Reviewers: Stepanova T.M. – Doctor of Philology, Professor
Kuznetsova L.N. - teacher of Russian language and literature,
The textbook is addressed to high school students to prepare for the exam
and contains the material tested by the exam.
Training materials can also be used in the organization
additional classes outside of school hours, focused on deepening
lazy study of literature.
Section 1.
This manual is intended to form a circle of knowledge and to develop the skills and abilities of students. Schoolchildren should have an idea about the main literary-theoretical and aesthetic categories and concepts necessary for the analysis of a literary work.
The purpose of the manual is to develop the skills and abilities of the philological analysis of a literary work, obtained in the basic school and expanded in the senior classes.
We hope that such a form of work as the analysis of a portrait and its role will help to master the skills of analyzing a work from a certain angle.
Information on the theory and history of literature and art
1.1 Portrait - lexical meaning, role in literature
Portrait (fr. Portrait) - a pictorial, sculptural, photographic or any other image of a particular person. (Dictionary of foreign words, 1988).
Portrait - 1. The image of a person in a painting, photograph, in sculpture. 2.trans. Artistic image, the image of a literary hero. (S.I. Ozhegov and N.Yu. Shvedova. Explanatory Dictionary of the Russian Language, 1995).
Portrait (from fr. Portrait- portrait, image) in literary
work - an image of the appearance of the hero: his face, figure, clothes, manners.
The nature of the portrait and, consequently, its role in the work can be very diverse. In literature, a psychological portrait is more common, in which the author, through the appearance of the hero, seeks to reveal his inner world, his character. (Dictionary of literary terms, 1974).
The word "portrait" in relation to a literary work has two meanings.
Portrait - image of the external appearance of a person (his physical features, behavior, clothes, facial expressions, pantomimes), in order to reveal the character, psychological state of the hero, in order to create his
image.
In a different meaningliterary portrait - this is one of the genres of documentary fiction, the main task of which is to create an image of an interesting personality. Literary portraits are an example.
1.2 The development of the concept of "portrait" in the literature
The appearance of a person says a lot - about his age, nationality, social status, tastes, habits, even about the properties of temperament and character. Some features are natural; others characterize it as a social phenomenon (clothing and the way it is worn, manner of holding, speaking). Still others - facial expressions, especially the eyes, facial expressions, gestures, postures - testify to the feelings experienced. The evolution of figurativeness in literature can be described as a gradual transition from the abstract to the concrete and unique.
Ancient and medieval literature was dominated byconditional form of a portrait with its characteristic static description. The appearance of the character was depicted at the beginning of the work, and the author, as a rule, never returned to it. Whatever the characters had to go through in the course of the story, outwardly they remained unchanged. A characteristic feature of the conditional description of appearance is the enumeration of emotions that the characters evoke in those around them or the narrator. The portrait is given against the background nature. In the literature of sentimentalism, a flowering meadow or field, the bank of a river or a pond became the background. Romantics will prefer meadows - forests, mountains, and a calm river - a stormy sea,
native nature - exotic.
In the literature of the 19th century, a variety of ways and forms of drawing the appearance of characters is presented. Two main types of portrait can be distinguished: gravitating towards staticexposition portrait and dynamic. exposition portrait based on a detailed enumeration of the details of the face, figure, clothing, individual gestures. A more complex modification of the exposure portrait -psychological picture , in which external features predominate, indicating the properties of character and the inner world.
Another type of realistic portrait is found in the works of writers of the second half of the 19th century, whose heroes are involved in the dynamic process of life (the heroes of Turgenev, Goncharov, Tolstoy, Dostoevsky). A detailed enumeration of character traits gives way to a brief, expressive detail that occurs in the course of the story. A laconic prototype of such a portrait is given by the prose of A.S. Pushkin.
Thus, the general evolution of the depiction of the “outer” person in literature can be represented as a movement fromconditional portrait classicism, throughportrait-characteristic - to portrait as a means of penetrating into the world of feelings and consciousness of a unique personality.
portrait-painting
Portrait - walk
Portrait - type
Costumed portrait
Allegorical
Mythological
Historical
Family
self-portrait
Religious
By the nature of the image artistic portraits are divided into:
Ceremonial portrait
semi-front
Coronation (less common throne)
equestrian
Military (in the form of a commander)
Chamber
Intimate
Small and miniature
In the spatial fine arts - painting, drawing, sculpture - the image of the appearance of the characters is the only means of constructing an artistic image. From the fine arts, the name portrait passed into the theory of literature.
