What is the name of an expressive evaluative definition in literary criticism. Test “Means of artistic expression. Assessment of assignments
When we talk about art, literary creation, we are focused on the reading experience. They are largely determined by the imagery of the work. V fiction and poetry highlight special techniques for enhancing expressiveness. Competent presentation, public speaking- they also need ways to build expressive speech.
For the first time the concept of rhetorical figures, figures of speech, appeared among speakers ancient greece... In particular, Aristotle and his followers were engaged in their research and classification. Going into details, scientists identified up to 200 varieties that enrich the language.
The means of expressiveness of speech are divided according to the language level into:
- phonetic;
- lexical;
- syntactic.
The use of phonetics is traditional for poetry. The poem is often dominated by musical sounds, which give the poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, combinations of sounds are used for amplification.
Anaphora- repetition of sounds, words or phrases at the beginning of sentences, lines of poetry or stanzas. "The golden stars have dozed off ..." - a repetition of the initial sounds, Yesenin used a phonetic anaphora.
And here is an example of the lexical anaphora in Pushkin's poems:
Alone you rush along clear azure,
You alone cast a dull shadow
You alone sadden a joyous day.
Epiphora- a similar technique, but much less common, with words or phrases repeated at the end of lines or sentences.
The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax is considered a tradition of literary creation, although it is widely found in poetry too.
Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.
Trails
Trails are the use of words and phrases figuratively. Paths make speech more imaginative, enliven and enrich it. Some tropes and their examples in literary work are listed below.
Epithet- artistic definition. Using it, the author gives the word an additional emotional coloring, your assessment. To understand how an epithet differs from an ordinary definition, you need to catch when reading whether the definition gives a new shade to the word? Here's a simple test. Compare: late autumn - golden autumn, early spring - young spring, quiet breeze - gentle breeze.
Impersonation- the transfer of signs of living beings to inanimate objects, nature: "Gloomy rocks looked sternly ...".
Comparison- direct comparison of one object, phenomenon with another. "The night is gloomy as an animal ..." (Tyutchev).
Metaphor- transfer of the meaning of one word, object, phenomenon to another. Revealing similarities, implicit comparison.
"A fire of red mountain ash is burning in the garden ..." (Yesenin). Rowan brushes remind the poet of a bonfire.
Metonymy- renaming. Transfer of properties, values from one subject to another according to the principle of contiguity. "Who is in felt, let's go for a bet" (Vysotsky). In felt (material) - in a felt hat.
Synecdoche- a kind of metonymy. Transferring the meaning of one word to another on the basis of a quantitative relationship: the only one is plural, the part is the whole. “We all look at Napoleons” (Pushkin).
Irony- the use of a word or expression in an inverted sense, mocking. For example, an appeal to Donkey in Krylov's fable: "Split, smart, are you delirious, head?"
Hyperbola- a figurative expression containing excessive exaggeration. It can relate to size, meaning, strength, other qualities. Litota, on the other hand, is an exorbitant understatement. Hyperbole is often used by writers, journalists, and litota is much less common. Examples. Hyperbole: "At one hundred and forty suns, the sunset blazed" (V.V. Mayakovsky). Litota: "a little man with a fingernail."
Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of the allegory is to bring up the subtext, to force one to seek hidden meaning while reading. It is widely used in fable.
Alogism- deliberate violation of logical connections for the sake of irony. "There was that stupid landowner, he read the newspaper" Vesti "and his body was soft, white and crumbly." (Saltykov-Shchedrin). The author deliberately mixes up logically dissimilar concepts in the enumeration.
Grotesque- a special technique, a combination of hyperbole and metaphor, a fantastic surreal description. N. Gogol was an outstanding master of Russian grotesque. His story "The Nose" is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.
Figures of speech
Stylistic figures are also used in literature. Their main types are displayed in the table:
| Repeat | At the beginning, end, at the junction of sentences | This scream and strings These flocks, these birds |
| Antithesis | Contrast. Antonyms are often used. | Hair is long - mind is short |
| Gradation | Arrangement of synonyms in ascending or decreasing order | Smolder, burn, blaze, explode |
| Oxymoron | Combining contradictions | A living corpse, an honest thief. |
| Inversion | Word order changes | He came late (He came late). |
| Parallelism | Comparison in the form of collation | The wind stirred the dark branches. Fear stirred in him again. |
| Ellipsis | Skipping an implied word | By the hat and at the door (grabbed, went out). |
| Parcelling | Dividing a single sentence into separate ones | And I think again. About you. |
| Multi-Union | Connecting through repeated unions | And me, and you, and all of us together |
| Asyndeton | Eliminating unions | You, me, he, she - together the whole country. |
| Rhetorical exclamation, question, appeal. | Used to heighten the senses | What a summer! Who if not we? Listen, country! |
| Default | Interruption of speech based on guesswork to reproduce intense excitement | My poor brother ... execution ... Tomorrow at dawn! |
| Emotional evaluative vocabulary | Words expressing attitude, as well as direct assessment of the author | A henchman, a dove, a boob, a sycophant. |
Test "Means of artistic expression"
To test yourself on the assimilation of the material, take a short test.
