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in literature in grade 11

2011 / 2012 studythyear

(II half year)

the date	Type of work
01/16 - 01/20/12	Test. Poems by heart (M. Tsvetaeva, B. Pasternak)
23.01. – 01/27/12	RR Teaching work. Analysis of an episode from the novel "The Master and Margarita" by M. Bulgakov.
30.01 – 03.02.12	Cool essay No. 5 based on the novel "The Master and Margarita" by M. Bulgakov.
13.02 - 17.02.12	Test. Poems by heart (A Akhmatova)
20.02 – 24.02.12	RR Analysis of poems.
27.02. – 02.03.12	Cool (home) essay No. 6 based on the work of A. Akhmatova. Comparative characteristics poems.
12.03 - 16.03.12	RR Educational essay. Analysis of an episode from the novel M. Sholokhov " Quiet Don». Novel Content Test.
02.04 – 06.04.12	Class essay No. 7 based on the novel by M. Sholokhov "Quiet Flows the Don"
16.04 – 20.04.12	Test. Poems by heart (A. Tvardovsky or any time of the Second World War)
30.04 - 04.05.12	Test. Poems by heart (I. Brodsky)
May 14 – May 18, 2012	Final control essay.

Schedule of control works

in Russian in grade 11

2011 / 2012 studythyear

(IIsemester)

the date	Type of work
30.01 – 03.02.12	Test. Test in the USE format
05.03 – 09.03.12
16.04 – 20.04.12	Test work for the 2nd half of the year.
	Diagnostic work according to the schedule of StadGrad

1. Geography tests geo2000. nm en

   Tests

   Geography, countries, maps, description, photo, EGPGeography of countries and continents, world geography, political map of the world, maps of countries of the world, anthems of countries,

2. Bulletin January 2002 12 Bulletin February 2002 18

   Bulletin

   …I love this town. I was born and raised here. My mother took me here by the hand. This is my city. I won't give it to dastardly drug dealers. Who am I afraid of? If it's scary, you need to gather your young children and elderly parents in an armful and flee the country.

3. International Book brings to your attention the next catalog of book novelties on fiction, philosophy, religion, history, politics and law, economics, scientific and technical publications and other headings (2)

   Book

   International Book brings to your attention the next catalog of book novelties on fiction, philosophy, religion, history, politics and law, economics, scientific and technical publications and other headings.

4. Order No. work program in literature Level of study: 10 Aclass

   Working programm

5. Ss program for high school students. // Read. Learning. We play. 2007. No. 2. P. 75. Litvinov K. News of educational and gaming software: a review of disks / / World of PC. 2008. No. S. 84

   Program

   Do you want to become a mathematician?: materials of the mathematical department of the lyceum "All-Russian Correspondence Multidisciplinary School". Tasks of introductory examination.

Introduction. 3

1. creative way Joseph Brodsky. four

2. Cosmogony of I. Brodsky. 6

3. Lyrics. 13

Conclusion. fifteen

References.. 17

Introduction

In every art, in addition to feelings and inspiration, there is also a lot of work, there is a technique of mastery. Great artist one must master this technique to perfection, because it is the material basis, the foundation on which a work of art is built.

The most remarkable idea may not reach the reader if the author has not taken care to clothe it in a worthy form. In a true artist, content and form merge into one; they are inseparable. And therefore, studying the work of any artist of the word, plunging into the world of his ideas and images, our literary science does not disregard the form of his works.

A truly poetic work always has a specific address, always addressed to a real or imaginary interlocutor. The poet always wants to convince of something, to prove something, or, in any case, to convey his feelings to his listener or reader; if he knows well what he needs to say, if he himself deeply experienced what worries him, then his speech becomes intelligible, convincing and kindles our hearts with a reciprocal feeling.

But, of course, at the same time he needs to have a good command of the means of his art. It is absolutely necessary to learn to clothe your thoughts in a worthy literary form.

The purpose of this work is to consider "cosmogony as a spatial organization".

consider the work of I. Brodsky;

consider the cosmogony of I. Brodsky;

1. The creative path of Joseph Brodsky

Brodsky was born on May 24, 1940 in Leningrad. He, perhaps the most "non-Soviet" subject of the USSR, was named Joseph in honor of Stalin. Already with early years Much of Brodsky's life is symbolic. He spent his childhood in a small apartment in the same "Petersburg" house where D.S. Merezhkovsky and Z.N. Gippius lived before the revolution and from where they went into exile. In the school Brodsky attended, Alfred Nobel once studied: in 1986 Brodsky will become Nobel Laureate. He reluctantly recalled his childhood: “A normal childhood. I don't think childhood impressions play important role in further development."

In adolescence, his independence and obstinacy manifested itself. In 1955, without completing his studies, Brodsky went to work at a military factory as a milling machine operator, choosing for himself self-education, mainly reading. Wishing to become a surgeon, he goes to work as an assistant dissector in the mortuary of the hospital at the Leningrad prison "Crosses", where he helps to dissect corpses. For several years, he tried more than a dozen professions: a geophysical technician, an orderly, a fireman, a photographer, etc. Looking for a job that can be combined with creativity. I tried to write poetry for the first time at the age of 16. I was prompted to write the impression of reading the collection of Boris Slutsky. The first poem was published when Brodsky was seventeen years old, in 1957: Farewell / forget / and do not blame me. / And burn the letters, / like a bridge. / May your path be courageous / may it be straight / and simple...

