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Literature of the second half of the 19th century
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A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, retreated to the door and put his hands behind his back.
- Yes, yes, please. But won't you go to your room first, Evgeny Vasilich?
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, we must clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of his trousers pocket his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
I. S. Turgenev "Fathers and Sons"
Name the literary trend in the mainstream of which the work of I. S. Turgenev developed and the principles of which were embodied in Fathers and Children.
Explanation.
I.S.Turgenev's creativity developed in the mainstream of realism. Realism is a style and method in art and literature, according to which objects of the visible world exist independently of human perception and cognition.
Answer: realism.
Answer: realism | critical realism
Maria Vostryakova 11.03.2017 10:34
Why in Task 8 No. 1497 type 1 answer " critical realism", and in Task 11 № 1 type 1 the answer is" realism ", if the tasks sound the same:" Name the literary direction in the mainstream of which the work of I. S. Turgenev developed and the principles of which were embodied in Fathers and Children? "
Tatiana Statsenko
Both options are possible.
Explanation.
The work of I. S. Turgenev "Fathers and Sons" refers to the novel, since the novel is a literary genre, as a rule, prosaic, which involves a detailed story about the life and development of the personality of the protagonist (heroes) in a crisis, non-standard period of his life ...
Answer: a novel.
Answer: novel
| A | B | IN |
Explanation.
А-4: Evgeny Bazarov - rudeness and harshness in assessments. Bazarov Evgeny Vasilievich - commoner, medical student, "nihilist". This is a cocky, cynical, strong person. He is confident in the correctness of his ideas, does not recognize other opinions, goes ahead.
B-3: Arkady Kirsanov - openness and enthusiasm. Kirsanov Arkady Nikolaevich (AK) is a young nobleman, friend and student of Bazarov, but, unlike Bazarov, his fascination with nihilism is superficial. AK are attracted in this teaching by a sense of freedom, independence from traditions and authorities, the right to self-confidence and insolence. The hero does not think about the essence of "nihilism." In addition, AK is good-natured, ingenuous, simple and very attached to noble values, lifestyle, etc.
Q-2: Pavel Kirsanov - class arrogance. Kirsanov Pavel Petrovich (PP) - the uncle of Arkady Kirsanov, an aristocrat, adheres to liberal views. The principles of PP are moderate liberalism, which includes the recognition of political freedoms, constitutions, aristocracy combined with Anglomania, worship of beauty and art.
Answer: 432.
Answer: 432
Write down the numbers in the answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
A-3: Evgeny Bazarov dies from a serious illness. Bazarov Evgeny Vasilievich - commoner, medical student, "nihilist". This is a cocky, cynical, strong person. He is confident in the correctness of his ideas, does not recognize other opinions, goes ahead. Living with his parents, Bazarov helps his father treat the sick and dies of blood poisoning, accidentally cutting himself during the autopsy of a person who died of typhus.
B-4: Nikolai Kirsanov makes Fenechka a legal wife. Kirsanov Nikolai Petrovich - nobleman, father of Arkady Kirsanov, widower, he is a weak man, but kind, sensitive, delicate and noble. This hero seeks to realize his romantic ideal in life - to work and seek happiness in love and art.
B-1: Pavel Kirsanov is wounded in a duel. Kirsanov Pavel Petrovich (PP) - the uncle of Arkady Kirsanov, an aristocrat, adheres to liberal views. Hates Bazarov and challenges him to a duel, in which he is slightly wounded in the leg.
Answer: 341.
Answer: 341
Senior Kirsanov and Bazarov from the first pages of the work are given in opposition. What is the name of the technique of sharp opposition used in a work of art?
Explanation.
This technique is called antithesis or contrast. Let's give a definition.
Antithesis is a rhetorical opposition of a text, 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.
Answer: antithesis or contrast.
Answer: antithesis | contrast
At the beginning of the given fragment, the heroes communicate with each other, exchanging remarks. What is the name of this type of speech?
Explanation.
This type of speech is called dialogue. Let's give a definition.
Dialogue is a literary form of oral or written exchange of statements (remarks) in a conversation between two or more people.
Answer: dialogue.
Answer: dialogue
Explanation.
What works of Russian classics reflect the relationship of representatives of different generations, and in what way can these works be compared with Turgenev's "Fathers and Sons"?
Explanation.
On the pages of the novel "Fathers and Sons", it is not just a conflict of generations that develops, it is a conflict of different social formations: nobles and commoners. Bazarov is a common nihilist. The Kirsanovs are liberals, nobles. In their argument, we see how different they are.
The conflict of generations is also shown in Griboyedov's Woe from Wit. Both Chatsky and Bazarov are heroes of a transitional period, when the ideals of the past were destroyed, and new ones had not yet formed. The inability to come to terms with reality and the inability to rise to a correct understanding of the meaning of life is the main reason for the inconsistency of young heroes from the galaxy of “superfluous people”.
Explanation.
Such a detail is called a detail or artistic detail. Let's give a definition.
An artistic detail is a particularly significant, highlighted element of an artistic image, an expressive detail in a work, carrying a significant semantic, ideological and emotional load.
What term denotes the way of displaying the inner state of the heroes, the thoughts and feelings that own them ("Alpatych with the coachman, with shaking hands, straightened the entangled reins"; "clutching his hair, burst out laughing with sobbing laughter")?
Read the fragment of the text below and complete tasks B1-B7; C1-C2.
By dusk, the cannonade began to subside. Alpatych left the basement and stopped at the door. The previously clear evening sky was covered with smoke. And through this smoke a young, high-standing sickle of the moon shone strangely. After the silence of the former terrible roar of guns, silence seemed over the city, interrupted only by the rustle of footsteps, groans, distant screams and the crackle of fires, which seemed to be widespread throughout the city. The groans of the cook have now died away. Black clouds of smoke from the fires rose and spread from both sides. On the street, not in rows, but like ants from a ruined bump, in different uniforms and in different directions soldiers passed and ran. In the eyes of Alpatych, several of them ran into Ferapontov's yard. Alpatych went out to the gate. Some kind of regiment, crowding and hurrying, blocked the street, going back.
`` They are renting out the city, leave, leave, '' the officer who noticed his figure told him and immediately turned to the soldiers with a shout:
- I'll let you run around the yards! He shouted.
Alpatych returned to the hut and, having called the coachman, ordered him to leave. Following Alpatych and the coachman, all of Ferapontov's household went out. Seeing the smoke and even the fires of the fires now visible in the beginning of dusk, the women, who had been silent until then, suddenly began to shout, looking at the fires. As if echoing them, the same cries were heard at other ends of the street. Alpatych, with the coachman shaking hands, was straightening the tangled reins and horses' trims under the canopy.
When Alpatych was driving out of the gate, he saw how ten soldiers, loudly talking, poured sacks and knapsacks with wheat flour and sunflowers in the open shop of Ferapontov. At the same time, returning from the street to the shop, Ferapontov entered. Seeing the soldier, he wanted to shout something, but suddenly stopped and, clutching a hair, burst out laughing with sobbing laughter.
- Bring everything, guys! Don't get the devils! He shouted, grabbing the bags himself and throwing them out into the street. Some of the soldiers, frightened, ran out, some continued to pour. Seeing Alpatych, Ferapontov turned to him.
- I made up my mind! Race! He shouted. - Alpatych! made up my mind! I'll ignite it myself. I made up my mind ... - Ferapontov ran into the yard.
On the street, damming it all up, soldiers were continuously walking, so that Alpatych could not pass and had to wait. The owner of Ferapontova with her children also sat on the cart, waiting to be able to leave.
It was already quite night. There were stars in the sky and a young moon, occasionally obscured by smoke, shone. On the descent to the Dnieper, the carts of Alpatych and the hostess, slowly moving in the ranks of soldiers and other carriages, had to stop. Not far from the crossroads at which the carts stopped, in an alley, a house and shops were on fire. The fire was already burning out. The flame either died away and was lost in the black smoke, then suddenly flashed brightly, strangely clearly illuminating the faces of the crowd of people standing at the intersection.
L. N. Tolstoy "War and Peace"
Indicate the literary direction, the principles of which were embodied in the novel by Leo Tolstoy "War and Peace".
Explanation.
The principles of realism were embodied in Leo Tolstoy's novel War and Peace. Realism is a true portrayal of reality.
Answer: realism.
Answer: critical realism | realism
What definition is added to the word "novel", characterizing the genre of "War and Peace"?
Explanation.
An epic is added to the word "novel", characterizing the genre of "War and Peace", since an epic is an extensive narration in verse or prose about outstanding national-historical events.
Answer: epic.
Answer: epic
Name the technique that the author resorts to when painting a picture of a retreat (“... like ants from a ruined bump<...>, soldiers passed and ran ").
Comparison is a trope in which one object or phenomenon is likened to another according to some common feature for them. The purpose of the comparison is to reveal new, important, predominant properties for the subject of the statement in the object of comparison.
Answer: comparison.
Answer: comparison
What is the name of the intentional use of the same words in the text, which enhances the significance of the statement (“I made up my mind! Race!” He shouted. “Alpatych! I made up my mind! I'll ignite it myself. I made up my mind...»)?
Explanation.
This use is called repetition. Let's give a definition.
The deliberate use of the same words in the text that enhances the significance of the statement is called repetition.
Answer: repetition | lexical repetition.
Answer: repetition | lexical repetition
Tatiana Statsenko
In the dictionary we read:
S.I.Ozhegov, N.Yu.Shvedova. Explanatory dictionary of the Russian language.
refrain, -a, m. (special).
1. A verse or stanza, repeated in a certain order in a poem. Monotonous r. (also trans .: about the frequent repetition of the same).
2. The theme of a piece of music, repeating in it and holding it together. structure. II app. refrain,
The refrain, as we see, is in a poem.
What is the name of an expressive detail that carries an important semantic load in a literary text (for example, a young month covered with smoke at the beginning and at the end of a fragment)?
Explanation.
This detail is called a detail. Let's give a definition.
An expressive detail that carries an important semantic load in a literary text is called a detail.
Answer: detail.
Answer: detail | art detail
The fragment begins and ends with a description of the fire in Smolensk. Indicate the term that denotes the location and relationship of parts, episodes, images in a work of art.
Explanation.
This term is called composition. Let's give a definition.
Composition is the mutual correlation and arrangement of units of the depicted and artistic and speech means in a literary and artistic work. The structure, plan of expression of a literary work; construction of a work of art.
Answer: composition.
Answer: composition
How, from your point of view, can explain the "strange" behavior of the merchant Ferapontov in the above episode?
Explanation.
## The "strange" behavior of the merchant Ferapontov is explained by the fact that the French are on the outskirts of the city. As a true patriot, the merchant Ferapontov does not want to feed the enemy army, preferring to burn his goods.
In what works of Russian classics does the theme of man in war sound, and what brings these works closer to the novel by Leo Tolstoy?
Explanation.
The topic of man in war has been raised more than once in the works of Russian classical literature. In Bulgakov's novel "The White Guard", in A. Tolstoy's novel "Walking through the agony", B. Pasternak "Doctor Zhivago", in the works of the Soviet period: "The Fate of a Man" by M. Sholokhov, "The Defeat" by A. Fadeev. Following the traditions of L. Tolstoy, his followers showed how a person is “exposed” in the face of danger, how his essence is manifested. In harsh conditions, feelings of patriotism, mercy, compassion are sharper. So, in A. Fadeev's novel "The Defeat" Mechik cannot cope with his fears, is not able to take risks for the sake of his comrades, and in the end runs away from the detachment. Sholokhov's hero Andrei Sokolov, on the contrary, did not become embittered, did not break down under terrible trials, remained a patriot of his homeland: hungry, physically exhausted, he proudly looks into the eyes of a fascist, refusing to drink for the victory of German weapons. The merchant Ferapontov, the hero of "War and Peace", does not think about his property, he is ready to give it away, he is ready to burn it so that the enemy cannot profit from his labors and triumphantly walk across the Russian land. Tolstoy raised the problem of the true and false patriotism close to both Sholokhov and Fadeev. these writers have similar views on the problem.
Explanation.
This term is called "psychologism". Let's give a definition.
Psychologism is an individualized reproduction of the inner world of people in literary works.