Read the following passage:
"There the war smelled of gasoline and soot, burnt iron and gunpowder, it gnashed at caterpillars, scribbled from machine guns and fell into the snow, and again rose under fire ..."
What means artistic expression used in an excerpt from K. Simonov's novel?
Swede, Russian - stabs, chops, cuts.
Drum beat, clicks, grinding,
The thunder of the guns, the stomp, the neigh, the groan,
And death and hell on all sides.
A. Pushkin
The answer to the test is given at the end of the article.
Expressive language is, first of all, an internal image that arises when reading a book, listening oral presentation, presentation. To manage images, you need pictorial techniques. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their image in your speech pattern.
Learn expressive language, its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your tongue will become an obedient instrument and your weapon.
Test Answer
K. Simonov. The personification of war in the passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically combines them into a generalized image of war. The techniques of expressive language used are multi-union, syntactic repetition, parallelism. Through such a combination of stylistic devices, when reading, a revived, saturated image of war is created.
A. Pushkin. The poem lacks conjunctions in the first lines. In this way, the tension, the intensity of the battle is conveyed. In the phonetic drawing of the scene, the sound "r" in various combinations plays a special role. When reading, a roaring, growling background appears, ideologically conveying the noise of a battle.
If answering the test, you could not give the correct answers, do not be upset. Just re-read the article.
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. Wishing to show his importance, Khlestakov uses an obvious exaggeration: "thirty-five thousand couriers alone." What is the name of artistic device 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: In the surname of Khlestakov, as well as in the surnames of others actors plays, a certain figurative characteristic is laid down. 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 is the term for 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 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 work... Fonvizin "The Minor" is a comedy. Griboyedov "Woe from Wit" is a comedy. Gogol "The Inspector General" is a comedy. Ostrovsky's "The Thunderstorm" is a drama. Chekhov's "The Cherry Orchard" is a comedy. Gorky "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 ("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: Conflict related to the relationship between hero and heroine determines plot action " Clean Monday"I.A. Bunin. Give a definition of this conflict. ( Love)
20. Within what literary direction was created this work? (Sentimentalism, classicism, realism, symbolism ...). OR: Indicate the name of the literary movement of the 18th century, the tradition of which is continued by Griboyedov, endowing some of the heroes of his realistic play with “speaking” surnames - characteristics. ( Classicism) OR: What is it called literary direction, 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 which indifferent eyes do not see - all the terrible, stunning 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 ("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 incalculable”? ( 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? ( Landscape)
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 raik 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 for the author's brief comments (“Teasing him,” “With a sigh,” etc.). ( Remark)
32. Name the term that denotes the statement 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. As in literary criticism is called a special type of comic: 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 common feature("It was paired, like in a bath"). 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 in 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 the totality 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 point 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? (
Training materials on literature
EXPLANATORY NOTE
The training materials are designed to prepare you for the Unified State Exam and the State Final Exam (in writing) in literature.
The training materials are divided into 2 sections.
Section 1 4 sets of tasks are proposed that are related to the analysis of a literary text.
Sets 1 and 2 include 9 tasks each. Tasks №1-7 are estimated at a maximum of 1 point. Tasks # 8 and # 9 are assessed at a maximum of 4 points in accordance with the assessment criteria. Tasks number 1-9 can be included in both examination materials GVE-11 and in the KIM USE.
Sets 3 and 4 include 7 tasks each. Tasks №1-5 are estimated at a maximum of 1 point. Tasks # 6 and # 7 are evaluated at a maximum of 4 points in accordance with the assessment criteria. Tasks No. 1-7 can be included both in the examination materials of the GVE-11, and in the KIM Unified State Examination.
Section 2 6 themes of essays are proposed. The essay is evaluated with a maximum of 14 points in accordance with the criteria. The tasks proposed in section 2 are used only in the KIM USE in literature and are not included in the GVE-11.
SECTION 1
Instructions for completing sets of tasks No. 1-4
The tasks in each set are related to the analysis of a literary text (a fragment of an epic, or lyroepic, or dramatic work, or a lyric poem, or a fable).
Read the literary texts below and complete the assignments for the given text. The answer to all tasks, except for the last two, is a word, or a phrase, or a sequence of numbers.