In fiction as an art, a verbal portrait isonly one of the means of characterization, used in compositional unity with other similar means.In contrast to a painting and sculpture, a portrait in a literary work is the most dynamic: it conveys not a general stable appearance, but facial expressions, gestures, and personality movements. These wide opportunities are perfectly used by Russian writers.
Comparing artistic and literary portraiture is both challenging and fascinating. By comparing his own representation of the characters with the representation of the artists, the reader creates in his mindsingle, final, complete image each character in a literary work.
Section 2 Practice Tests
2.1. The examination paper in literature consists of three parts. Parts 1 and 2 offer assignments that include questions for the analysis of literary works. Part 3 of the work requires the participants of the exam to have a detailed statement on a literary topic. We propose to complete the tasks of part 1, where it is necessary to give a short answer (B), requiring the writing of a word, or a phrase, or a sequence of numbers.Tasks are selected according to topic "Literary portrait".
2.1. 1 Find the means of expression
IN 2. What is the name of the means of characterization of the character, based on the description of his appearance(“He looked to be about forty-five…”)?
Answer:______________________________________
IN 3. What is the name of the means of characterization, which is a description of a person's appearance?
AT 4. What term denotes an expressive detail that plays an important role in the work and is filled with a special meaning (for example, a hare sheepskin coat presented by Pyotr Grinev to a stranger)?
Answer_______________________________________
AT 6. What is the name of an expressive detail that is important for characterizing a character or action (for example, a stranger's "dry threatening finger")?
Answer_______________________________________
AT 7. 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)?
Answer_______________________________________
In the portrait descriptions of the heroes, numerous details are found that are “dispersed” throughout the work. Such a variety of portrait sketches allowed scientists to identify the followingtypes of portraits: portrait - impression, portrait-comparison, portrait-description.
Portrait - impression occurs through external manifestations of the state of the hero: facial expressions, gestures, actions. The image of the hero's inner world can be given through the landscape, through internal monologue, dialogue and psychological analysis. This type of portrait undoubtedly includes the portrait of Pechorin. The portrait of the hero in Lermontov's "Hero of Our Time" is built according to a certain scheme and in the following sequence:
external signs;
signs characterizing the inner essence of the character;
episodes that include the character in the plot of the story.
Portrait - comparison refers to portraits based on the principle of contrast, when one character is opposed to another. The author compares appearance, clothes, behavior, etc. Such a portrait description is given in small portions, interspersed in the course of the narrative in the text (portrait of Pavel Petrovich and Bazarov).
Portrait - description - this is a portrait that has an extended description of the characters, which reveals a special psychological type of personality and shows the social affiliation of the characters (portraits of Sobakevich and Manilov).
1.3. Fine art portrait
In the visual arts, a portrait is an independent genre, the purpose of which is to display the visual characteristics of the model. The portrait depicts the external appearance (and through it the internal) of a specific person who existed in the past or exists in the present. The theme of the portrait in painting is the individual life of a person, the individual form of his being. So, for example, if the theme is an event, we have before us not a portrait, but a picture, although its heroes can be depicted in portraits. The boundaries of the portrait genre in the visual arts are very flexible, and often the portrait itself can be combined in one work with elements of other genres. The artistic portrait in painting is divided into the following
subgenres:
historical portrait
Posthumous portrait
A.P. Chekhov, F.I. Chaliapin, French writer A. Morua. The genre of literary portrait goes back to the genre of verbal image that has developed inXVIIcentury in France.
In fictioncharacter portrait - description of his appearance: face, figures, clothes. The image of the visible properties of behavior is closely connected with it: gestures, facial expressions, gait, demeanor.
