegin" by Pushkin).

Author-narrator - an author who directly expresses a particular idea of \u200b\u200ba work speaks to the reader on his own behalf. Thus, the image of the author-narrator is present in Nekrasov's Who Lives Well in Russia. It appears almost from the first lines of the poem, when the author-narrator begins a story about seven "temporarily liable", who converged "on a pole path" and argued, "who lives happily, at ease in Russia." However, the role of the author-narrator is not limited to dispassionate information about what the men are doing, who they are listening to, where they are going. The attitude of men to what is happening is expressed through the narrator, who acts as a kind of commentator of events. For example, in one of the first scenes of the poem, when the men were arguing and could not find a solution to the question "who lives happily, freely in Russia," the author comments on the obstinacy of the men:

A peasant like a bull will get into the head. What a whim in the head - You can't knock it out with a stake: they are resisting, Everyone stands on their own!

Author - creator of a work of art. Its presence in the literary text is noticeable to varying degrees. He either directly expresses this or that idea of \u200b\u200bthe work, speaks to the reader on his own behalf, or hides his "I", as if he is self-eliminating from the work. Such a double structure of the author's image is always explained by the general intention of the writer and the style of his work. Sometimes in a work of fiction, the author acts as a completely independent image.

The image of the author is a character, the protagonist of a work of art, considered in a number of other characters. He has the features of a lyrical hero or a hero-storyteller; can be extremely close to the biographical author or deliberately distant from him.

For example, we can talk about the image of the author in Pushkin's novel "Eugene Onegin". He is no less important than the images of other heroes. The author is present in all scenes of the novel, comments on them, gives his explanations, judgments, assessments. He gives a unique originality to the composition and appears before the reader as an author-character, author-narrator and author - a lyrical hero who tells about himself, his experiences, views, life.

Character (from Frenchpersonage - personality, face) - the protagonist of a work of art. As a rule, the character takes an active part in the development of the action, but the author or one of the literary heroes can also tell about him. Characters are major and minor. In some works, the main attention is paid to one character (for example, in Lermontov's "A Hero of Our Time"), in others the attention of the writer is attracted by a number of characters ("War and Peace" by L. Tolstoy).

Character (from greek character - trait, feature) - the image of a person in a literary work, which combines the general, repetitive and individual, unique. Through character, the author's view of the world and man is revealed. The principles and techniques for creating character differ depending on the tragic, satirical and other ways of depicting life, from the literary kind of work and genre.

It is necessary to distinguish the literary character from the character in life. By creating character, a writer can also reflect the traits of a real, historical person. But he inevitably uses fiction, “concocts” the prototype, even if his hero is a historical person.

"Character" and "character" -concepts are not identical. The literature focuses on creating characters that are often controversial, perceived by critics and readers is controversial. Therefore, in the same character, you can see different characters (the image of Bazarov from Turgenev's novel "Fathers and Sons"). In addition, in the system of images of a literary work, characters, as a rule, are much more than characters. Not every character is a character; some characters perform only a plot role. As a rule, the secondary characters of the work are not characters.

A type - generalized artistic image, the most possible, characteristic of a particular social environment. A type is a character that contains a social generalization. For example, the type of “superfluous person” in Russian literature, with all its diversity (Chatsky, Onegin, Pechorin, Oblomov), had common features: education, dissatisfaction with real life, striving for justice, the inability to realize oneself in society, the ability to have strong feelings, etc. e. Each time gives birth to its own types of heroes. The “extra person” was replaced by the type of “new people”. This is, for example, the nihilist Bazarov.

Lyrical hero - the image of the poet, the lyrical "I". The inner world of the lyric hero is revealed not through actions and events, but through a specific state of mind, through the experience of a certain life situation. A lyric poem is a specific and isolated manifestation of the character of a lyric hero. With the greatest completeness, the image of the lyrical hero is revealed in all the poet's work. So, in separate lyrical works of Pushkin ("In the depths of Siberian ores ...", "Anchar", "Prophet", "Desire for glory", "I love you ..." and others), various states of the lyrical hero are expressed, but, taken together, they give us a fairly holistic view of it.

The image of the lyric hero should not be identified with the personality of the poet, just as the experiences of the lyric hero should not be perceived as the thoughts and feelings of the author himself. The image of the lyrical hero is created by the poet in the same way as the artistic image in works of other genres, with the help of the selection of vital material, typification, and artistic fiction.