Answer: psychologism.
Answer: psychologism
Anna Andreeva (Artyomovsky) 15.06.2012 15:11
"Laughed with sobbing laughter" is not a human emotion?
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Laughing is not an emotion, but that is not the point. The question was about what term denotes the METHOD OF DISPLAYING the inner state of the heroes in a literary work.
What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?
Read the passage 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 supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went up to the handle to Arkady and, bowing to his guest, stepped back to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - has come to us at last ... What? how do you find him?
“At its best, 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 into your room first, Evgeny Vasilich?
- No, thank you, there is no need. Just order my little suitcase to be pulled there and this little garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
`` Yes, we must clean up, '' answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the drawing room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took from the pocket of his trousers his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy white of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
- Nothing happened, - answered Arkady, - so, they hesitated a little.
I. S. Turgenev "Fathers and Sons"
Name the literary trend in the mainstream of which the work of I. S. Turgenev developed and the principles of which were embodied in Fathers and Children.
Explanation.
The literary direction of the novel "Fathers and Sons" is critical realism. The author depicts the character of the character and his connection with social circumstances, gives an analysis of the character's inner world. Evgeny Vasilyevich Bazarov is a nihilist, his character is a reflection of time. The country is awaiting changes and he, anticipating them, denies the "old", expecting the "new". The novel was written in 1862. 1860-1870 - the era of reforms in Russia.
Answer: realism.
Answer: realism
What genre does the work of I. S. Turgenev "Fathers and Sons" belong to?
Explanation.
This work belongs to the genre "novel". A novel is one of the types of epic, narrative literature - a work that reflects a complex life process, a wide range of life phenomena shown in their development. The pictures of human life in the novel are given in their complexity and versatility. In the events depicted in the novel, unlike the story and the story, many characters usually take part, whose destinies and interests collide and intertwine. The life path of a person, his character in the novel is thus illuminated at different periods of human life in its various manifestations.
Answer: a novel.
Answer: Roman
Source: Demo version of the Unified State Exam-2013 for literature.
Establish a correspondence between the three main characters appearing in this fragment, and their inherent personality traits. For each position in the first column, match the corresponding position from the second column.
Write down the numbers in the answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
A-4: Evgeny Bazarov is a nihilist. Bazarov Evgeny Vasilyevich - commoner, medical student, "nihilist". This is a cocky, cynical, strong person. He is confident in the correctness of his ideas, does not recognize other opinions, goes ahead.
B-3: Arkady Kirsanov is a young man who recognized Bazarov as an idol. Kirsanov Arkady Nikolaevich (AK) - a young nobleman, friend and student of Bazarov. But, unlike Bazarov, his fascination with nihilism is superficial. AK are attracted in this teaching by a sense of freedom, independence from traditions and authorities, the right to self-confidence and insolence. The hero does not think about the essence of "nihilism." In addition, AK is good-natured, ingenuous, simple and very attached to noble values, lifestyle, etc.
B-2: Pavel Kirsanov is a dandy, master. Kirsanov Pavel Petrovich - the uncle of Arkady Kirsanov, an aristocrat, adheres to liberal views. He is 45 years old, "the whole appearance ..., graceful and thoroughbred, retained youthful harmony and ... striving upward, away from the earth ..."
Answer: 432.
Answer: 432
Source: Demo version of the Unified State Exam-2013 for literature.
Establish a correspondence between the three main characters appearing in this fragment and their further destiny.
Write down the numbers in the answer, arranging them in the order corresponding to the letters:
| A | B | IN |
Explanation.
A-3: While practicing on the corpse of a typhoid patient, Bazarov got injured and became infected. Living with his parents, Bazarov helps his father treat the sick and dies of blood poisoning, accidentally cutting himself during the autopsy of a person who died of typhus. Before his death, he sees Madame Odintsova for the last time, who comes to him at his request.
B-4: The wedding of Nikolai Petrovich with Fenechka was simultaneously with the wedding of Arkady and Katya. In the finale of the work, Arkady Kirsanov marries Katya, and Nikolai Petrovich marries Fenechka. Pavel Petrovich goes abroad forever.
Q-1: Bazarov slightly wounded Pavel Kirsanov and himself gave him first aid. Pvel Kirsanov hates Bazarov and challenges him to a duel, in which he is lightly wounded in the leg.
Answer: 341.
Answer: 341
Source: Demo version of the Unified State Exam-2013 for literature.
Senior Kirsanov and Bazarov from the first pages of the work are given in opposition. What is the name of the technique of sharp opposition used in a work of art?
Explanation.
This technique is called contrast or antithesis.
Contrast is a pronounced opposition of traits, qualities, properties of one human character, object, phenomenon to another. The use of contrast, contrasting features, colors, characteristics makes it possible for the writer to sharply emphasize and reveal certain aspects of a person, thing, landscape.
Antithesis is one of the stylistic figures: the turn of poetic speech, in which, to enhance expressiveness, directly opposite concepts, thoughts, and character traits of the characters are sharply opposed.
Answer: contrast or antithesis.
Answer: contrast | antithesis
Source: Demo version of the Unified State Exam-2013 for literature.
Adile all 19.02.2017 18:36
Why is the antithesis answer wrong?
Tatiana Statsenko
No, it should be counted as correct.
At the beginning of the above fragment, the heroes communicate with each other, exchanging remarks. What is the name of this type of speech?
Explanation.
Dialogue is a conversation between two or more persons in a work of art. In a dramatic work, the dialogue of the characters is one of the main artistic means for creating an image and character.
Answer: dialogue.
Answer: Dialogue
Source: Demo version of the Unified State Exam-2013 for literature.
How is the main conflict of the work traced in this episode of Fathers and Sons?
Explanation.
The main conflict in the novel by I.S. Turgenev's "Fathers and Sons" is a conflict between "fathers and children", which develops into a conflict between two social formations: liberals and commoners. In this episode, the author, using the method of antithesis, compares the elder Kirsanov with his smart clothes (“dark English suite”, “patent leather ankle boots”) with Bazarov, dressed in a “hoodie”.
Pavel Petrovich Kirsanov is a typical aristocrat gentleman. In his face we see an aristocrat admiring himself, whose life has been reduced to general philosophical reasoning and regrets about the past. Pavel Petrovich did not shake hands with Bazarov, thus already at the beginning of their acquaintance he showed his disdain for the newcomer. Even without knowing the guest, he behaves arrogantly, selfishly. His impeccable appearance, as evidenced by the details: a beautiful hand with long pink nails, a hand that seemed even more beautiful from the snowy whiteness of a sleeve, a face ... unusually regular and clean, as if drawn with a thin and light incisor, showed traces of wonderful beauty - opposes inner insignificance: he is completely not adapted to the new conditions of life, which are a direct threat to his peaceful existence. He treats ordinary people with disdain, a spiteful protest evokes in him everything new, democratic. The same uselessness and unsuitability for life, rejection of the new are manifested in the image of Nikolai Petrovich Kirsanov, although during the first meeting he seems to be a hospitable and cordial host.
Evgeny Bazarov is opposed to the old world in everything. He prides himself on his simple origins and is confidently committed to fighting the remnants of the old days. He is distinguished from all the other heroes of the novel even by his appearance and manner of speaking. He is dressed in a long hoodie with tassels, wears long hair, which at that time was a demonstrative sign of free thinking. Bazarov speaks simply and clearly, can use a proverb or a proverb to the point, gives precise characteristics.
Take task number 13.
Source: Demo version of the Unified State Exam-2013 for literature.
What works of Russian classics reflect the relationship of representatives of different generations and how can these works be compared with Turgenev's "Fathers and Sons"?
Explanation.
In the drama N.A. Ostrovsky's "Thunderstorm" homebuilding is gradually crumbling by the unwillingness of the "children" to obey the tyranny of the older generation. The main character Katerina does not fit into the order of the "dark kingdom". Despite the courtesy and outward subordination of Kabanova, Katerina does not want and cannot live as it is customary in Kalinov: by lies, deceit, submitting to the undivided power of tyrants. This is precisely what caused Katerina's protest.
Source: Demo version of the Unified State Exam-2013 for literature.
Explanation.
Such a detail is called an artistic detail. An artistic detail is a detail of a landscape, portrait, interior or psychological characteristic of a hero, highlighted by the writer among all other details in order to emphasize its special pictorial, expressive or symbolic meaning.
Answer: an artistic detail.
Answer: detail | art detail
Source: Demo version of the Unified State Exam-2013 for literature.
What term denotes a violation of the usual word order in a phrase ("After all, parents are strict with you because of love")?
Read the passage below and complete tasks B1-B7; C1-C2. STEP 1
Phenomenon 5
Kabanova, Kabanov, Katerina and Varvara
Kabanova. If you want to listen to your mother, as soon as you get there, do as I ordered you.
Kabanov. But how can I, mamma, disobey you!
Kabanova. Elders are not respected very much nowadays.
Barbara (inwardly)... You will not respect you, of course!
Kabanov. I think, mamma, not a step out of your will.
Kabanova. I would have believed you, my friend, if I hadn’t seen it with my own eyes and heard with my own ears what the respect for parents has now become from children! If only they remembered how many diseases mothers endure from their children.
Kabanov. I, mamma ...
Kabanova. If the parent says something when and offensive, by your pride, so, I think, it could be transferred! BUT! how do you think?
Kabanov. But when, mamma, did I not bear it from you?
Kabanova. Mother is old, stupid; Well, and you, young people, smart, should not exact from us fools.
Boars (sighing away)... Oh, my God! (Mother.)
Do we dare, mamma, to think!
Kabanova. After all, from love, parents are strict with you, because of love they scold you, everyone thinks to teach good. Well, I don’t like that nowadays. And the children will go to the people to praise that the mother is a grumble, that the mother does not give a pass, she squeezes out of the light. And, God forbid, some word does not please the daughter-in-law, well, the conversation began that the mother-in-law ate completely.
Kabanov. Nothing, mamma, who's talking about you?
Kabanova. I haven’t heard, my friend, I haven’t heard, I don’t want to lie. If I had heard, I would have spoken to you, my dear, then not so. (Sighs.) Oh, a grave sin! How long is it to sin! A conversation close to your heart will go, well, you will sin, you will be angry. No, my friend, say what you want about me. You can't tell anyone to talk; they will not dare in the eyes, so they will become behind the eyes.
Kabanov. Dry your tongue.
Kabanova. Full, full, don't swear! Sin! I've seen for a long time that your wife is dearer than your mother. Since I got married, I don’t see your old love from you.
Kabanov. Where do you see it, mamma?
Kabanova. Yes in everything, my friend! What a mother does not see with her eyes, so her heart is a thing, she can feel with her heart. Al's wife, or something, takes you away from me, I really don't know.
Kabanov. No, mamma! what are you, have mercy!
Katerina. For me, mamma, everything is the same as my own mother, that you, and Tikhon loves you too.
Kabanova. You, it seems, could have kept quiet if they didn’t ask you. Do not intercede, mother, I will not offend, I suppose! After all, he is my son too; do not forget that! Why did you jump out in your eyes to sing! To see, perhaps, how you love your husband? So we know, we know, in the eyes you prove it to everyone.
Barbara (inwardly)... Found a place to read.
Katerina. You are talking about me, mamma, in vain you say this. Whether with people or without people, I am all alone, I don’t prove anything from myself.
Kabanova. I didn't even want to talk about you; and so, by the way I had to.
A. N. Ostrovsky "Thunderstorm"
Indicate the author's definition of the genre of the play by A. N. Ostrovsky "The Thunderstorm".
Explanation.
A drama is a dramatic work that does not have clear genre features, which combines the techniques of different genres; sometimes such a work is simply referred to as a play.
Answer: drama.
What nickname did the inhabitants of Kalinov give to Marfa Ignatievna Kabanova?
Explanation.
Martha Ignatievna's surname was Kabanova, and for her despotic and tough character she was given a rude nickname - Kabanikha.
Answer: Kabanikha.
Answer: Kabanikha
In a fragment of the play, there is an exchange of remarks between the characters. Specify a term for a conversation between two or more people.
Explanation.
This form of communication is called dialogue. Let's give a definition.
