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 dress coat with copper buttons and a pink kerchief around his neck. He grinned, went to the handle to Arkady and, bowing to the guest, stepped back 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. - Do you want to set the table? He said impressively.
- Yes, yes, please. But won't you go first to your room, 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 need to clean up, - answered Arkady and was about to go to the door, but at that moment a man of medium 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 cropped gray hair shone 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 handed it to his nephew. Having made a preliminary European "shake hands", he three times, in Russian, kissed him, that is, he touched his cheeks three times with his scented mustache, 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 that you would not come 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
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 knew nothing.
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'm glad
declare ...
Ilya Petrovich even extended his hand.
- I just wanted ... I'm going 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 did not 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 his 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 to the office. Ilya Petrovich sat down and rummaged through some papers. Before him stood that
the very guy who just pushed Raskolnikov, climbing the stairs.
- Huh? You again! Did you leave anything? .. But what about you?
Raskolnikov, with pale lips, with a motionless gaze, quietly approached him, went up to the table itself, rested his hand on it, wanted to say something, but could not; only 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 took the water away with his hand and quietly, with arrangements, but distinctly said:
It was I who then 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 Unified State 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 humanitarian 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 Yuryevna, 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 for various reasons it is not taken, it happens that knowledge is imposed, but you cannot tie it imposed by any strings. 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 the 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 not a stanza. If only because the list of "content elements" does not contain the term "stanza" (but this is not so scary: the developers of KIMs are sure that the student cannot but 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” besides 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 problem of the Unified State Exam is the conceptual inconsistency of test CMMs, and indeed any unambiguous questions 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 meant. He could have written about all this in an essay, but not in a line that would fit no more than a dozen letters.
But after all, in the Unified State Exam in literature, tasks have already appeared where you need 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?" It seems 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 suite 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 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, of course, will read one of the greatest works of world literature with his students.
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. ") This task can be completed by an applicant who has not read the novel at all, provided that he is familiar with a brief retelling of the plot, and not even the plot. but only the ending of the novel.
There are no other tasks that could be considered as a test of knowledge of the text in the exam version, and this is understandable: do not turn the exam questions into jokes: “What did the pig eat under the window of the house: a) nectarines; b) bananas; c) avocado ... "The idea with the" test by text ", popular in the old days, failed. Because there is no point in asking the name of the protagonist of the novel, and there is no reason to ask if the applicant remembers the name of the dog that the elderly relative did not like so much Odintsova in the novel "Fathers and Sons".
Tasks of a too general 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 help to show knowledge of the text of 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, for the sake of objectivity and equalizing chances, the USE was introduced.
Elena Poltavets: This is the most interesting. The tasks of the first part that seem suitable for an objective assessment (knows - does not know) are not. Here is the task: "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 has a 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 writing.
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 an orientation towards “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. At least 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 (obligatory "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 mastered by the student for the “final” “composition” 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 involvement of it as a “material” for the “argumentation” of common truths ...
"Who can be called a true friend?", "Can a dream be changed?", "What role can a cowardly act play in a person's fate?" And these topics for discussion are intended for seventeen-year-olds, who, as it seems, should have already read Turgenev, and? It seems to me that only ten-year-old 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 school graduates. This should be the final creative work that allows the graduate to reveal his knowledge and his, as it is fashionable to say, creativity. The same applies to the university entrance exam.
Many complain that schoolchildren write off all sorts of "golden" and "diamond" essays from collections, download them 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 that 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 nobody cheated when they had to hand over their work. If only because there was nowhere to copy: each student was given an individual topic 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.
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a) Anya
b) Ranevskaya
c) Varya
d) Dunyasha
69. "I, like a sunbeam, was alive and now I had to sit motionless, like a stone." What pictorial and expressive means was used twice in this statement of the heroine?
a) metaphor
b) comparison
c) impersonation
d) hyperbole
70. What phrase ends the drama "Thunderstorm"?
a) Mamma, you ruined her, you, you, you ...
b) Thank you, good people, for your service!
c) Good for you, Katya. Why am I left to live in the world and suffer !
d) Do what you want with her! Her body is here, take it; but now your soul is not yours: it is now before a judge who is more merciful than you!