The place of the portrait in the composition of a literary work extremely important and diverse:
from a portraitbegin the reader's acquaintance with the hero (Oblomov), but sometimes the author shows the hero after he has done some deeds (Pechorin) or even at the very end of the work (Ionych);
portrait may be monolithic when the author brings all the features of the hero’s appearance at once, in a single “block” (Odintsova, Raskolnikov), and"torn ”, in which portrait features are scattered throughout the text (Natasha Rostova);
the portrait features of the hero can be described by the author, narrator or one of the characters (Pechorin's portrait is drawn by Maxim Maksimych and the traveler - incognito);
the portrait can be fragmentary: not the whole appearance of the hero is depicted, but only a characteristic detail, trait; at the same time, the author powerfully influences the reader's imagination, the reader becomes a co-author, completing the portrait in his own mind (Anna Sergeevna in Chekhov's Lady with a Dog);
The portrait is one of the important means of creating an artistic image. and works in conjunction with otherartistic means:
character's speech, which includes dialogue and monologue
(sometimes the character himself talks about himself in the form of an oral story, letters, diaries, notes);
mutual characteristic - the story of one character about another (officials about each other in Gogol's The Inspector General);
landscape as a means of characterizing the hero and his moods (landscape in Grinev's perception before visiting the "military council" and after the visit).
Techniques for creating images - characters :
External features of the character's portrait
Character portrait - internal, psychological
Character character - a description of character traits, personality traits, affections, likes and dislikes, beliefs, ideals of the character
In the plot system - through the actions of the character
Depiction of nature in a character's life
Image of the social environment, society, era in which the character lives
Description of the close environment of the character, the conditions of his life, his room, house, street, etc.
Psychological analysis of the character's life, his thoughts, feelings, experiences and actions
The language characteristic of the character is his own artistic speech
Characterization of a character by other characters
Artistic detail as a symbolic characteristic of the essence of the character, his internal state at the moment or constantly
Techniques for creating a character portrait:
Portrait - description (external features) (Lensky in "Eugene Onegin")
Portrait - comparison (comparison with other characters or with literary stereotypes) (Tatyana and Olga in "Eugene Onegin")
The portrait is concise, brief (Phoebus in Notre Dame Cathedral)
Portrait detailed and detailed (Don Quixote and Sancho Panza)
Psychological portrait (Pechorin in "A Hero of Our Time")
Static portrait - without development and changes, with constant static details (porters of landowners in "Dead Souls")
A dynamic portrait - an image of a character in development, in all its changes over time (the image of Natasha Rostova)
Types of images - characters:
Image - a character or a character - these images are neutral, equal, they are like everyone else, like any of us
Literary character is a set of mental, emotional, effective-practical and physical qualities of a person, collected in one image of a person in a literary work.
A type, or typical character, is an image, in the individual form of which the essence or essential features of a phenomenon, time, social group, people, etc. are revealed.
The hero is only a positive typical character
Techniques for creating an interior and its functions:
Interior as a way to characterize a character (furniture in Sobakevich's house)
The interior as a setting (Dickens' Oliver Twist)
Interior as a way to influence events (Raskolnikov's room)
The interior as a characteristic of the social status of the character (wealth, poverty, aristocracy, plebeianism, education, ignorance, etc.) - the image of Raskolnikov
The interior as a characteristic of character traits (independence, imitation, pretense, taste, bad taste, practicality, accuracy, impracticality, laziness, etc.) - the image of Oblomov, Jourdain
The interior as a characteristic of the area of interest, profession and occupation of the character (profession, love of reading, working capacity, etc.) - the image of the doctor Ionych
Techniques for creating a landscape and its functions:
Landscape is a picture of nature, which has a variety of artistic meanings depending on the tasks of the author, his style and creative method.
Landscape types:
Lyrical mood landscape - expresses the state of mind of the characters or the author (Gogol, Tolstoy)
Self-valuable landscape - expresses a detailed description of the nature in which the action takes place (Fenimore Cooper, Stevenson, Jules Verne)
Fictional landscape - emphasizes the fantastic nature of the story and events (Stanislav Lem, Tolkien)
Symbolic landscape - expresses subtext and underlying associations (fog in the dreams of Scarlet O-Hara)
The landscape, necessary for the development of events and playing an important role in them ("Robinson Crusoe", the sky of Austerlitz in "War and Peace")
Find and issue examples of different types of extraplot elements - N.B. compositions in literature - from any literary works of the school curriculum.
write out examples of different types of interior and landscape creation - N.B. in literature - from any literary works of the school curriculum.