Dialogue or polylogue is a conversation between two or more persons in a work of art. In a dramatic work, the dialogue of the characters is one of the main artistic means for creating an image and character.
Answer: dialogue or polylogue.
Answer: Dialogue | polylogue
How the author's explanations, descriptions of the situation on the stage, behavior, intonation, gestures of the characters are called in a dramatic work (sighing, to the side; to himself)!
Explanation.
Remark - the author's indication in the text of a dramatic work of the behavior of the characters: their gestures, facial expressions, intonations, type of speech and pause, the setting of the action, semantic emphasis of certain statements.
KABANOV (sighing, aside). Oh, my God! (Mother.) Do we dare ...
Answer: remarks.
Answer: remarks | remark
The attitudes and opinions of the participants in this scene are different. Indicate the term denoting a clash, confrontation between characters or any forces that underlies the development of the action of a literary work.
Explanation.
Conflict is a clash of opposing views of the characters in the epic, drama, in the works of the lyric-epic genre, as well as in the lyrics, if there is a plot in it. The conflict is realized in the verbal and physical actions of the actors. The conflict unfolds thanks to the plot.
In "The Thunder" - the confrontation between the gentle and naive soul of Katerina and everyone who prevents her from opening up and living.
Answer: conflict.
Answer: Conflict
In the play by A. N. Ostrovsky, two generations are sharply opposed. What is the name of the method of opposing various phenomena in a work of art?
Explanation.
This technique is called the antithesis. Antithesis is a stylistic device based on a sharp opposition of concepts and images, most often based on the use of antonyms.
The soft Katerina is opposed to the despotic Kabanikha. The weak-willed Pigs son - to the cunning Barbara.
Answer: antithesis.
Answer: Antithesis
How is the unhappy family relationship in the Kabanovs' house manifested in this fragment?
Explanation.
In N. Ostrovsky's play "The Thunderstorm", the playwright shows how the foundations of the "dark kingdom" are crumbling. Dikoy and Kabanova stand guard over these foundations. In the passage given for analysis, one cannot fail to notice how Kabanikha, instructing Tikhon before leaving, foresees that the "last times" of her undivided power are coming. This is evidenced by the phrases thrown in reproach to the son: “They don't respect the elders very much nowadays,” “I would have believed you, my friend, if I hadn’t seen it with my own eyes and with my ears didn’t hear what the respect for parents has now become from children! "
In the drama A.N. Ostrovsky's "Thunderstorm" homebuilding is gradually crumbling by the unwillingness of the "children" to obey the tyranny of the older generation. Snarls with Varvara's mother, Tikhon timidly contradicts. The main character Katerina does not fit into the order of the "dark kingdom". Despite the courtesy and outward subordination of Kabanova, Katerina does not want and cannot live as it is customary in Kalinov: by lies, deceit, submitting to the undivided power of tyrants. This is precisely what caused Katerina's protest.
The theme of fathers and children was raised by I.S. Turgenev in the novel "Fathers and Sons". Considering himself a liberal aristocrat, Pavel Petrovich is proud of his "principles", but this pride is empty, because his "principles" are only words. He is absolutely not adapted to the new conditions of life, which are a direct threat to his peaceful existence. He treats ordinary people with disdain, a spiteful protest evokes in him everything new, democratic. The Kirsanovs do not want to put up with the fact that their lives are gradually becoming a thing of the past, and that they are being replaced by Bazarov, who personifies a new generation with his views.
In Sholokhov's novel " Quiet Don The Melekhovs' house is based on the leadership of the elders. Pantelei Prokofich is a hardworking owner, sometimes hot-tempered, but kind and sensitive at heart. Despite the intra-family split, Pantelei Prokofich tries to combine the pieces of the old life into one whole - at least for the sake of his grandchildren and children. To preserve the family, he forbids Gregory to see Aksinya. However, the son, although he does not express an open protest to his father, does not listen to him, decides to do what he wants.
Thus, the problem of "fathers and children" is traditional for Russian classical literature, and sometimes goes beyond the everyday framework, becoming a social conflict.
Explanation.
This term is called inversion. Let's give a definition.
Inversion is a violation of the generally accepted grammatical sequence of speech; rearrangement of parts of the phrase, giving it special expressiveness; an unusual sequence of words in a sentence.
“I said, 'aristocratic,'” said Bazarov, lazily sipping a sip of tea.
- Exactly, sir: but I believe that you have the same opinion of aristocrats as you do of aristocrats. I consider it my duty to tell you that I do not share this opinion. I dare to say that everyone knows me for a liberal man who loves progress; but that's why I respect aristocrats - real ones. Remember, my dear sir (at these words Bazarov raised his eyes to Pavel Petrovich), remember, my dear sir, - he repeated with bitterness, - the English aristocrats. They do not yield an iota of their rights, and therefore they respect the rights of others; they demand the fulfillment of duties in relation to them, and therefore they themselves fulfill their duties. The aristocracy gave freedom to England and supports it.
“We have heard this song many times,” objected Bazarov, “but what do you want to prove by this?
- I want to prove it, my dear sir (Pavel Petrovich, when he was angry, with the intention of saying: "eftim" and "efto", although he knew very well that grammar does not allow such words. , in rare cases, when they spoke their native language, some people used - efto, others - ehto: we, they say, are indigenous hares, and at the same time we are nobles who are allowed to disregard school rules), I want to prove that without feeling self-dignity, without respect for oneself - and these feelings are developed in an aristocrat - there is no solid foundation for a public ... bien public, public building. Personality, sir, is the main thing: human personality must be strong as a rock, for everything is built on it. I know very well, for example, that you are pleased to find my habits, my toilet, my cleanliness at last funny, but it all stems from a sense of self-respect, from a sense of duty, yes, yes, duty. I live in a village, in the wilderness, but I do not drop myself, I respect the person in myself.
“Excuse me, Pavel Petrovich,” said Bazarov, “you respect yourself and sit with folded hands; what is the use of this for the bien public? You wouldn't respect yourself and do the same.
Pavel Petrovich turned pale.
- This is a completely different question. I do not have to explain to you now why I sit with folded hands, as you please to express myself. I just want to say that aristocracy is a principle, and only immoral or empty people can live without principles in our time. I said this to Arkady the next day of his arrival, and I repeat it to you now. Isn't that right, Nikolai?
Nikolai Petrovich nodded his head.
- Aristocracy, liberalism, progress, principles, - said Bazarov meanwhile, - just think how many foreign ... and useless words! The Russian person does not need them for nothing.
- What do you think he needs? Listen to you, this is how we are outside of humanity, outside of its laws. Have mercy - the logic of history requires ...
What kind of literature does the work of IS Turgenev "Fathers and Sons" belong to?
Explanation.
The work of I. S. Turgenev "Fathers and Sons" refers to the epic.
An epic is a kind of literature (along with lyrics and drama), a narrative about events assumed in the past (as if accomplished and remembered by the narrator). The epic embraces being in its plastic volume, spatio-temporal extent and eventful richness (plot). According to Aristotle's Poetics, the epic, unlike lyrics and drama, is impartial and objective at the moment of narration.
Answer: epic.
Nikolai Petrovich and Pavel Petrovich Kirsanovs are representatives of the liberal-minded nobility, who were once considered progressive, but are gradually losing their positions in the face of a new emerging diversity. Both of them belong to the camp of "fathers", opposed in the novel to "children", represented by the nihilist Bazarov. For him, a man of action, the principles of "fathers" are an empty excess, unnecessary to anyone, hindering progress.
The conflict between "fathers and children" is shown by Griboyedov on the pages of the comedy "Woe from Wit". Chatsky, personifying the emerging new generation of enlightened nobles, who wants to give his life for the benefit of the Fatherland, opposes the stagnant society of Famusov, in which ignorance, obscurantism, idleness and servility reign.
In the drama A.N. Ostrovsky's "Thunderstorm" homebuilding is gradually crumbling by the unwillingness of the "children" to obey the tyranny of the older generation. The main character Katerina does not fit into the order of the "dark kingdom". Despite the courtesy and outward subordination of Kabanova, Katerina does not want and cannot live as it is customary in Kalinov: by lies, deceit, submitting to the undivided power of tyrants. This is precisely what caused Katerina's protest.
Thus, the problem of “fathers and children” traditionally in Russian classical literature goes beyond the everyday framework, becoming a social conflict, and sometimes even political.
Metaphor is a figurative meaning of a word based on the use of one object or phenomenon to another by similarity or contrast; hidden comparison, built on the similarity or contrast of phenomena, in which the words "as", "as if", "as if" are absent, but implied.
“The whole was burning with impatience” can be understood as “anticipating”, “desiring strongly”.
Answer: metaphor.
Answer: Metaphor
Elvira Kazakova 15.09.2016 18:23
266. Composite verb predicate with a phraseological phrase
To burn with impatience is a phraseological unit.
Secondary general education
UMK ed. B. A. Lanina. Literature (10-11) (basic, in-depth)
Literature
Assignment number 5 of the exam in literature
We bring to your attention an analysis of 5 tasks in literature for the USE-2019 with detailed expert comments.Analysis of the tasks of the demo version of the exam-2019 in literature
Read the passage below and complete tasks 1-9.
“Here we are at home,” said Nikolai Petrovich, removing his cap and shaking his hair. - The main thing is now to have supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, retreated to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - has come to us at last ... What? how do you find him?
“At its best, 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, we need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of his trousers pocket his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shakehands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome." Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
- Nothing happened, - answered Arkady, - so, they hesitated a little.
(I. S. Turgenev, "Fathers and Sons")
An analysis of the USE results in literature shows that difficulties arise when performing tasks that require knowledge of the content of works of fiction (names of characters, names of places of events, significant details, etc.), as well as tasks to establish various correspondences: between characters and their characteristics , authors and titles of their works, heroes and their replicas. This is due to insufficient attention to the literary text itself when preparing for the exam. Often, schoolchildren try to replace reading the full text of a literary work by acquaintance with materials containing general information about its plot and poetics or a concise retelling, as well as by turning to film adaptations and theatrical performances.
Therefore, when preparing for the exam in literature, it is necessary to focus on the basic knowledge about a literary work, concerning:
- Genre variety and generic affiliation of the work.
- The presence of epigraphs and dedications.
- Belonging of the work to a certain literary direction.
- Arrangements of images in the storyline.
- Features of the conflict of the work, the main theme and idea of the work.
Ultimately, students 'reading of literary works should be aimed at building a system of characters' images. It is necessary to be able to navigate the characters, the peculiarities of their interaction with each other, to highlight conflict situations, since it is they who determine the problematics artwork.
Assignment 5
What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov's robe and Pavel Petrovich's English suite, noted by the author)?
Analysis of the task
The word "detail" is the clue for this task. Remember, if the word "detail" appears in the task, it means that we are talking about an artistic detail.
A detail is an important and valuable imaging tool; this is a detail that carries a huge ideological, emotional and semantic load. Not all writers have used these elements masterfully. In their work, they were actively used by Nikolai Vasilyevich Gogol, Anton Pavlovich Chekhov and other artists of the word.
There are several classifications of this element. For example, the Russian literary critic and philologist Andrei Borisovich Esin in his book "Literary Work" identifies three large groups of details: psychological, descriptive, plot.
Answer: detail.
The book contains materials for successfully passing the exam: brief methodological comments on all topics, assignments of different types and levels of difficulty, training versions of the exam, a dictionary of literary terms, as well as answers to all assignments. Students don't have to search the Internet for more information and buy other manuals. In this book, they will find everything they need to prepare independently and effectively for the exam.
You probably thought that we are talking about some extraordinary people with special properties. So we usually see pop and movie stars, famous politicians, scientists, clairvoyants and others. No, we are talking about truly special people - the foundation of all mankind. The idea of writing this article was not born yesterday, but the impetus was the reading of the article by Maria Gribova "Ordinary People". What the author writes about cannot leave indifferent most of the readers. I was moved to tears.
Immediately I remembered my grandparents - simple rural workers. I recalled their dear and kind faces, furrowed with deep wrinkles; their cracked, calloused but tender palms. And eyes with such light! - the light of real wisdom and truth of life ...