71. What is the literary direction in the mainstream of which developed
creativity and principles of which are embodied in Fathers and Children.
a) Sentimentalism
b) Realism
c) Romanticism
d) Classicism
72. 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)?
a) description
b) remark
c) detail
d) composition
73. 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?
a) metaphor
b) comparison
c) oxymoron
d) antithesis
74. He looked about forty-five years old: his cropped gray hair gleamed with a dark sheen, like new silver; his face, bilious, but without wrinkles, unusually regular and clean, as if drawn with a thin and light incisor, showed traces of remarkable beauty; especially good were the light, black, oblong eyes. Whose portrait characteristic is this?
a) Nikolai Kirsanov
b) Pavel Kirsanov
c) Evgenia Bazarova
d) Arkady Kirsanova
75. Correlate the surnames, names and patronymics of the heroes of the story "Heart of a Dog":
a) A-1, B-2, B-4, G-3
b) A-1, B-3, B-2, G-4
c) A-2, B-4, B-1, G-3
d) A-3, B-2, B-1, G-4
76. Who is described in this way in the novel? “... A man of about fifty years old, of medium height and dense build, with gray hair and a large bald spot, with a swollen ... yellow, even greenish face and with swollen eyelids, because of which tiny, like cracks, but animated reddish eyes. "
a) Zosimov
b) Marmeladov
c) Raskolnikov
d) Svidrigailov
77. Who is described in this way in the novel? “... A tall and fat man, with a puffy and colorless-pale, smooth-shaven face, with straight blond hair, glasses and a large gold ring on a finger swollen with fat. He was twenty-seven years old. He was dressed in a wide, lightweight, light coat, in light summer trousers, and, in general, everything on him was wide, with a pinch of smartness; the linen is impeccable, the watch chain is massive. "
a) Zosimov
b) Marmeladov
c) Raskolnikov
d) Svidrigailov
a) Luke
b) Satin
c) Natasha
d) Tambourines
79. Who arranged a meeting between Katerina and Boris, having stolen the key from Kabanikha?
a) Curly
b) Kuligin
c) Barbara
d) Glasha
80. Why Prince Andrew goes to serve in the army
a) ideas about the officer's duty
b) the desire to defend the Motherland
c) striving for fame
d) at the insistence of the father
Part B
1. Whom in Ostrovsky's play did N. Dobrolyubov call "a ray of light in the dark kingdom"?
Answer: Katerina
2. What is nihilism, as defined by Turgenev, in the novel "Fathers and Sons"?
Answer: denial
3. The main motives of Nekrasov's lyrics.
Answer: motherland theme
4. Two main thoughts in Tolstoy's novel "War and Peace" (write the answer separated by commas).
Answer: family, folk
5. The theme of Chekhov's play "The Cherry Orchard".
Answer: selling a cherry orchard
6. Write the title of the first poem about the revolution.
Answer: Twelve
7. Two main themes of Yesenin's lyrics (write the answer separated by commas).
Answer: homeland, nature
8. Write the names of Mayakovsky's satirical poems (write the answer separated by commas).
Answer: Lazy people, About rubbish
9. By the example of which character is shown the fate of the Don peasantry in Sholokhov's novel "Quiet Don".
Answer: Grigory Melikhov
10. Which of the heroes of Sholokhov wrote an application for joining the collective farm, since he completely agrees with the new life.
Answer: Kondrat Maidannikov
11. Why is Bazarov dying at Turgenev's.
Answer: His time has not come
12. The main theme of Tsvetaeva's lyrics.
Answer: love
13. The meaning of Tolstoy's story "The Viper".
Answer: the fury of the civil war
14. The meaning of the legend about Danko in the story "Old Woman Izergil".
Answer: serving the people
15. What music sounds in Kuprin's story "Garnet Bracelet" (write the answer separated by commas).
Answer: Sonata No. 2, Beethoven's Apossionata
16. What was the name of the assistant professor Preobrazhensky (full name).
Answer:
17. Why is Shukshin's hero called an eccentric.
Answer: something constantly happened to him
18. What is the name of Vysotsky's collection of poems.
Answer: Nerve
19. What was the name of the hero of Sholokhov's story "The Fate of a Man".
Answer: Andrey Sokolov
20. What book about a fighter did Tvardovsky write?
Answer: Vasily Terkin
Part C
Read the passage from War and Peace and complete the assignments.
No matter how cramped and not needed by anyone, and no matter how hard his life now seemed to Prince Andrey, he, just like seven years ago in Austerlitz on the eve of the battle, felt agitated and irritated.
Orders for tomorrow's battle were given and received by him. He had nothing else to do. But his thoughts were the simplest, clearest and therefore terrible thoughts did not leave him alone. He knew that tomorrow's battle had to be the most terrible of all those in which he participated, and the possibility of death for the first time in his life, without any relation to everyday life, without considerations of how it would affect others, but only because attitude towards him, towards his soul, with liveliness, almost with certainty, simply and horribly, presented itself to him. And from the height of this performance, everything that previously tormented and occupied him suddenly lit up with a cold white light, without shadows, without perspective, without distinction of outlines. His whole life seemed to him like a magic lantern, into which he looked for a long time through glass and under artificial lighting. Now he suddenly saw, without glass, in bright daylight, these badly painted pictures.