At the turn of the 1950s–1960s, he studied foreign languages(English and Polish), attends lectures at the Faculty of Philology of Leningrad State University. In 1959 he got acquainted with a collection of poems by E.A. Baratynsky, after which he finally strengthened his desire to become a poet: “I had nothing to read, and when I found this book and read it, then I understood everything what I had to do ...”.

Brodsky's reader impressions of this time are unsystematic, but fruitful for the development of a poetic voice. Brodsky's first poems, according to his own vocation, arose "from non-existence": "We came to literature from God knows where, practically only from the fact of our existence, from the depths" (Brodsky's conversation with J. Glad). The restoration of cultural continuity for Brodsky's generation meant, first of all, an appeal to Russian poetry. Silver Age. However, here too Brodsky stands apart. By his own admission, he did not "understand" Pasternak until the age of 24, until the same time he did not read Mandelstam, he almost did not know (before personal acquaintance) Akhmatova's lyrics. For Brodsky, from the first independent steps in literature to the end of his life, the work of M. Tsvetaeva had an unconditional value. Brodsky identifies himself more with the poets of the early 19th century. In Stans to the City (1962) he correlates his fate with the fate of Lermontov. But here, too, it affects feature poet: fear of being like someone else, of dissolving one's individuality in other people's senses. Brodsky defiantly prefers the lyrics of E. Baratynsky, K. Batyushkov and P. Vyazemsky to Pushkin's traditions. In the 1961 poem The Procession, Pushkin's motifs are presented deliberately aloof, detached, and placed by the author in an alien context, they begin to sound frankly ironic.

Brodsky's creative preferences were determined not only by the desire to avoid banality. The aristocratic balance of the "enlightened" Pushkin's muse was less close to Brodsky than the tradition of Russian philosophical poetry. Brodsky adopted a meditative intonation, a penchant for the poetics of reflection, and the drama of thought. Gradually, he goes further into the past of poetry, actively absorbing the legacy of the 18th century - Lomonosov, Derzhavin, Dmitriev. Mastering the pre-Pushkin layers of Russian literature allows him to see vast areas of poetic language. Brodsky realized the need to synthesize continuity and identify new expressive possibilities of Russian classical verse.

2. Cosmogony of I. Brodsky

Since the early 1960s, he began working as a professional translator under a contract with a number of publishing houses. Then he got acquainted with the poetry of the English metaphysical poet John Donne, to whom he dedicated the Great Elegy to John Donne (1963). Brodsky's translations from Donn are often inaccurate and not very successful. But Brodsky's original work became a unique experience of introducing the Russian word to the hitherto alien experience of baroque European poetry of the "metaphysical school". Brodsky's lyrics will absorb the basic principles of "metaphysical" thinking: the rejection of the cult of experiences of the lyrical "I" in poetry, the "dry" courageous intellectuality, the dramatic and personal situation of the lyrical monologue, often with a tense feeling of the interlocutor, colloquial tone, the use of "non-poetic" vocabulary ( vernacular, vulgarisms, scientific, technical concepts), the construction of the text as a series of evidence in favor of some statement. Brodsky inherits from Donn and other metaphysical poets and the "calling card" of the school - the so-called. "concetti" (from Italian - "concept") is a special kind of metaphor that brings together concepts and images that are far from each other, which, at first glance, have nothing in common with each other. And the poets of the English Baroque in the 17th century, and Brodsky in the 20th century. used such metaphors to repair broken bonds in a world that seems to them tragically broken. Such metaphors are at the heart of most of Brodsky's works.

Brodsky's metaphysical flights and metaphorical frills coexisted with a fear of lofty words, a feeling of often bad taste in them. Hence his desire to balance the poetic with the prosaic, to "lower" lofty images, or, as the poet himself put it, "targeting at a 'descending metaphor'". It is significant how Brodsky describes his first religious experiences associated with reading the Bible: 1900 or 23, I don't remember exactly, I read the Old and New Testaments for the first time. And this made the strongest impression on me, perhaps, in my life. That is, the metaphysical horizons of Judaism and Christianity made quite a strong impression. The Bible is difficult I could get it in those years - I first read the Bhagavad Gita, the Mahabharata, and only after that I fell into the hands of the Bible. Of course, I realized that the metaphysical horizons offered by Christianity are less significant than those offered by Hinduism. But I made my own a choice in the direction of the ideals of Christianity, if you like ... I would, I must say, use the expression Judeo-Christianity more often, because one is unthinkable without the other. or those parameters that determine my, if not necessarily intellectual, then at least some mental activity.

From now on, almost every year the poet created poems about Christmas on the eve or on the very day of the holiday. His "Christmas Poems" formed a certain cycle, the work on which went on for more than a quarter of a century.