Lecture conclusion: story and composition are the most important elements building and filling the content of a literary work, different forms of interconnectedness of the plot and composition determine different concepts of the integrity of a literary work.
At the beginning of the fragment, a brief description of the appearance of Gerasim is given. What is this characterization technique called?
... The most remarkable person was the janitor Gerasim, a man of twelve inches tall, built by a hero and deaf-mute from birth. The lady took him from the village, where he lived alone, in a small hut, apart from his brothers, and was considered perhaps the most serviceable draft peasant. Gifted with extraordinary strength, he worked for four - the matter was arguing in his hands, and it was fun to look at him when he either plowed and, leaning his huge palms on the plow, it seemed, alone, without the help of a horse, cut the elastic chest of the earth, or about Petrov the day acted so crushingly as a scythe that even if a young birch forest was brushed off its roots, or it thrashed deftly and non-stop with a three-foot flail, and like a lever, the oblong and hard muscles of his shoulders lowered and rose. The constant silence gave solemn importance to his indefatigable work. He was a nice man, and had it not been for his misfortune, any girl would have gladly married him ... But Gerasim was brought to Moscow, they bought him boots, sewed a caftan for the summer, a sheepskin coat for the winter, gave him a broom and a shovel in his hands and identified him janitor.
At first, he did not like his new life strongly. From childhood, he got used to field work, to village life. Alienated by his misfortune from the community of people, he grew up mute and powerful, like a tree grows on fertile land ... Moved to the city, he did not understand what was happening to him - he was bored and wondered how a young, healthy bull, who had just been taken, is perplexed from the field, where lush grass grew up to his belly, they took him, put him on a railroad car - and now, dousing his fat body with either smoke with sparks, or undulating steam, they rush him now, rush with a knock and squeal, and where they rush - God news! Gerasim's employment in his new position seemed to him a joke after hard peasant work; in half an hour everything was ready for him, and he would again stop in the middle of the yard and stare, open-mouthed, at all the passers-by, as if wishing to obtain from them a solution to his enigmatic situation, then he would suddenly go off somewhere into a corner and, throwing his broom far away, shovel, threw himself face down on the ground, and lay motionless on his chest for hours, like a captured animal. But a person gets used to everything, and Gerasim finally got used to city life. He had little to do; his whole duty was to keep the yard clean...
(I. S. Turgenev, "Mumu")
The work of I.S. Turgenev's "Mumu" was written in the traditions of the literary direction prevailing in the 2nd half of the 19th century. Specify its name.
Explanation.
Mumu is written in the tradition of realism, or critical realism.
Realism is a literary trend characterized by a truthful depiction of life; realism involves the depiction of "typical heroes in typical circumstances" (F. Engels).
Answer: realism, or critical realism, or realistic.
Answer: realism|realistic
Indicate the genre to which the work of I. S. Turgenev "Mumu" belongs.
Explanation.
"Mumu" I.S. Turgenev is most often considered a story. A story is a small prose work of a mostly narrative nature, compositionally grouped around a single episode, character. In literature, the line between a story and a story can be drawn very conditionally; most often, a story is considered a story of a slightly larger volume than a story. Therefore, there is also a definition of "Mumu" as a story.
Answer: short story or story.
Answer: short story
Establish a correspondence between the three characters in the works of I. S. Turgenev and the names of these works. For each position in the first column, select the corresponding position from the second column. Write your answer in numbers in the table.
Write down the numbers in response, arranging them in the order corresponding to the letters:
| A | B | AT |
Explanation.
Set up matches:
A) hunter (narrator) - "Bezhin meadow": on behalf of the hunter, the story is narrated;
B) Bazarov - "Fathers and Sons": the main character of the novel;
C) Tatyana - "Mumu": a serf with whom Gerasim was in love.
Answer: 341.
Answer: 341
Explanation.
Comparison is a figurative expression built on a comparison of two objects, concepts or states that have a common feature, due to which the artistic significance of the first object is enhanced. Most often, comparison is joined through conjunctions.
Answer: comparison.
Answer: comparison
What term is used to designate an expressive detail that serves as a means of characterizing a character (“... quickly and unceasingly threshed with a three-yard flail ...”)?
Explanation.
A detail or an artistic detail is a detail that specifies a particular image.
Answer: detail or artistic detail
Answer: detail|artistic detail
This fragment is the beginning of the story. What is the sequence of events in a work of fiction called?