Image system - a set of artistic images of a literary work. The system of images includes not only images of characters, but also images-details, images-symbols, etc.

Artistic means of creating images (speech characteristics of the hero: dialogue, monologue - author's characteristics, portrait, internal monologue, etc.)

When creating images, the following artistic means are used:

1. Speech characterization of the hero, which includes monologue and dialogue. Monologue - the character's speech addressed to another character or to the reader without counting on the answer. Monologues are especially characteristic of dramatic works (one of the most famous is Chatsky's monologue from Griboyedov's Woe from Wit). Dialog - verbal communication between the characters, which, in turn, serves as a way of characterizing the character and motivates the development of the plot.

In some works, the character himself tells about himself in the form of an oral story, notes, diaries, letters. This technique, for example, is used in Tolstoy's story "After the Ball".

2. Mutual characteristics, when one character talks about another (the mutual characteristics of officials in Gogol's "Inspector General").

3. Author's characteristic, when the author talks about his hero. Thus, reading War and Peace, we always feel the author's attitude to people and events. It is revealed in the portraits of the characters, in direct assessments and characteristics, and in the author's intonation.

Portrait - the image in a literary work of the hero's appearance: facial features, figure, clothing, posture, facial expressions, gesture, demeanor. In literature, there is often a psychological portrait in which the writer seeks to reveal his inner world through the appearance of the hero (portrait of Pechorin in Lermontov's A Hero of Our Time).

Scenery - the image of pictures of nature in a literary work. The landscape also often served as a means of characterizing the hero and his mood at a certain moment (for example, the landscape as perceived by Grinev in Pushkin's "The Captain's Daughter" before visiting the robber "council of war" is fundamentally different from the landscape after this visit, when it became clear that Grinev's Pugachevites would not be executed ).

"Eternal" themes - these are the topics that always, at all times, are of interest to humanity. They contain a generally significant and moral content, but each epoch puts its own meaning into their interpretation. The "eternal" themes include such as the theme of death, the theme of love and others.

Motive - the minimum significant component of the storytelling. Also, the motive is called an artistic plot constantly repeating in different works. It can be found in many works of one writer or in several writers. "Eternal" motives- such motives that for centuries pass from one work to another, since they contain a universal, universally significant meaning (the motive of the meeting, the motive of the path, the motive of loneliness and others).

The literature also contains "Eternal" images. "Eternal" images - characters of literary works that have gone beyond their scope. They are found in other works of writers from different countries and eras. Their names have become common nouns, are often used as epithets, indicate some qualities of a person or a literary character. These are, for example, Faust, Don Juan, Hamlet, Don Quixote. All these characters have lost their purely literary meaning and acquired universal human meaning. They were created a very long time ago, but they appear again and again in the works of writers, because they express the universally significant, important for all people.

Municipal autonomous educational institution secondary school No. 1 in Mikhailovsk

Annual test on literature grade 10

(according to the textbook of V.I.Sakharov, S.A. Zinin)

Compiled by:Abramova M.S.

2015

EXPLANATORY NOTE

The purpose of the teacher:to determine the boundaries of knowledge and "ignorance" among tenth graders, the level of the studied material.

Planned educational results:

Subject: knowledge of the biographical, historical and cultural context of the studied works;

knowledge and understanding of the text of specific works; mastering the foundations of the theory of literature and the ability to competently use literary terminology; testing the skills of analysis and interpretation of works of the corresponding genre.

Metasubject: the ability to understand the goals of educational activities; the ability to set a goal and organize its achievement; ability to rule-making; reflective thinking, introspection and self-esteem; the presence of control and assessment independence as the basis of educational competence.

Personal: a positive attitude towards correct, accurate and rich written speech as an indicator of the general culture of a person; striving for speech self-improvement.

The work is designed for 2 academic hours and consists of two options. The questions are arranged according to the degree of increasing complexity - from test tasks with and without answer options to an advanced level task with a detailed answer (essay), which tests the ability to create your own statement based on the text read.

Tasks 1-13 are evaluated with one point.

Tasks 14-21 are evaluated with two points.

Task 22 is evaluated according to the criteria for writing on the Unified State Exam (taking into account the time limit, only one argument is taken to disclose the problem).