In the early 1960s, Brodsky's social circle was very wide, but he was closest to the same young poets, students of the Technological Institute E. Rein, A. Naiman and D. Bobyshev. Rein introduced Brodsky to Anna Akhmatova, whom she endowed with friendship and predicted a brilliant poetic future for him. She forever remained a moral standard for Brodsky (the poems of the 1960s are dedicated to her. Morning mail for A.A. Akhmatova from the city of Sestroretsk, Roosters will crow and clap ..., Candlemas, 1972, On the centenary of Anna Akhmatova, 1989 and the essay Muse of Lamentation, 1982).

On the hills of heaven

on the road not close,

returning without a song

from the land of Italy,

over the country of vegetable gardens,

over native fields

a kingfisher will fly by

and flap its wings.

And from the heights of the Olympic

inaccessible to the jackdaw,

there, on the slopes of the Alps,

where the violets turn yellow,

though her eyes are vigilant

and space does not disturb, -

the bird sees the hillocks,

but cannot understand them.

Between the pines on the steeps

bird circling screaming

and, lingering in the clouds,

aspires to the homeland again.

Remember only the peaks

Verification work " LYRIKA I.A. BRODSKII, Grade 11

What method is used: “Accompanying my joyless work” - in this line one can hear Akhmatov’s “Go alone and heal the blind, / in order to find out in a difficult hour of doubt // the disciples’ malicious mockery // and the indifference of the crowd.”

Determine the main theme of the poemI

Indicate the means of expression: “I left the country that fed me”

Indicate the means of expression: "dry water"

Specify means of expression:Everything scattered tohell , in pieces……crap ! Everything not human!"

Indicate the means of expression: "the blued pupil of the convoy."

Which line of the poem"I went into a cage instead of a wild beast..."Is there a motive for death?

On what occasion was the poem written?"I went into a cage instead of a wild beast..."

What linepoems"I went into a cage instead of a wild beast..."conveys the hero's perception of life as it is.

Reception - a hint at a real literary, historical, political phenomenon, which is conceived as well-known.Brodsky: “But until my mouth is clogged with clay, only gratitude will be heard from it,” Tsvetaev’s “Shut up my mouth with sod-clay” (“Lament of Yaroslavna” 1921) is read

Reception - a reminder of others literary works through the use of images, motives, and speech patterns characteristic of them:In sonnet 6 from Brodsky's Twenty Sonnets to Mary Stuart

I loved you. love still (Maybe,

that just pain) drills my brains, ...

What style do the words belong to:"Damn", "everything shattered into pieces", "not human", "whoops".

What is the name of a single syntactic construction, which is broken by a rhythmic pause and transferred to the next verse:

About the whole person you're left with part

Speeches. Part of speech in general. Part of speech.

Or

in the endless seas - in the whole world I
I do not see flattering truth for myself.

"No country, no churchyard"

Indicate the technique that counts on the memory and associative perception of the reader:

I erected a monument to myself different

Back to the shameful century

What line in the poem "No country, no churchyard" become prophetic?

Define a syntactic figure:

Let me be overthrown and demolished,let them be accused of arbitrarinesslet me be destroyed, dismembered, -

Determine the size of the poem « I erected a different monument to myself"

A test in literature, in which prose was impatiently mixed with poetry, as often happens in life. Video questions are back again (now they are also available on mobile devices) and legitimate six answer choices. The overall difficulty of the test has increased slightly. But you should not be afraid, because a lot depends on the approach to the process.

Almost all questions have several solutions: here are associations, and a sense of literary taste, and logical conclusions, and, of course, knowledge, and not necessarily strictly bookish. You can run through the entire test in 5 minutes. But whether it will make sense - decide for yourself. Many interesting points can be noticed only by delving into the essence of the issue, or at least by carefully reading it.

The next test of the Askbook of Literature offers you a set of questions on poetic audio incarnations, i.e. songs based on classical (or near-classical) poetry. In general, this material is essentially not only a test, but also a kind of informational article. Once upon a time, a note on audio poetry appeared on our website, telling about artistic reading classic poems. It was meant to be followed by a sequel focusing solely on songs, followed by another focusing on cinema. But for various reasons this did not happen. But now we offer you a test, which, as planned, can not only test knowledge, but also indirectly tell you about some interesting musical and poetic compositions.

Literature Test: Famous Writers and Poets in Film

Biographies good writers are rarely boring. They just don't seem to be built for boredom. Adventures and passions, love and war, betrayal and death of loved ones, difficult moral choices and often suicide... This is their life, and this is partly why we love them. Unless, of course, one does not count the talent for writing brilliant works, otherwise the picture would not be complete.

The writer tells about himself, albeit not explicitly, albeit under a different name, in a different time and circumstances. But the identity can always be traced. This enhances interest in the life of the author and subsequently gives rise to all sorts of biographical and artistic-biographical works of outside artists. Most of these crafts are not worth attention, but today's conversation is not about them, but about feature films dedicated famous writers or poets, their lives, sufferings and creativity.