I often think: what good have they seen in their lives? They worked all the time - from dawn to dusk, demanding no rewards or honors. All the hardships of the formation of Soviet power fell on their shoulders. Entire villages and villages of them were destroyed in the Holodomor. It was they who won the bloodiest and most terrible in the history of mankind, the Great Patriotic War, dying by the millions from fascist bullets and shells in order to save our lives. It was they who restored the entire national economy destroyed by the war and gave birth to children - how much God will give! - without fear of any difficulties, and raised worthy people. And they did not need any money, no positions, no basic amenities, no pickles.
SPECIAL PEOPLE are those who just do not have their own "I", but there are "WE". They are "like everyone else", "so that everyone is like people," "as the team says." These are people with a muscle vector. It was only at the training on system-vector psychology by Yuri Burlan that I learned about such people. There are 38% of them in our general unconscious mental. These are the most peaceful, conflict-free, docile people. This is the salt of the earth. This is the living mass of all mankind. This is life itself in the human body.
People with a muscle vector are people of the earth. Only they really feel the earth alive. They are firmly attached to their native land, to their small homeland. For them, the taste of water from their well or an apple from their garden is special. A muscular woman is always a mother-heroine with a horde of children. At the age of 16-17, she already twists it at the physical level - so I want to give birth! She went to mow with her belly, the time has come - she threw the scythe, gave birth under a haystack, finished the mowing and carried the child home. What a power! And she manages the child so deftly, as if she has already nursed a dozen.
One of my grandmothers had 8 children, but four died at an early age. I remember my grandmother's garden, in which there were many apple trees. When the early apples appeared, we, the grandchildren, pick them up and carry them to the grandmother. And she refuses. “Grandma, why don't you like apples?” I ask. “Granddaughter, I love you very much,” he replies. “Only before the Savior I cannot eat them. Four of my little children died. God goes in the next world and distributes apples to children on the Savior. And if I eat it before the Savior, then he will not give it to mine, he will say: "but your mother-pig ate your apples." And only a sad smile on his face and not a single tear in his eyes. God gave - God took, what can you do! And then I cried at night, imagining children in the afterlife without the apples that their mother ate. As muscle people are taught, so they live: without arguing, without discussing, without sticking out. The main thing is to be like people, to like everyone else.
All people relate to death in different ways in accordance with their vector set: some are terrified of death, others even desire it. You can learn about these amazing features at the training on system-vector psychology by Yuri Burlan. And only muscular people take death calmly. Prepare for death ahead of time, so that everything would be human, that would be the correct rite.
So my grandmother always had everything prepared in advance for death. I remember that my grandmother was in the garden, and we, grandchildren, were hot in the house. Things to do? - get into the closet, dress up in dresses and arrange a concert. My cousin got to the mysterious knot at the very bottom of the closet, untied it, and there, among the scarves, bedspreads and towels, a simple black dress. Not understanding what kind of dress it was, my sister put it on, painted her lips with red lipstick and let's dance - a concert is a concert! And then grandmother comes in ...
I will never forget the rage that distorted her kindest face. She, who never punishes us, spanked her sister so much that everyone was scared. Everyone roared in unison, and grandmother was with us. Now I only know why she had such a reaction to the innocent trick of children: you cannot encroach on the holy of holies of a muscular man - that which is prepared for death. So the cherished bundle for death always lay in the closet. Then suddenly someone was dying in the village, but did not cook it for death, and the grandmother gave her bundle. Then I collected a new one again. I don't even know how many such nodules have changed - my grandmother lived to almost 90 years. And she worked until the last day. And I kept trying to persuade her to rest, I felt so sorry for her. Then I could not even imagine that hard monotonous work on the ground, at the machine, on the conveyor is the greatest pleasure for people with a muscle vector!
Now, I hope you also understand that pop stars and movie stars and others like them are not special. Special, just the simplest people. If it were not for them, people without pretensions, and we would not exist - so smart, self-sufficient and always dissatisfied with everything.
Where is humanity going now, driving these special people into cities? In short - to extinction and degradation. This is especially true in the post-Soviet countries, where the urethral-muscular mentality in most of the population. They destroy the village, and with it they destroy the healthiest part of humanity (both mentally and physically) - people with a muscle vector. In the same way, the Russian village gets drunk. But these are separate, very deep topics.
What amazes me in the system-vector psychology of Yuri Burlan? A whole systemic novel can be written out of a small episode of life, realized systematically. What the deepest layers this knowledge reveals in all areas of life!
I dedicate this article with enormous gratitude to millions of our ancestors and their descendants - special ordinary people who support the whole world. Without them, nothing will be on Earth!
I want that when meeting a working man, we would not turn our noses up, would not express our mental and material superiority, but would say to him a simple human "THANK YOU" for his work, which most of us are already incapable of.
The article was written based on the materials of the training
The examination paper on literature consists of 3 parts.
- Part 1 includes an analysis of a fragment of an epic, or lyroepic, or dramatic work: 7 tasks with a short answer (B1-B7) that require writing 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 the analysis of a lyric 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). Performing tasks C1-C4, try to formulate a direct coherent answer to the question posed, avoiding lengthy introductions and characteristics, observing the norms of speech. An indication of the volume of detailed answers in parts 1 and 2 is conditional; the assessment of the answer depends on its meaningfulness.
- Part 3 includes 3 tasks, of 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 author's position, formulate your point of view, use theoretical and literary concepts to analyze the work.
The duration of the exam in literature is 4 hours (240 minutes). We recommend that you take no more than 2 hours to complete the tasks of parts 1 and 2, and to part 3 - 2 hours.
Answers on the USE forms are recorded clearly and legibly in bright black ink. The use of gel, capillary or fountain pens is allowed.
When completing assignments, you can use the draft, but entries in it will not be taken into account when evaluating the work.
We advise you to complete the tasks in the order in which they are given. To save time, skip a task that cannot be completed immediately and move on to the next. If, after completing all the work, you have time left, you can return to the missed tasks.
The points you received for the 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 piece 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 supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went up to the handle to Arkady and, bowing to his guest, stepped back to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - has come to us at last ... What? how do you find him?
“At its best, sir,” said the old man, and grinned again, but immediately frowned his thick eyebrows. - Do you want 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, you need to clean yourself, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of his trousers pocket his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
- Nothing happened, - answered Arkady, - so, they 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. Write the answers first in 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 and other additional symbols. Write each letter (number) in a separate box in accordance with the samples given in the form.
B1 Name the literary direction in the mainstream of which the work of I.S. Turgenev and whose principles were embodied in Fathers and Children.
B2 What genre does the work of I.S. Turgenev "Fathers and Sons"?
Q3 What is the name of the characterization tool based on the description of his appearance ("He looked forty-five years old ...")?
Answer: ___________________________.
B4 Establish a correspondence between the characters appearing in this fragment and their further destiny.
For each position in the first column, match the corresponding position from the second column.
Write the answer in numbers in the table and transfer it to answer form No. 1.
| BUT | B | IN |
Q5 What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?
Answer: ___________________________.
B6 Senior Kirsanov and Bazarov from the first pages of the work are given in opposition. What is the name of the technique of sharp opposition used in a work of art?
Answer: ___________________________.
Q7 At the beginning of the above fragment, the heroes communicate with each other, exchanging remarks. What is the name of this type of speech?
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, if necessary, state your point of view. Argument your answer based on the text of the work.
Performing task C2, give at least two comparison positions (the position of the comparison is the indication of the author and the name of the work of art with the obligatory justification of your choice; you can give as comparison positions two works of the same author, 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 In what works of Russian classics is the conflict between representatives of different generations reflected, and in what way 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 golden years,
Three worn out strands,
And painted knitting needles stuck
In loose ruts ...
Russia, impoverished Russia,
I have your gray huts,
Your songs for me are windy -
Like the first tears of love!
I don't know how to feel sorry for you
And I carry my cross with care ...
What sorcerer do you want
Give back the robber beauty!
Let it lure and deceive, -
You will not disappear, you will not perish,
And only care will cloud
Your beautiful features ...
Well? One more concern -
With one tear the river is noisier
And you are still the same - a forest, but a field,
Yes, the boards are patterned up to the eyebrows ...
And the impossible is possible
The road is long and easy
When the road shines in the distance
Instant glance from under the handkerchief
When it rings with a wary melancholy
Deaf song of the driver! ..
(A.A. Blok, 1908)
The answer to tasks B8-B12 is a word, or a phrase, or a sequence of numbers. Write the answers first in 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 and other additional symbols. Write each letter (number) in a separate box in accordance with the samples given in the form.
AT 8 Name the modernist poetic movement of the early XX century, one of the brightest representatives of which was A.A. Block.
Answer: ___________________________.
AT 9 Indicate the number of the stanza (ordinal in the nominative case) in which the poet uses the anaphora.
Answer: ___________________________.
AT 10 Indicate the trick the author uses in the lines:
I have your gray huts,
Your songs for me are windy -
Like the first tears of love!
Answer: ___________________________.
AT 11 Select three names from the list below artistic means and the techniques used by the poet in the fourth stanza of this poem.
1) hyperbole
2) inversion
3) irony
4) epithet
5) sound writing
Write the corresponding numbers in the table in ascending order and transfer them to answer form no. 1.
AT 12 Indicate the size of the poem by A.A. Block "Russia" (without specifying the number of stops).
Answer: ___________________________.
To complete tasks C3 and C4, use answer form number 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, if necessary, state your point of view. Argument your answer based on the text of the work. Performing task C4, give at least two comparison positions (the position of the comparison is the indication of the author and the name of the work of art with the obligatory justification of your choice; you can give as comparison positions two works of the same author, except for the author whose work is considered in the task).
Write down the answers clearly and legibly, observing the norms of speech.
C3 What feeling is imbued with the poet's appeal to Russia?
C4 In what works of Russian poets the image of Russia was created and what are their similarities and differences with the poem by A.A. Blok?
Part 3
To complete the task of part 3, select 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 the volume of at least 200 words (if the volume of the essay is less than 150 words, then it is estimated at 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, it is necessary to analyze at least three poems).
Use literary-theoretical concepts to analyze the work.
Think over the composition of the 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 collision of dreams with reality?
C5.2 What is the meaning of comparing the images of Katerina and Varvara? (Based on the play by A. Ostrovsky "The Thunderstorm".)
C5.3 As in the prose of M.A. Bulgakov, reveals the topic of a person's moral choice? (Based on the novel "The White Guard" or "The Master and Margarita".)
The system of grading examination work in literature
For the correct answer to tasks B1-B12, 1 point is given, for an incorrect answer or lack of it - 0 points.
Answers to tasks B1-B12
| Job No. | Answer |
| IN 1 | realism |
| AT 2 | novel |
| AT 3 | portrait |
| AT 4 | 341 |
| AT 5 | detail |
| AT 6 | antithesis contrast |
| AT 7 | dialog |
| AT 8 | symbolism |
| AT 9 | sixth |
| AT 10 | comparison |
| AT 11 | 245 |
| AT 12 | iambic |
Criteria for checking and assessing the performance of tasks with a detailed answer
Assessment of the performance of tasks C1 and C3, requiring writing a detailed answer in the amount of 5-10 sentences
The indication of the 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 give a fairly complete answer in a smaller volume).
| Criteria | Points |
The inclusion of the work in the literary context and the persuasiveness of the arguments | |
a) the examinee answers the question based on the author's position, indicates the names of two works and their authors *, 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, 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 does not substantively correlate with the task at hand and does not rely on the author's position; | 0 |
| Maximum score | 4 |
* It is allowed to indicate two works of the same author, except for the author whose work is considered in the assignment.
Assessment of the fulfillment of tasks С5.1, С5.2, С5.3,
requiring writing a detailed reasoned answer in the genre
essays of at least 200 words
Among the five criteria by which the essay is evaluated, 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) 0 points are given in the "Protocol for checking answers to tasks" of form No. 2.
The assessment for the first position of the assessment of the task 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 performance of tasks in part 3, the volume of the written essay should be taken into account. The test takers are recommended to be at least 200 words long. If the essay contains less than 150 words (the word count includes all words, including official ones), then such work is considered uncompleted and is estimated at 0 points.