“Yes, yes, these are those false images that excited and admired and tormented me,” he said to himself, going over in his imagination the main pictures of his magic lantern of life, now looking at them in this cold white light of the day - the clear thought of death. - Here they are, these roughly painted figures, which seemed to be something beautiful and mysterious. Glory, the public good, love for a woman, the fatherland itself - how great these pictures seemed to me, what a deep meaning they seemed to be fulfilled! And all this is so simple, pale and rough in the cold white light of that morning, which I feel is rising for me. "
The three major sorrows of his life in particular held his attention. His love for a woman, the death of his father and the French invasion that captured half of Russia. “Love! .. This girl, who seemed to me full of mysterious powers. How I loved her! I made poetic plans about love, about happiness with her. Oh dear boy! " - He said angrily aloud.
- How! I believed in some kind of ideal love, which should have kept it faithful to me for a whole year of my absence! Like the tender dove of a fable, she should have wither away in separation from me. And all this is much simpler ... All this is terribly simple, disgusting!
My father also built in Bald Mountains and thought that this was his place, his land, his air, his men; but Napoleon came and, not knowing about his existence, like a splinter from the road, pushed him, and his Bald Mountains and his whole life fell apart. And Princess Marya says that this is a test sent from above. What is the test for when it is no longer and will not be? never again!
He's gone! So who is this test? Fatherland, death of Moscow! And tomorrow he will kill me - and not even a Frenchman, but his own, as yesterday a soldier unloaded a gun near my ear, and the French will come, take me by the legs and by the head and throw me into a hole so that I do not stink under their nose, and new conditions will arise. lives that will also be familiar to others, and I will not know about them, and I will not be. "
1) What terrible thoughts haunt Prince Andrew?
2) What events in his life does Prince Andrew consider the most tragic?
3) What girl are you talking about at the end of the second paragraph?
4) What event in his life does Prince Andrey say: “All this is awfully simple, disgusting!”?
5) What means of psychological writing does the author use to convey the internal state of the prince? Choose the correct answers from words and phrases for references: sleep, internal monologue, letter, diary, confession, author's comment.
6) In what year did the Battle of Borodino take place?
7) In the third paragraph of the text, find 2 phrases, from which it becomes clear that on the eve of the battle in the mind of Prince Andrey there is a reassessment of values
8) Compare the state of Prince Andrew before the battles of Austerlitz and Borodino (find similarities and differences).
4. Scoring criteria
Determination of the number of test questions (tasks) |
||||
The number of hours of academic discipline according to the curriculum | Total | Part A | Part B | Part C |
≥ 101 |
Pivot table with scoring criteria |
Literature examination paper 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 USE in literature is 4 hours (240 minutes). We recommend that you spend no more than 2 hours on the tasks of parts 1 and 2, and for 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 received by you for completed tasks are summed up. Try to complete as many tasks as possible and get 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, 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 up to the handle to Arkady and, bowing to the 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 first to your room, 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 cropped gray hair shone 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, he touched his cheeks three times with his scented mustache, 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 that you wouldn’t come 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, hesitated a little.
(IS 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"?
Answer: ___________________________.
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.
| AND | 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: ___________________________.
B7 At the beginning of the above fragment, the characters 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, except for 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 straps,
And painted knitting needles stuck
In loose ruts ...
Russia, impoverished Russia,
I have your gray huts,
Your wind songs to me -
Like the first tears of love!
I don't know how to feel sorry for you
And I carry my cross carefully ...
What sorcerer you want
Give back the robber beauty!
Let it lure and deceive, -
You will not be lost, 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 grief
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 wind songs to me -
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: ___________________________.
For 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.
C3What feeling is imbued with the poet's appeal to Russia?
C4In 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 # 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, relying on literary works (in an essay on lyrics, you must analyze at least three poems).
Use theoretical and literary 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 its absence - 0 points.
Answers to tasks B1-B12
| Job No. | Answer |
| IN 1 | realism |
| IN 2 | novel |
| IN 3 | portrait |
| AT 4 | 341 |
| AT 5 | detail |
| AT 6 | antithesis<или>contrast |
| AT 7 | dialogue |
| 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, which require 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 meaningfulness (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 correspond to 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 task.
Assessment of the implementation 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 candidate is 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 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 or 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. 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, appeal to the micro-themes of the text and their interpretation, various kinds of references to what is depicted in the work, etc.) | 3 |
b) the text is 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 justified by the text | 0 |
| 4. Compositional integrity and consistency of presentation | |
a) the composition 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 composition, | 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 |