K1- problem statement (1 point or 0 points)

К2- commentary on the formulated problem of the source text (2-1-0 points)

K4 - argumentation of one's own opinion (2 points - for one argument from fiction; 1 point - one argument from life experience; 0 points - no argument)

Composition (2-1-0 points)

Thus, the maximum number of points for the entire work is 37 points. Based on the points scored, the percentage of work completed is calculated and transferred to a mark on a five-point scale.

OPTION 1

Exercise 1 . What element of the composition of a work of art is not required?

A) connection B) epilogue

B) culmination D) denouement

Assignment 2 . Indicate to which literary direction can be attributed the work of such writers as F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov

A) realism B) sentimentalism

B) romanticism D) classicism

Assignment 3 . What literary genre does the work of A.S. Pushkin "Eugene Onegin"

A) poem B) novel in verse

B) novel D) elegy

Task 4. What is the main motive in the work of M.Yu. Lermontov:

A) envy B) loneliness

B) freedom D) fatigue

Task 5. What is the name of the cycle of works, which includes N. Gogol's story "The Overcoat"?

A) "Evenings on a farm near Dikanka" B) "Petersburg stories"

B) "Mirgorod" D) "Arabesque"

Assignment 6 . The culmination of "The Thunderstorm" can be considered an episode:

A) Katerina's parting with Tikhon B) meeting with Boris

B) Katerina's confession to the residents of the city of infidelity D) farewell to Boris

Task 7. What prevents Oblomov from being an active person?

A) poverty B) lack of purpose

B) illness D) education and patterns of life

Task 8. The main theme of the cycle "Notes of a Hunter":

A) Russian nature B) relationships in the peasant environment

B) the relationship between peasants and landowners D) the theme of peasant life

Task 9. The basis of the conflict in the novel "Fathers and Sons" is:

a) a quarrel between Bazarov and P.P. Kirsanov

b) the struggle of bourgeois-noble liberalism and revolutionary democrats

c) the struggle between liberal monarchists and the people

Assignment 10 . In the work of which Russian writer is the narrative manner of narration most often encountered?

A) I.S. Turgenev B) N.S. Leskov

B) Leo Tolstoy D) A.P. Chekhov

Assignment 11 . Indicate the genre of N. Nekrasov's work "Who Lives Well in Russia".

A) drama B) epic novel

B) story D) epic poem

Assignment 12 . What does Raskolnikov want to prove by the murder of the old woman-pawnbroker?

A) that he also has the right to enrichment B) that there is no legality in Russia at all;

B) that he belongs to the category of "having the right" D) that the old woman is useless, useless

and even a harmful creature

Task 13 . How long does the action of Leo Tolstoy's novel "War and Peace" (as a whole) last?

A) 10 years B) 7 years

B) 25 years D) 15 years

Task 14 . What is the name of the highest point in the development of the plot of a literary work?

Task 15. What kind of literature should be attributed to the genres of the novel, story and story?

Task 16 . Which of the Russian poets, following VA Zhukovsky, repeated the expression “genius of pure beauty”?

Task 17. To what prose work of M.Yu. Lermontov would the following lines fit as an epigraph?

Sadly I look at our generation!

His future is either empty, or dark,

Meanwhile, under the burden of knowledge and doubt

In inaction it will grow old.

Task 18. What was the title of the play that brought fame to A.N. Ostrovsky?

Task 19 . Why does Porfiry Petrovich not arrest Raskolnikov in FM Dostoevsky's novel Crime and Punishment, although he is sure that he is the murderer of the old woman?

Task 20. In whom does Tolstoy see the decisive force of history?

Task 21. Indicate which trope A. Fet used in this passage:
... The forest woke up,

All woke up, each branch,

Every bird was startled

And full of spring thirst ...

Task 22. What problems do the writers and poets of the 19th century raise in their works? (Select one work by one author). Write an essay (at least 100 words) on one problem in one work. Rely on the author's position and formulate your point of view. Argument your theses based on literary works. Think over the composition of the essay.

OPTION 2

Exercise 1 . Indicate the correct definition of the concept of "conflict" in a literary work:

A) A certain organization, construction and arrangement of parts, images, episodes of a work of art;

B) The clash of characters and circumstances, views and principles of life, underlying the action;

C) Subject of artistic image;

D) Emotional and evaluative attitude of the writer to the story.