When the size of 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, relying on the author's position, if necessary, formulates his point of view; convincingly substantiates his theses, confirms his thoughts with the text, does not replace analysis with a retelling of the text; there are no actual errors and inaccuracies; | 3 |
b) the examinee gives a direct coherent answer to the question, relying on the author's position, if necessary, formulates his point of view, does not replace the 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. The level of knowledge of theoretical and literary concepts | |
| a) the examinee uses theoretical and literary concepts to analyze the work; errors and inaccuracies in the use of concepts are absent | 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. Justification of attracting the text of the work | |
a) the text of the work in question is drawn versatile and reasonably (quotes with comments to them, a brief retelling of the content necessary to prove judgments, reference to the micro-themes of the text and their interpretation, all sorts of references to what is depicted in the work, etc.) | 3 |
b) the text is attracted in many ways, | 2 |
| c) the text is used only as a retelling of the depicted | 1 |
| d) the text is not involved, 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 the sequence and unreasonable repetitions within the semantic parts | 3 |
b) the composition is characterized by compositional integrity, its parts are logically connected with each other, | 2 |
c) the compositional intention is traced in the essay, | 1 |
d) the compositional intention is not traced in the essay, gross violations of the sequence of parts of the statement are made, which significantly complicate the understanding of the meaning of the essay | 0 |
| 5. Following the norms of speech | |
| 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 the understanding of the meaning of the statement (5 or more speech errors were made) | 0 |
| Maximum score | 14 |
"The Artistic World of Dostoevsky" - The Spiritual Development of Dostoevsky. Illustrations for the novel "White Nights". Engineering castle in St. Petersburg. Older brother. The beginning of literary activity. Fedor Mikhailovich Dostoevsky. Way. Link to Siberia. Human society. The rite of execution of the Petrashevites. Reading was strictly forbidden. Mariinsky hospital for the poor.
Dostoevsky's Petersburg - Raskolnikov House. Petersburg of Dostoevsky. Sennaya Square. Raskolnikov climbs the stairs of his house many times. Dostoevsky gazed intently at the streets. For Dostoevsky Petersburg. Petersburg in the novel "Crime and Punishment". A. G. Dostoevskaya in the fields. Petersburg in literature.
"Dostoevsky White Nights Lesson" - A problematic question. something created by the imagination, mentally imagined. According to the dictionary of S.I. "Petersburg Chronicle". Dream. Film "White Nights" (after the work of the same name F.M. Dostoevsky). Lesson topic: The image of a dreamer in the story of F.M. Dostoevsky's White Nights. Dictionary work. F.M. Dostoevsky.
"Biography of Dostoevsky" - 1859 - returned to St. Petersburg and resumed literary activity. M.D. Isaeva is the first wife of F.M. Dostoevsky. A.G. Dostoevskaya is the second wife of the writer. 1844 - Fedor retired and took up literary activity. 1875 - the novel "The Teenager". Fedor Mikhailovich Dostoevsky. 1847 - Dostoevsky becomes a member of the revolutionary circle of M.V. Petrashevsky.
"The life and work of Dostoevsky" - N.V. Gogol, Novokuznetsk. What work of F.M.Dostoevsky was published in N.A.Nekrasov's "Petersburg collection"? By the highest decree the hereditary nobility was returned to the Governing Senate Dostoevsky. 1858 - Submits his letter of resignation. In which cities are F.M.Dostoevsky museums? F. M. Dostoevsky.
"Dostoevsky Poor People" - Give it back but you won't be happy. Literary criticism. I received 500 silver rubles from Muscovites. Lesson objectives. Will be released by May. V.N. Maikov. “Dear brother. You must have been waiting for my letter, my dear brother. Firstly, they will not read it, and if they read it, then in six months. But here is another story: the censor is not hired for less than a month.
Here we are at home, - said Nikolai Petrovich, taking off his caps, shaking his hair. - The main thing is now to have supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason.
- By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, retreated to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - he came to us at last ... What? how do you find him?
“At its best, 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, we need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took from the pocket of his trousers his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
`` Nothing happened, '' answered Arkady.
Question 5:
What is the name of a significant detail that is a means
artistic characteristics (for example, noted by the author
Bazarov's robe and Pavel Petrovich's English suite)?
Explanation:
To answer this question first, read the question carefully, there is a hint in the question “ significant detail that is a means artistic characteristics ". Knowing the terminology given in the codifier will help you in answering this question.
Answer: detail
KIM USE 2016 (early period)
-… Neil Pavlich, and Neil Pavlich! How did he, the gentleman who was reported just now, shoot himself on Petersburg?
- Svidrigailov, - someone from the other answered hoarsely and indifferently.
rooms.
Raskolnikov shuddered.
- Svidrigailov! Svidrigailov shot himself! He cried.
- How! Do you know Svidrigailov?
- Yes ... I know ... He recently arrived ...
- Well, yes, I recently arrived, lost my wife, a man of behavior
dumbfounded, and suddenly shot himself, and so scandalous that it is impossible to imagine ...
left in his notebook a few words that he was dying in his sanity and asks no one to blame him for his death. This money, they say, had.
How do you deign to know?
- I ... know ... my sister lived in their house as a governess ...
- Ba, ba, ba ... Yes, you can tell us about it. Didn't you even suspect?
“I saw him yesterday… he… drank wine… I didn't know anything.
Raskolnikov felt that something seemed to fall on him and his
pressed down.
- You seem to have turned pale again. We have such a stale spirit here ...
- Yes, I have to go, - muttered Raskolnikov, - I'm sorry,
disturbed ...
- Oh, have mercy, as much as you like! The pleasure was delivered, and I am glad
declare ...
Ilya Petrovich even extended his hand.
- I only wanted ... I go to Zametov ...
- I understand, I understand, and they gave me pleasure.
- I'm ... very glad ... goodbye, sir ... - Raskolnikov smiled.
He went out, he rocked. His head was spinning. He didn't feel if he was standing. He began to descend the stairs, resting his right hand against the wall.
It seemed to him that some janitor, with a book in hand, pushed him, climbing up to meet him in the office, that some dog was barking and barking somewhere in the lower floor, and that some woman threw a rolling pin at her and screamed. He went downstairs and went out into the yard. Here in the courtyard, not far from the exit, stood Sonya, pale, all dead, and looked at him wildly, wildly. He stopped in front of her. Something sick and jaded
expressed in her face, something desperate. She threw up her hands.
An ugly, lost smile pressed across his lips. He stood for a while, grinned, and turned upstairs, again into the office. Ilya Petrovich sat down and rummaged through some papers. Before him stood the one
the very man who had just pushed Raskolnikov up the stairs.
- Huh? You again! Did you leave anything? .. But what about you?
Raskolnikov, with pale lips, with a fixed gaze, quietly approached him, went up to the table itself, rested his hand on it, wanted to say something, but could not; only some incoherent sounds were heard.
- You are bad, chair! Here, sit on a chair, sit down! Water!
Raskolnikov sank into a chair, but did not take his eyes off his face.
unpleasantly surprised Ilya Petrovich. Both looked at each other for a minute and waited. They brought water.
“It’s me…” Raskolnikov began.
- Drink some water.
Raskolnikov withdrew the water with his hand and quietly, with arrangements, but distinctly said:
It was I who killed the old official and her sister Lizaveta with an ax.
and robbed.
Ilya Petrovich opened his mouth. They came running from all sides.
Raskolnikov repeated his testimony.
(F.M.Dostoevsky, "Crime and Punishment")
How preparation for the exam in literature turned for students and teachers into a quest with an unpredictable ending
Text: Natalia Lebedeva
Photo: Profi.ru
There are only a few months left until the final exams. Those who have chosen the humanities faculties will have to pass. What difficulties do well-read children face when they distinguish between stanza, anaphora and oxymoron? Why aren't Q&A items on the literature exam? And do you need to read all the works from the list to get the maximum score? These and other questions are answered by the author of numerous textbooks and manuals on literature, associate professor of Moscow State Pedagogical University Elena Poltavets.
Elena Yurievna, do you think that the knowledge that is given at school is enough to successfully pass the exam in literature?
Elena Poltavets: Knowledge and schools are different. It happens that knowledge is given, but in force different reasons they are not taken, it happens that knowledge is imposed, but imposed by no ties can not be tied. Knowledge can only be obtained by one's own efforts and make it an integral part of one's inner world. He also said that a good reader mixes a drop of his own blood into the work.
A modern applicant, motivated for the exam, will find everything he needs in the library, the Internet and, of course, additional questions for the teacher. But the paradox is that the better a conscientious student learns what a remark, anaphora, inversion, lyroepos, oxymoron, alliteration, assonance and all the other elements, knowledge of which is required in the "List of content elements" and "List of requirements for the level of training of graduates" , the more likely a drop in exam scores is.
How is this possible?!
Elena Poltavets: A simple example, in demo version there is a task on the poem "Russia", in which it is required to indicate "the number of the stanza in which the poet uses the anaphora." A student who has read at least a short article "Anaphora" in the dictionary of literary terms will find an anaphora, but will not find a stanza. If only because the list of “content elements” does not include the term “stanza” (but this is not so scary: the developers of KIMs are sure that the student cannot fail to know this). Another thing is worse: the sixth stanza of the proposed poem, containing an anaphora, is not a stanza, but a strophoid, so a diligent applicant who repeated the term “stanza” in addition to the term “anaphora” before the exam will be confused.
Another example is a question about the novel: "What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?" The implied answer is "detail". But in theory, "detail" and "detail" are delimited as terms.
In my opinion, the main the problem of the exam- conceptual inconsistency of test KIMs, and indeed any unambiguous tasks in the "question-answer" mode in the discipline "literature". Invalid question situation "What is the name of the detail ...?" is a trap for a smart applicant. Especially if he wonders if the symbolism of the details and their opposition are not meant. He could write about all this in an essay, but not in a line in which no more than a dozen letters can fit.
But after all, in the Unified State Exam in literature, tasks have already appeared where it is necessary to write detailed answers in 5-10 sentences.
Elena Poltavets: This is no longer a trap, but downright "setup", and a very serious one. The demo contains an episode of the first meeting Bazarov and Pavel Kirsanov(chapter four of the novel "Fathers and Sons", from the words of Nikolai Petrovich "Here we are at home" to the remark of Arkady: "So, hesitated a little"). The question is: "How is the main conflict of the work outlined in this episode of Fathers and Sons?" One gets the impression that the developer of this question has not read the great novel. Because the main conflict of the novel is not outlined either in the antithesis of the hoodie and the English suit mentioned in the episode, or even in the opposition of generations, or in the ideological disputes that unfold in the novel almost before the episode of the duel, but lies in the conflict of the “passionate, rebellious heart” of the human and the grave as the tragic fate of all flesh amid the eternal "indifferent nature." Awareness of his spiritual originality and an understanding of the doom to loneliness - this is what brings together after the duel the former antagonists - Bazarov and Pavel Kirsanov - and opposes them to all the other characters. A good teacher or tutor will, of course, read one of the following with his students. greatest works world literature.
Elena Poltavets: I'll start right away with an example. Assignment for the same novel "Fathers and Sons": "Establish a correspondence between the characters and their further destiny. (Characters: , Nikolai Petrovich Kirsanov, Pavel Petrovich Kirsanov. Fate: he gets wounded in a duel, marries Odintsova's sister, dies of a serious illness, marries Fenechka. " but only the ending of the novel.
Other tasks, which could be considered as a test of knowledge of the text, in examination option no, and this is understandable: do not turn the exam questions into jokes: “What ate the pig under the window of the house: a) nectarines; b) bananas; c) avocado ... "The idea with the" test by text ", popular in the old years, failed. Because there is no point in asking the name of the main character of the novel, and there is no reason to ask if the applicant remembers the nickname of the dog that the elderly relative did not like so much. Odintsova in the novel "Fathers and Sons".
Tasks that are too general in nature: to name works in which "the conflict between representatives of different generations is displayed", and to compare these works with Turgenev's novel or to name about the Motherland will also not very much allow to show knowledge of the text of the works. The answer is proposed to be limited to 5-10 sentences. And in what works the conflict of generations is not reflected?
So it turns out that an applicant who is familiar only with a brief retelling of works can cope with the 16 tasks of the first part. Consider also that the list of works of art, the reading of which is supposedly required, is too extensive, especially in the part that provokes the pupil's bewilderment: "I still won't have time, I don't remember, it is not worth reading."