Explanation.
The plot is the sequence of events in a work of art. Plot - a chronological sequence of events in a work of art.
Answer: plot or plot.
Answer: plot | plot
Explanation.
In describing the character, actions of Gerasim, his relationship with other characters, Turgenev shows the obvious moral superiority of this hero. Talking about Gerasim, the author compares him either with a hero, or with a young and healthy bull, while he calls the rest of the heroes “little people”. Turgenev repeatedly emphasizes the national character of Gerasim: he is powerful, "like a tree grows on fertile land." Gerasim is close to the earth, he feels his kinship with it. These features are clearly sympathetic to the author. That is why it is Gerasim who is the spokesman for the author's attitude to serfdom and protest against the despotism of the feudal lords.
What is the name of a character characterization tool based on a description of his appearance (“He looked to be forty-five years old ...”)?
Read the fragment of the work below and complete tasks B1-B7; C1, C2.
Here we are at home,” said Nikolai Petrovich, taking off his cap and shaking his hair. - The main thing is now to have dinner and rest.
It’s really not bad to eat, ”Bazarov noticed, stretching, and sank onto the sofa.
Yes, yes, let's have dinner, have dinner quickly. - Nikolai Petrovich stamped his feet for no apparent reason. - By the way, and Prokofich.
A man of about sixty entered, white-haired, thin and swarthy, in a brown tailcoat with copper buttons and a pink handkerchief 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,” began Nikolai Petrovich, “he has come to us at last... What? how do you find it?
In the best possible way, sir," the old man said and grinned again, but immediately knitted his thick eyebrows. - Would you like to set the table? he spoke impressively.
Yes, yes, please. But won't you first go to your room, Evgeny Vassilitch?
No thanks, no need. Just order my little suitcase to be dragged there and this clothes, ”he added, taking off his overalls.
Very well. Prokofich, take their overcoat. (Prokofich, as if in bewilderment, took Bazarov's "clothes" with both hands and, raising it high above his head, retired on tiptoe.) And you, Arkady, will you go to your place for a minute?
Yes, you need to clean yourself up, ”Arkady answered and was heading for the door, but at that moment a man of average height, dressed in a dark English suit, a fashionable low tie and patent leather half boots, Pavel Petrovich Kirsanov, entered the living room. He looked to be about forty-five years old: his short-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 chisel, showed traces of remarkable beauty; the light, black, oblong eyes were especially good. The whole appearance of Arkadiev's uncle, elegant and thoroughbred, retained youthful harmony and that aspiration upwards, away from the earth, which for the most part disappears after the twenties.
Pavel Petrovich took out of the pocket of his trousers his beautiful hand with long pink nails—a hand that seemed even more beautiful from the snowy whiteness of the sleeve fastened with a single large opal—and gave it to his nephew. Having made the preliminary European “shake hands”, he kissed him three times, in Russian, that is, he touched his cheeks with his fragrant mustache three times, and said: “Welcome.”
Nikolai Petrovich introduced him to Bazarov: Pavel Petrovich slightly inclined his flexible waist and smiled slightly, but he 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 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 which the work of I. S. Turgenev developed and the principles of which were embodied in Fathers and Sons.
Explanation.
Realism - from the Latin realis - material. The main feature of realism is considered to be a truthful depiction of reality. The definition given by F. Engels: "... realism implies, in addition to the truthfulness of details, the truthful reproduction of typical characters in typical circumstances."
Answer: realism.
Answer: realism | critical realism
What genre does the work of I. S. Turgenev "Fathers and Sons" belong to?
Explanation.
The novel is a genre of narrative literature that reveals the history of several, sometimes many human destinies over a long period of time, sometimes for entire generations.
Answer: novel.
Answer: novel
Source: Demo version of the USE-2014 in literature.
Establish a correspondence between the characters appearing in this fragment and their future fate. For each position in the first column, select the corresponding position from the second column.
Write down the numbers in response, arranging them in the order corresponding to the letters:
| A | B | AT |
Explanation.
Yevgeny Bazarov dies of a serious illness at the end of the novel.
Nikolai Kirsanov marries Fenechka, that is, makes her his legal wife.
Pavel Kirsanov is wounded in a duel with Bazarov.