Assignment 2... Indicate which literary direction can be attributed to the work of such writers as I.S. Turgenev, I.A. Goncharov, F. Dostoevsky?

A) realism B) sentimentalism

B) romanticism D) classicism

Task 3. Indicate to what type of literary heroes Eugene Onegin can be attributed.

A) "little man" B) "humiliated and insulted"

B) reasoner D) "extra person"

Task 4. Indicate which work made the name of M.Yu. Lermontov famous:

A) "Sail" B) "Masquerade"

B) "A Hero of Our Time" D) "Death of a Poet"

Assignment5... What genre does the work of N.V. Gogol "Dead Souls" belong to?

A) poem B) story

B) novel D) story

Task 6. Katerina Kabanova (the heroine of A. Ostrovsky's drama "The Thunderstorm") confesses to Tikhon in public in her sin. What made her do this?

A) a feeling of shame B) pangs of conscience and a desire to atone for their guilt before God by confession

B) fear of mother-in-law D) desire to leave with Boris

Task 7. What is the dominant theme in the work of N. Nekrasov?

A) city theme B) love theme

B) the theme of loneliness D) the theme of citizenship

Task 8. Indicate in the work of which Russian writer a righteous hero appears:

A) L.N. Tolstoy B) N.A. Nekrasov

B) N.S. Leskov D) F. M. Dostoevsky

Task 9. To what type of literary heroes can I. I. Oblomov be attributed?

A) type of "little person" B) type of "extra person"

B) hero-reasoner D) hero-lover

Task 10. What moment in the biography of Yevgeny Bazarov became a turning point in his awareness of his personality:

A) Love for Odintsova. B) Break with Arkady. C) Dispute with P.P. Kirsanov. D) Visiting parents.

Task 11.Indicate which tale was not written by M.E. Saltykov-Shchedrin:

A) "Three Bears" B) "Horse"

B) "Bear in the Voivodeship" D) "Eagle-patron"

Task 12. Which definition of Fyodor Dostoevsky's novel "Crime and Punishment" is most consistent with its character:

A) crime novel B) adventure novel

B) socio-psychological, philosophical D) love story

Task 13. Which event is the culmination of War and Peace?

A) The first ball of Natasha Rostova B) Tilsit world

B) Patriotic War of 1812 D) Council in Fili military events of 1805

Task 14. What kind of literature should be classified as genres of comedy, vaudeville, tragedy?

___________________________________________________________________________________________________________

Task 15. What is the name of the event from which the action begins and due to which subsequent events arise in the development of the plot of a work of art?

____________________________________________________________________________________________________________

Assignment16 ... A.S. Pushkin wrote:

We honor everyone with zeros
And in units - yourself.
We all look at Napoleons;
Millions of two-legged creatures
For us, the tool is one ...

________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Task 17. Indicate from which work of M.Yu. Lermontov the lines were taken: "Yes, there were people in our time, not like the current tribe, you are not heroes ..."

Task 18. Indicate what artistic technique A. Fet uses in the highlighted phrases:

Birds fly from afar again

To the shores breaking the ice

The sun is warm walks high

AND fragrant lily of the valley waiting.

_________________________________________________________________________________________________________

Task 19. What ends the wanderings of Ivan Flyagin from the story of N.S. Leskov "The Enchanted Wanderer"

________________________________________________________________________________________________________

Task 20. Color symbolism plays an important role in the novel Crime and Punishment. What color predominates in F.M. Dostoevsky's description of Petersburg?

______________________________________________________________________________________________________________

Task 21. Which of the heroes of Leo Tolstoy's novel owns the following words:

One must live, one must love, one must believe.

____________________________________________________________________________________________________________

Task 22. What problems do the writers and poets of the 19th century raise in their works? (Select one work by one author).

Write an essay (at least 100 words) on one problem in one work. Rely on the author's position and formulate your point of view. Argument your theses based on literary works. Think over the composition of the essay.

KEYS.

Option 1.

10V

11G

12B

13G

14 climax

15 epic

16 A.S. Pushkin

17 A Hero of Our Time

18 Our people are numbered.

19. He believes that Raskolnikov himself can confess to his crime, thereby atoning his guilt and