How objective are the evaluation criteria? Indeed, in fact, for the sake of objectivity and equalization of chances, the USE was introduced.
Elena Poltavets: This is the most interesting thing. The tasks of the first part that seem suitable for an objective assessment (knows - does not know) are not. Here is the assignment: "Indicate the size of the poem, without specifying the number of feet." Suppose all examinees have entered correctly. We got equal points. But someone also knows the stop, someone knows the semantic halo, and someone has defined the semantics of pyrricated feet. And where can an applicant show this knowledge?
And in general, this is a strange approach: the first part requires knowledge of the terms, and the second part requires writing an essay. As if knowledge of terms is not necessary for composition.
Applicants often ask: "How many terms can there be in a good essay?" I will answer: in a 4-hour period - at least 50-60, or even 70. Because the plot, and the conflict, and the image, and the landscape, and the detail, and the remark, and the anaphora, and the size, in general, everything is , which is listed in “ content elements ", and much more - this is the tool with which the author of the work analyzes the work.
How many quotes? Well, let's say 70-80. Because there is absolutely no need to waste time quoting a whole stanza, when you can indicate that anaphora ("when") and alliteration (on "p" and "s") in the same poem by Blok "Russia" create an image of eternity and remind of the key word (if the applicant knows about anagram, then he will highlight the anagram "Russia"). There are already three quotes in one sentence of the essay.
But the essay has already been returned - the final essay is in December. And still all schoolchildren write an essay for the Unified State Exam in the Russian language ...
Elena Poltavets: “Final” “essay” with a focus on “meta-subjectness”, reasoning about life, “look and something”, preferably with the involvement of “extra-curricular” literary works and the everyday experience of high school students - this is, of course, useful, but also harmful at the same time. If only because the preparation of this "exam" and the responsibility for it are assigned to the same long-suffering school language teacher. And because no essay, whose "themes" sound pathetic and demagogic and offer to speak for all good against all bad, will not replace an essay exam in literature. Just as reasoning about why you need to know mathematics will not replace knowledge of at least the multiplication table.
The presence of several variants of the essay (mandatory "final" and optional c) led to the blurring of the goals and objectives of each of the examinations and disorientation of the examinees. The requirements for the "final" "essay" mastered by the student prevent him (and the teacher) from reorganizing to the analysis of a work of art as an aesthetic phenomenon, which is required in an essay on a literary theme. Yes, and all high school students, thanks to the final essay, quickly learn that a work of art is just a visual illustration of some unpretentious worldly wisdom and that understanding a work boils down to more or less successful use of it as a “material” for the “argumentation” of common truths ...
"Who can be called a true friend?", "Can a dream be changed?" And these topics for reasoning are intended for seventeen-year-olds, who, as it seems, should have already read Turgenev, and? It seems to me that only ten-year-olds and fourth-graders could still be offered such topics, and even then with a feeling of some awkwardness ...
Do I understand correctly that the most correct thing would be to return to the essay that we all wrote earlier in the senior class?
Elena Poltavets: I am sure that it is necessary to return the essay-essay for high school graduates. This should be the final creative work, allowing the graduate to reveal his knowledge and his, as it is fashionable to say, creativity. The same goes for the university entrance exam.
Many complain that schoolchildren write off all sorts of "golden" and "diamond" essays from collections, download from the Internet ... But no exam and no police measures will prevent this. And in themselves collections of "exemplary" essays there is nothing reprehensible, as well as in the catalogs of, say, hairstyles, which we leaf through while waiting in line at the hairdresser. Another thing is that not every haircut and not every dress will suit a particular person, or at least like it from an aesthetic point of view.
My high school students received assignments to write a review of an essay from the "golden collection", discussed these essays. But no one cheated when they had to hand over their work. If only because there was nowhere to copy: each student was given individual theme and at the same time one that is not in the "collections" or on the Internet. And the kaleidoscope of quotes from articles and prefaces to reveal the topic of the essay certainly could not replace the logic of the original work.
What do you think the ideal literature exam should look like?
Elena Poltavets: Essay on one of the selected literary topics. That is, dedicated to the analysis of the creativity / work of one or more authors listed in the program for the exam. Neither "free", nor problem-free "quotation" topics are not suitable for the exam. This should be an exam in the school discipline "literature", and not in sensitivity, impressionability, heartfelt kindness, moral maturity, civic responsibility and other delightful qualities, which, however, are not taught in school lessons.
Here we are at home, - said Nikolai Petrovich, taking off his caps, shaking his hair. - The main thing is now to have supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason.
- By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, retreated to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - he came to us at last ... What? how do you find him?
“At its best, 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, we need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took from the pocket of his trousers his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
`` Nothing happened, '' answered Arkady.
Question 5:
What is the name of a significant detail that is a means
artistic characteristics (for example, noted by the author
Bazarov's robe and Pavel Petrovich's English suite)?
Explanation:
To answer this question first, read the question carefully, there is a hint in the question “ significant detail that is a means artistic characteristics ". Knowing the terminology given in the codifier will help you in answering this question.
Answer: detail
KIM USE 2016 (early period)
-… Neil Pavlich, and Neil Pavlich! How did he, the gentleman who was reported just now, shoot himself on Petersburg?
- Svidrigailov, - someone from the other answered hoarsely and indifferently.
rooms.
Raskolnikov shuddered.
- Svidrigailov! Svidrigailov shot himself! He cried.
- How! Do you know Svidrigailov?
- Yes ... I know ... He recently arrived ...
- Well, yes, I recently arrived, lost my wife, a man of behavior
dumbfounded, and suddenly shot himself, and so scandalous that it is impossible to imagine ...
left in his notebook a few words that he was dying in his sanity and asks no one to blame him for his death. This money, they say, had.
How do you deign to know?
- I ... know ... my sister lived in their house as a governess ...
- Ba, ba, ba ... Yes, you can tell us about it. Didn't you even suspect?
“I saw him yesterday… he… drank wine… I didn't know anything.
Raskolnikov felt that something seemed to fall on him and his
pressed down.
- You seem to have turned pale again. We have such a stale spirit here ...
- Yes, I have to go, - muttered Raskolnikov, - I'm sorry,
disturbed ...
- Oh, have mercy, as much as you like! The pleasure was delivered, and I am glad
declare ...
Ilya Petrovich even extended his hand.
- I only wanted ... I go to Zametov ...
- I understand, I understand, and they gave me pleasure.
- I'm ... very glad ... goodbye, sir ... - Raskolnikov smiled.
He went out, he rocked. His head was spinning. He didn't feel if he was standing. He began to descend the stairs, resting his right hand against the wall.
It seemed to him that some janitor, with a book in hand, pushed him, climbing up to meet him in the office, that some dog was barking and barking somewhere in the lower floor, and that some woman threw a rolling pin at her and screamed. He went downstairs and went out into the yard. Here in the courtyard, not far from the exit, stood Sonya, pale, all dead, and looked at him wildly, wildly. He stopped in front of her. Something sick and jaded
expressed in her face, something desperate. She threw up her hands.
An ugly, lost smile pressed across his lips. He stood for a while, grinned, and turned upstairs, again into the office. Ilya Petrovich sat down and rummaged through some papers. Before him stood the one
the very man who had just pushed Raskolnikov up the stairs.
- Huh? You again! Did you leave anything? .. But what about you?
Raskolnikov, with pale lips, with a fixed gaze, quietly approached him, went up to the table itself, rested his hand on it, wanted to say something, but could not; only some incoherent sounds were heard.
- You are bad, chair! Here, sit on a chair, sit down! Water!
Raskolnikov sank into a chair, but did not take his eyes off his face.
unpleasantly surprised Ilya Petrovich. Both looked at each other for a minute and waited. They brought water.
“It’s me…” Raskolnikov began.
- Drink some water.
Raskolnikov withdrew the water with his hand and quietly, with arrangements, but distinctly said:
It was I who killed the old official and her sister Lizaveta with an ax.
and robbed.
Ilya Petrovich opened his mouth. They came running from all sides.
Raskolnikov repeated his testimony.
(F.M.Dostoevsky, "Crime and Punishment")
So, in our version of the USE in literature, task 5 is devoted to the composition of the work.
5. What is the name of a significant detail that is a means of artistic characterization (for example, "sheepskin coat", "boots", "dress")?
Answer:___________________________
You can watch a detailed analysis of task 5 in the video.
REFERENCE MATERIAL
In modern literary criticism, the term "COMPOSITION" of a work is understood in different ways. We will not go into the details of each opinion of literary schools, but only indicate that we understand the composition in two versions.
The first option is a broad understanding of composition
Composition is the general structure of a work of art - semantic parts, author's division into parts, and the like.
Based on this understanding of composition, we can designate in “ Captain's daughter»The following compositional parts:
1. Division into compositional parts according to the geographical principle:
2. Division into compositional parts according to the principle of growing up of the protagonist:
As can be seen from the above examples of division into compositional parts, a broad understanding of the term COMPOSITION is simply not suitable for precise work with artistic text. Each person who has read, depending on the reading comprehension, will compose his own, unlike anything else, composition. From this we can conclude that the broad understanding of the term COMPOSITION OF A WORK OF ART is distinguished by subjectivity, i.e. inaccuracy.
The second option is a narrow understanding of composition
Composition is the arrangement of the structural elements of a work, which, serving the author's intention, create integral artistic images.
What are the main structural elements of the work worth highlighting when analyzing the composition of the work?
Title of the work- This is an element of the composition, which serves as the main reference point and semantic accent of the work. In our case, the name is "The Captain's Daughter". A.S. Pushkin specially put in the name of a fictional character - the captain's daughter Marya Ivanovna Mironova.
This element of the composition tunes the reader to the perception of the writer's artistic intent. This work is not a historical work, an artistic reconstruction of historical events.
Chapter titles is also a structural element of the composition. With these titles, the writer gives the reader a sense of anticipation for the next event. For example: the title of the chapter "Sergeant of the Guard" sets the reader's mind to drastic changes in the life of the protagonist.
Epigraphs- it is both a structural element of the plot and composition of the work. The epigraph in a condensed form gives the main meaning of the work or part of it. A feature of the composition "The Captain's Daughter" is the abundance of epigraphs (an epigraph to the entire work and to each chapter separately).
Narration is a chain of events that are the basis for the development of the action of the entire work. In "The Captain's Daughter" the narration is consistent, without temporary permutations.
Description- this is a kind of speech of a work of art, which is characterized by static, an abundance of details, portraits, landscapes, etc. Description slows down the space-time continuum of the work, allows the reader to comprehend what has already been read.
Detail - it is an object (phenomenon, detail, thing) that is important for creating a holistic artistic image. The Captain's Daughter has an abundance of details. on the one hand, it recreates the life of that time, for example, "a saucepan with jam", "sheepskin coat", "bath accessories"; on the other hand, “red boots”, “white morning dress”, etc., create unique artistic images.
Portrait is a set of details that create the appearance of an artistic image, for example: a portrait of Pugachev, a portrait of Grinev, etc.
Scenery is a collection of details that create an image of nature. The peculiarity of natural details can add character to the landscape, for example: a hostile landscape (blizzard, blizzard) during Peter Grinev's drive from home to Orenburg. Usually the nature of the landscape anticipates subsequent events.
Interior- this is a set of details of the interior decoration of the room, for example: the interior of the hut, into which the counselor brought them.
Exterior is a set of details of the external state of a structure, building, house, for example: the exterior of the Belogorsk fortress.
Reasoning is a type of speech that is characterized by a departure from the narrative. The reasoning clarifies the cause-and-effect relationships of the events described in the work. For example: the reasoning of Father Grinev about the fate of his son.
Internal monologue- these are the arguments of the hero, which should not be heard by other heroes of the work. The internal monologue, from the point of view of the reader, characterizes his psychological state, for example: the internal monologue of Pyotr Grinev during interrogation.
Monologue- this is the reasoning of the hero of the work. The monologue is not designed to respond to those to whom the monologue is addressed, for example: Maria Ivanovna's monologue.
Dialog- this is the reasoning of the two heroes, which is carried out through an exchange of remarks, for example: a dialogue between Pyotr Grinev and Pugachev on the way to the Belogorsk fortress.
Polylogue- this is the reasoning of several (more than two) heroes of the work, which, like the dialogue, is carried out through an exchange of remarks, for example: a polylogue at the Pugachev military council, which Grinev was present at.
Letter- This is a kind of monologue, which is given in the form of a record, i.e. letters, for example: a letter from Father Grinev to Savelich.
Also, folklore elements can be considered as compositional parts: songs, fairy tales, legends, proverbs, riddles, etc. For example: the song "Don't make noise, mother green oak tree ..." or a Kalmyk fairy tale told by Pugachev to Grinev.
All of the above compositional elements are not exhausted. In each individual work, the presence of compositional parts will be its own, and this will manifest the peculiarity of the composition.
In contact with
What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?
Read the passage below and complete tasks B1-B7; C1-C2.
Yes, you need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
I. S. Turgenev "Fathers and Sons"
Explanation.
Such a detail is called a detail or artistic detail. Let's give a definition.
An artistic detail is a particularly significant, highlighted element of an artistic image, an expressive detail in a work, carrying a significant semantic, ideological and emotional load.
Answer: an artistic detail.
Answer: detail | art detail
1. What is the name of the form of allegory characteristic of fables, parables? ( Allegory)
2. What is the term that is used in literary criticism to denote an expression that has become winged? OR: In the speech of the heroes of the play there are many short, figurative sayings expressing original thoughts (for example, in the speech of Ash: “You are not a nail, I am not pincers ...”). What are these statements called? OR: Many remarks of the heroes of the play have become common (for example: "You cannot always cure a soul with truth"). Indicate the term that denotes apt figurative expressions containing a complete philosophical thought. ( Aphorism)
3. How are the characters who do not appear on the stage called in literary criticism? OR: In the stories of Mrs. Prostakova and Skotinin, “the deceased father” and uncle Vavila Faleleich appear. What are the names of the characters mentioned in the speech of the heroes, but not appearing on the stage? ( Off-stage)
4. What is the name of the monologue in a literary work that the hero pronounces "to himself"? ( Internal monologue)
5. Wanting to show his importance, Khlestakov uses an obvious exaggeration: "thirty-five thousand couriers alone." What is the name of an artistic technique based on exaggeration? ( Hyperbola)
6. One of the characteristic techniques of classicism is the disclosure of the character of the hero through his surname. What are these names called? OR: The surname of Khlestakov, like the surnames of other characters in the play, has a certain figurative characteristic. What are these names called? ( Speaking)
7. Indicate the name of the technique of artistic exaggeration, in which plausibility gives way to fantasy, caricature. ( Grotesque)
8. What is the name of an expressive detail that carries an important semantic load in a literary text? OR: Indicate the name of the detail that gives the story a special expressiveness (for example, a tear that rolled out from Chichikov. OR: What term denotes a significant minor detail that contains an important meaning (for example, Father's chest from the story of Mrs. Prostakova)? ( Detail)
9. What term denotes the form of speech of the characters, which is an exchange of replicas? OR: The text of the fragment is an alternation of the characters' statements facing each other. What is the name of this form of verbal communication? ( Dialog)
10. Specify genre to which the work belongs. (Epic genres: Novel, story, story, fairy tale, fable, epic, short story, sketch ... Dramatic genres: drama, comedy, tragedy ...
11. Determine genre of the work... Fonvizin "The Minor" is a comedy. Griboyedov "Woe from Wit" is a comedy. Gogol "The Inspector General" is a comedy. Ostrovsky "Thunderstorm" - drama. Chekhov " The Cherry Orchard"- comedy. Bitter "At the Bottom" is a drama.
12. Which one genre variety does the novel relate? ( Socio-philosophical, psychological, social and everyday ...)
13. To what stage in the development of the action does this fragment belong? ( The beginning, the climax, the denouement). OR: What is the name of the moment of the highest tension in the development of a dramatic plot. ( Climax).
14. The free, easy-going nature of the characters' speech is emphasized in this fragment by breaking the direct order of words in their phrases: "I will give you money for them"; "After all, I have never sold the dead." Name this technique. ( Inversion)
15. What is the name of the type of description in literary works that allowed the author to recreate the atmosphere of the dwelling? OR: Indicate the term used in literary criticism to describe the setting of the action, the interior decoration of the premises ("... in the corner, in front of the black board of the icon of the Virgin of the Three-handed, a lamp was burning, they sat down at a long table on a black leather sofa ..."). ( Interior)
16. Name the artistic device, which consists in the fact that the implied meaning of a word or phrase is opposite to the literal one expressed ("A skilled worker to interpret decrees"). ( Irony)
17. The fragment begins and ends with a description of the fire in Smolensk, etc. Indicate the term that denotes the location and relationship of parts, episodes, images in a work of art. OR: What is the term for the organization of parts of a work, images and their connections? ( Composition)
18. The fragment depicts a sharp clash of positions of the heroes. What is the name of such a collision in the work? OR: Clashes between characters are detected from the very beginning of the play. What is the name of the irreconcilable contradiction underlying the dramatic action? ( Conflict)
19. Type conflict? (Public, love, social). OR: The conflict in the relationship between the hero and the heroine determines the plot action " Clean Monday"I.A. Bunin. Give a definition of this conflict. ( Love)
20. Within what literary direction was this work created? ( Sentimentalism, classicism, realism, symbolism ...). OR: Indicate the name of the literary movement of the 18th century, the tradition of which Griboyedov continues, endowing some of the heroes of his realistic play with “speaking” surnames - characteristics. ( Classicism) OR: What is the name of the literary movement, the principles of which are partly formulated in the second part of the presented fragment ("to bring out everything that is in front of our eyes every minute and that indifferent eyes do not see - all the terrible, amazing mud of little things that have entangled our life")? ( Realism)
21. Indicate the type of path based on the transfer of the properties of some objects and phenomena to others ("the flame of talent"). OR: What is the term for the means of allegorical expressiveness, which the author refers to when describing the gigantic ship Atlantis: “... the floors ... were gaping with fiery eyes that were beyond counting”? ( Metaphor)
22. What is the name of a detailed statement of one hero? ( Monologue)
23. At the beginning of the episode, a description of the night village is given. What is the term for such a description? OR: What term is customary to denote the description of nature? ( Scenery)
24. Indicate a trope representing the replacement of a proper name with a descriptive phrase. ( Periphrase)
25. What is the name of the intentional use of the same words in the text, which enhances the significance of the statement? OR: "Yes, he hated me, hated ...", "It's so hard, so hard." What is this technique called? ( Repeat)
26. Name an artistic tool based on the image of a person's appearance, his face, clothes, etc. ("The fluff on her upper lip was covered with frost, the amber of her cheeks turned slightly pink, the blackness of the rayon completely merged with the pupil ..."). OR: At the beginning of the fragment, a description of the character's appearance is given. What is the name of this characterization tool? ( Portrait)
27. The speech of the heroes is replete with words and expressions that violate the literary norm ("such rubbish", "cushion me", etc.). Indicate this type of speech. ( Vernacular)
28. What term denotes a way of displaying the inner state of heroes, thoughts and feelings? OR: What is the name of the image of the hero's inner experiences, manifested in his behavior? ("Confused, blushing all over, making a negative gesture with his head")? ( Psychologism)
29. Events in the work are presented from the perspective of a fictional character. What is the name of the character in the work who is entrusted with the narration of events and other characters? ( The narrator)
30. What is the name of the hero who expresses the author's position? ( Resoner)
31. The first act of M. Gorky's play "At the Bottom" opens with the author's explanation: "A basement that looks like a cave. The ceiling is heavy stone vaults, smoked, with fallen off plaster ... ". What is the name of the author's explanation that precedes or accompanies the course of the action in the play? OR: Indicate the term used in the plays to refer to the author's short remarks (“Teasing him,” “With a sigh,” etc.). ( Remark)
32. Name the term that denotes the utterance of the characters in the play. OR: What is the name of a separately taken phrase of an interlocutor in a stage dialogue in drama? ( Replica)
33. Indicate the name kind literature to which the work belongs? ( Epic, drama)
34. How is a special kind of comic called in literary criticism: ridicule, exposure negative sides life, depicting them in an absurd caricature (for example, the image of generals in the fairy tale of M. E. Saltykov-Shchedrin "The Tale of how one man fed two generals"?) ( Satire)
35. Describing the tavern where the heroes arrived, I.A. Bunin uses a figurative expression based on the correlation of two objects, concepts or states that have a common feature (“it was paired, like in a bathhouse”). What is the name of this artistic technique? OR: Indicate the technique used by the author in the following phrase: "... soaring high above all other geniuses of the world, like an eagle soaring above others flying high." ( Comparison)
36. What is the name of the part of the act (action) of a dramatic work in which the composition of the characters remains unchanged? ( Scene)
37. What is the term for a set of events, turns and twists and turns of action in a work? ( Plot)
39. Artistic time and space- the most important characteristics of the author's model of the world. What traditional spatial reference does Goncharov use to create the image of a symbolically saturated enclosed space? ( House)
41. The given scene contains information about the characters, the place and time of the action, the circumstances that took place before it began are described. Indicate the stage in the development of the plot, which is characterized by the named signs. OR: What term is customary to denote a part of a work where circumstances preceding the main events of the plot are depicted? ( Exposition)
42. What is the term for the final component of the work? ( Epilogue)
43. What is the name of a means in literary criticism that helps to describe a hero ("weak", "puny")? OR: What are the names of figurative definitions that are the traditional means of artistic depiction? (
The examination paper on literature consists of 3 parts.
- Part 1 includes an analysis of a fragment of an epic, or lyroepic, or dramatic work: 7 tasks with a short answer (B1-B7) that require writing 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 the analysis of a lyric 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). Performing tasks C1-C4, try to formulate a direct coherent answer to the question posed, avoiding lengthy introductions and characteristics, observing the norms of speech. An indication of the volume of detailed answers in parts 1 and 2 is conditional; the assessment of the answer depends on its meaningfulness.
- Part 3 includes 3 tasks, of 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 exam in literature is 4 hours (240 minutes). We recommend that you take no more than 2 hours to complete the tasks of parts 1 and 2, and to part 3 - 2 hours.
Answers on the USE forms are recorded clearly and legibly in bright black ink. The use of gel, capillary or fountain pens is allowed.
When completing assignments, you can use the draft, but entries in it will not be taken into account when evaluating the work.
We advise you to complete the tasks in the order in which they are given. To save time, skip a task that cannot be completed immediately and move on to the next. If, after completing all the work, you have time left, you can return to the missed tasks.
The points you received for the 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 piece 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 supper and rest.
"It's really not bad to eat," Bazarov remarked, stretching himself, and sank down on the sofa.
- Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went up to the handle to Arkady and, bowing to his guest, stepped back to the door and put his hands behind his back.
- Here he is, Prokofich, - Nikolai Petrovich began, - has come to us at last ... What? how do you find him?
“At its best, sir,” said the old man, and grinned again, but immediately frowned his thick eyebrows. - Do you want 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
- Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
- Yes, you need to clean yourself, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of his trousers pocket his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome."
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly bent his flexible body and smiled slightly, but did not give his hand and even put it back in his pocket.
“I already thought you weren’t coming today,” he said in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
- Nothing happened, - answered Arkady, - so, they 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. Write the answers first in 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 and other additional symbols. Write each letter (number) in a separate box in accordance with the samples given in the form.
B1 Name the literary direction in the mainstream of which the work of I.S. Turgenev and whose principles were embodied in Fathers and Children.
B2 What genre does the work of I.S. Turgenev "Fathers and Sons"?
Q3 What is the name of the characterization tool based on the description of his appearance ("He looked forty-five years old ...")?
Answer: ___________________________.
B4 Establish a correspondence between the characters appearing in this fragment and their further destiny.
For each position in the first column, match the corresponding position from the second column.
Write the answer in numbers in the table and transfer it to answer form No. 1.
| BUT | B | IN |
Q5 What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?
Answer: ___________________________.
B6 Senior Kirsanov and Bazarov from the first pages of the work are given in opposition. What is the name of the technique of sharp opposition used in a work of art?
Answer: ___________________________.
Q7 At the beginning of the above fragment, the heroes communicate with each other, exchanging remarks. What is the name of this type of speech?
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, if necessary, state your point of view. Argument your answer based on the text of the work.
Performing task C2, give at least two comparison positions (the position of the comparison is the indication of the author and the name of the work of art with the obligatory justification of your choice; you can give as comparison positions two works of the same author, 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 In what works of Russian classics is the conflict between representatives of different generations reflected, and in what way 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 golden years,
Three worn out strands,
And painted knitting needles stuck
In loose ruts ...
Russia, impoverished Russia,
I have your gray huts,
Your songs for me are windy -
Like the first tears of love!
I don't know how to feel sorry for you
And I carry my cross with care ...
What sorcerer do you want
Give back the robber beauty!
Let it lure and deceive, -
You will not disappear, you will not perish,
And only care will cloud
Your beautiful features ...
Well? One more concern -
With one tear the river is noisier
Yes, the boards are patterned up to the eyebrows ...
And the impossible is possible
The road is long and easy
When the road shines in the distance
Instant glance from under the handkerchief
When it rings with a wary melancholy
Deaf song of the driver! ..
(A.A. Blok, 1908)
The answer to tasks B8-B12 is a word, or a phrase, or a sequence of numbers. Write the answers first in 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 and other additional symbols. Write each letter (number) in a separate box in accordance with the samples given in the form.
AT 8 Name the modernist poetic movement of the early XX century, one of the brightest representatives of which was A.A. Block.
Answer: ___________________________.
AT 9 Indicate the number of the stanza (ordinal in the nominative case) in which the poet uses the anaphora.
Answer: ___________________________.
AT 10 Indicate the trick the author uses in the lines:
I have your gray huts,
Your songs for me are windy -
Like the first tears of love!
Answer: ___________________________.
AT 11 From the list below, select three names for the 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 writing
Write the corresponding numbers in the table in ascending order and transfer them to answer form no. 1.
AT 12 Indicate the size of the poem by A.A. Block "Russia" (without specifying the number of stops).
Answer: ___________________________.
To complete tasks C3 and C4, use answer form number 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, if necessary, state your point of view. Argument your answer based on the text of the work. Performing task C4, give at least two comparison positions (the position of the comparison is the indication of the author and the name of the work of art with the obligatory justification of your choice; you can give as comparison positions two works of the same author, except for the author whose work is considered in the task).
Write down the answers clearly and legibly, observing the norms of speech.
C3 What feeling is imbued with the poet's appeal to Russia?
C4 In what works of Russian poets the image of Russia was created and what are their similarities and differences with the poem by A.A. Blok?
Part 3
To complete the task of part 3, select 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 the volume of at least 200 words (if the volume of the essay is less than 150 words, then it is estimated at 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, at least three poems must be analyzed).
Use literary-theoretical concepts to analyze the work.
Think over the composition of the 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 collision of dreams with reality?
C5.2 What is the meaning of comparing the images of Katerina and Varvara? (Based on the play by A. Ostrovsky "The Thunderstorm".)
C5.3 As in the prose of M.A. Bulgakov, reveals the topic of a person's moral choice? (Based on the novel "The White Guard" or "The Master and Margarita".)
The system of grading examination work in literature
For the correct answer to tasks B1-B12, 1 point is given, for an incorrect answer or lack of it - 0 points.
Answers to tasks B1-B12
| Job No. | Answer |
| IN 1 | realism |
| AT 2 | novel |
| AT 3 | portrait |
| AT 4 | 341 |
| AT 5 | detail |
| AT 6 | antithesis contrast |
| AT 7 | dialog |
| AT 8 | symbolism |
| AT 9 | sixth |
| AT 10 | comparison |
| AT 11 | 245 |
| AT 12 | iambic |
Criteria for checking and assessing the performance of tasks with a detailed answer
Assessment of the performance of tasks C1 and C3, requiring writing a detailed answer in the amount of 5-10 sentences
The indication of the 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 give a fairly complete answer in a smaller volume).
| Criteria | Points |
The inclusion of the work in the literary context and the persuasiveness of the arguments | |
a) the examinee answers the question based on the author's position, indicates the names of two works and their authors *, 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, 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 does not substantively correlate with the task at hand and does not rely on the author's position; | 0 |
| Maximum score | 4 |
* It is allowed to indicate two works of the same author, except for the author whose work is considered in the assignment.
Assessment of the fulfillment of tasks С5.1, С5.2, С5.3,
requiring writing a detailed reasoned answer in the genre
essays of at least 200 words
Among the five criteria by which the essay is evaluated, 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) 0 points are given in the "Protocol for checking answers to tasks" of form No. 2.
The assessment for the first position of the assessment of the task 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 performance of tasks in part 3, the volume of the written essay should be taken into account. The test takers are recommended to be at least 200 words long. If the essay contains less than 150 words (the word count includes all words, including official ones), then such work is considered uncompleted and is estimated at 0 points.
When the size of 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, relying on the author's position, if necessary, formulates his point of view; convincingly substantiates his theses, confirms his thoughts with the text, does not replace analysis with a retelling of the text; there are no actual errors and inaccuracies; | 3 |
b) the examinee gives a direct coherent answer to the question, relying on the author's position, if necessary, formulates his point of view, does not replace the 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. The level of knowledge of theoretical and literary concepts | |
| a) the examinee uses theoretical and literary concepts to analyze the work; errors and inaccuracies in the use of concepts are absent | 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. Justification of attracting the text of the work | |
a) the text of the work in question is drawn versatile and reasonably (quotes with comments to them, a brief retelling of the content necessary to prove judgments, reference to the micro-themes of the text and their interpretation, all sorts of references to what is depicted in the work, etc.) | 3 |
b) the text is attracted in many ways, | 2 |
| c) the text is used only as a retelling of the depicted | 1 |
| d) the text is not involved, 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 the sequence and unreasonable repetitions within the semantic parts | 3 |
b) the composition is characterized by compositional integrity, its parts are logically connected with each other, | 2 |
c) the compositional intention is traced in the essay, | 1 |
d) the compositional intention is not traced in the essay, gross violations of the sequence of parts of the statement are made, which significantly complicate the understanding of the meaning of the essay | 0 |
| 5. Following the norms of speech | |
| 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 the understanding of the meaning of the statement (5 or more speech errors were made) | 0 |
| Maximum score | 14 |
Part 1. Read the fragment of the work below and complete tasks 1-9.
Here we are at home, - said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have supper and rest.
Eating is really not bad, ”Bazarov remarked, stretching, and sank down on the sofa.
Yes, yes, let's have supper, supper as soon as possible. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, Prokofich.
A man of about sixty came in, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, retreated to the door and put his hands behind his back.
Here he is, Prokofich, - Nikolai Petrovich began, - has come to us at last ... What? how do you find him?
At its best, sir, ”said the old man and grinned again, but immediately frowned his thick eyebrows. - Do you want 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 little suitcase to be pulled there and this garment, ”he added, taking off his robe.
Very well. Prokofich, take their greatcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, withdrew on tiptoe.) And you, Arkady, will you go to your place for a minute?
Yes, you need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of average height, dressed in a dark English suite, a fashionable low tie and lacquered ankle boots, Pavel Petrovich Kirsanov entered the living room. He looked about forty-five years old: his short-cropped gray hair gleamed with a dark sheen, 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; especially good were the light, black, oblong eyes. The whole appearance of Arkadiev's uncle, graceful and thoroughbred, retained youthful harmony and that striving upward, away from the earth, which for the most part disappears after the twenties. Pavel Petrovich took out of his trousers pocket his beautiful hand with long pink nails - a hand that seemed even more beautiful from the snowy whiteness of a sleeve buttoned by a single large opal, and gave it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, three times touched his fragrant mustache to his cheeks, and said: "Welcome" Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly tilted his flexible body and slightly smiled, but did not give his hand and even put it back in his pocket.
I already thought that you would not come today, ”he spoke in a pleasant voice, swaying graciously, twitching his shoulders and showing his beautiful white teeth. - What happened on the road?
Nothing happened, - answered Arkady, - so, they hesitated a little. (I. S. Turgenev, "Fathers and Sons")
Name the literary direction in the mainstream of which the work of I.S. Turgenev and whose principles were embodied in Fathers and Children.
1. What genre does the work of I.S. Turgenev "Fathers and Sons"?
2. What is the name of the characterization tool based on the description of his appearance ("He looked forty-five years old ...")?
3. Establish a correspondence between the characters appearing in this fragment and their further fate: for each position of the first column, select the corresponding position from the second column.
CHARACTERS. FURTHER FATE
A. Evgeny Bazarov
B. Nikolay Kirsanov
B. Pavel Kirsanov
1) gets wounded in a duel
2) marries sister Odintsova
3) dies of a serious illness
4) marries Fenechka
Write down the selected numbers in the table under the corresponding letters.
Answer: A B C
4. What is the name of a significant detail that is a means of artistic characterization (for example, the Bazarov robe and Pavel Petrovich's English suite, noted by the author)?
5. Senior Kirsanov and Bazarov from the first pages of the work are opposed to each other. What is the name of the technique of sharp opposition used in a work of art?
6. At the beginning of the given fragment, the characters communicate with each other, exchanging remarks. What is the name of this type of speech?
To complete tasks 8 and 9, use ANSWER FORM № 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, if necessary, state your point of view. Argument your answer based on the text of the work. Performing task 9, select two works of different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.
8. How is the main conflict of the work outlined in this episode of Fathers and Sons?
9. In what works of Russian classics is the conflict between representatives of different generations reflected, and in what way can these works be compared with Turgenev's "Fathers and Sons"?
Read the work below and complete tasks 10-16.
Again, like in golden years,
Three worn out strands,
And the painted knitting needles stuck In loose ruts ...
Russia, impoverished Russia,
I have your gray huts,
Your me wind songs - Like the first tears of love!
I do not know how to pity you And I carry my cross with care ...
Whichever sorcerer you want Give the beauty of the robber!
Let it lure and deceive - you will not disappear, you will not perish,
And only care will cloud Your beautiful features ...
Well? One more concern - One tear the river is noisier,
And you are still the same - a forest, but a field,
Yes, the boards are patterned up to the eyebrows ...
And the impossible is possible
The road is long and easy
When the road shines in the distance
When the guarded song of the driver rings with longing! ..
A.A. Block, 1908
10. Name the modernist poetic movement, one of the brightest representatives of which was A. Block.
11. Indicate the number of the stanza (ordinal in the nominative case) in which the poet uses the anaphora.
I have your gray huts,
T howl me wind songs - Like the first tears of love!
13. From the list below, select three names of artistic means and techniques used by the poet in the fourth stanza of this poem. Write down the numbers under which they are indicated.
1) hyperbole, 2) inversion, 3) irony, 4) epithet, 5) sound writing.
14. Indicate the size of the poem written by AA. Block "Russia" (without specifying the number of stops).
To complete tasks 15 and 16, use ANSWER FORM NO.
First write down the number of the assignment, and then give a direct coherent answer to the question (approximate volume - 5-10 sentences). Rely on the author's position, if necessary, state your point of view. Argument your answer based on the text of the work.
Performing task 16, select two works of different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.
15. What feeling is imbued with the poet's appeal to Russia?
16. In what works of Russian poets the image of Russia was created and what are the similarities and differences of these works with the poem of A. A. Blok?
Part 2. To complete the task of part 2, select only ONE of the proposed essay topics (17.1-17.3). In ANSWER FORM № 2, indicate the number of the topic you have chosen, and then write an essay on this topic in the volume of at least 200 words (if the volume of the essay is less than 150 words, then it is estimated at 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, at least three poems must be analyzed). Use literary-theoretical concepts to analyze the work. Think over the composition of the essay.
17.1. As in the poem by M.Yu. Lermontov's "Mtsyri" reflects the collision of dreams with reality?
17.2. How are the images of Katerina and Barbara opposed to each other? (Based on the play by A. Ostrovsky "The Thunderstorm".)
17.3. As in the prose of M.A. Bulgakov, reveals the topic of a person's moral choice? (Based on the novel "The White Guard" or "The Master and Margarita".)