When completing the last two tasks, 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 the last task, select two pieces for comparison different authors(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.
Set of tasks number 1
But Chichikov simply said that such an enterprise, or negotiation, would in no way be inconsistent with civil regulations and further types of Russia, and a minute later he added that the treasury would even receive benefits, for it would receive legal duties.
- So you suppose? ..
- I suppose it will be good.
“And if it’s okay, that’s another matter: I’m nothing against it,” said Manilov, and he completely calmed down.
- Now it remains to agree on the price.
- How's the price? Manilov said again and stopped. - Do you really think that I will take money for souls, which in some way have ended their existence? If you already have such a, so to speak, fantastic desire, then for my part I pass them on to you uninterestingly and I take upon myself the bill of sale.
It would be a great reproach to the historian of the proposed events if he neglected to say that pleasure overcame the guest after such words uttered by Manilov. No matter how sedate and reasonable he was, he almost made a leap like a goat, which, as you know, is made only in the strongest outbursts of joy. He turned so hard in the chairs that the woolen fabric that had covered the pillow burst; Manilov himself looked at him in some bewilderment. Prompted by gratitude, he immediately uttered so many thanks that he was confused, blushed all over, made a negative gesture with his head and finally expressed himself that this is nothing, that he, for sure, would like to prove with something the heart attraction, the magnetism of the soul, and the dead souls are in some way perfect rubbish.
"Very not rubbish," said Chichikov, shaking his hand. A very deep sigh was released here. He seemed to be in the mood for outpourings of the heart; not without feeling and expression, he finally uttered the following words: - If you only knew what service you have rendered this apparently rubbish man without a tribe and clan! Indeed, what have I not tolerated? like some kind of barge among fierce waves ... What persecutions, what persecutions did you not experience, what grief did you taste, and for what? for observing the truth, that he was pure in his conscience, that he gave his hand to both a helpless widow and a wretched orphan!
Manilov was completely moved. Both friends for a long time shook each other's hand and for a long time looked silently into each other's eyes, in which tears were visible. Manilov did not want to let go of our hero's hands and continued to squeeze her so hotly that he no longer knew how to help her out. Finally, pulling it out on the sly, he said that it would not be a bad thing to complete the deed of sale as soon as possible, and it would be good if he himself went to the city. Then he took his hat and began to take leave.
(, "Dead Souls")
Fragment assignments
What is Gogol's definition of the Dead Souls genre?
Answer: ____________
Chichikov visits, in addition to Manilov, other landowners. Establish a correspondence between the names of landowners and their characteristics external appearance: For each position in the first column, match the corresponding position from the second column.
What is the name of an artistic technique based on the comparison of phenomena, objects ("like a barge among the fierce waves")?
Answer: ____________
Why did Manilov's intention to give dead souls free of charge made such a strong impression on Chichikov?
Molchalin
What wedding? with whom?
Lisa
And with the young lady?
Molchalin
There is much hope ahead
We are wasting time without a wedding.
Lisa
What are you, sir! yes we are
Your own husbands to others?
Molchalin
Do not know. And I am so shivering
And at one thought I am distressing,
Will catch us someday
Disperse, curse! .. But what? Should I open my soul?
I don't see anything in Sofya Pavlovna
Enviable. May God grant her a century to live richly,
She loved Chatsky once,
He will stop loving me like him.
My angel, I would like to half
Feel the same for her as I feel for you;
No, no matter how I tell myself,
I am getting ready to be gentle, but I am going to meet - and a sheet.
Sofia (to the side)
What baseness!
Chatsky (behind the column)
Lisa
Are you not ashamed?
Molchalin
My father bequeathed to me:
First, to please all people without exception -
The owner, where he will live,
To the chief with whom I will serve,
To his servant who cleans dresses,
Swiss, janitor, to avoid evil,
To the janitor's dog, to be affectionate.
Lisa
To say, sir, you have tremendous tutelage!
Molchalin
And now I take the form of a lover
To please the daughter of such a person ...
Lisa
Which feeds and drinks,
And sometimes he will give him a rank?
Come on, we've talked enough.
Molchalin
Let's go love to share our deplorable stolen.
Let me hug you from the heart of fullness.
(Lisa is not given.)
Why isn't she you!
(She wants to go, Sofia won't let her.)
Sofia (almost in a whisper, the whole scene in an undertone)
Terrible person! I am ashamed of myself, of the walls.
Molchalin
How! Sofia Pavlovna ...
Sofia
Not a word, for God's sake
Be quiet, I will decide on anything.
Molchalin (throws herself on her knees, Sofia pushes him away)
Oh! remember! do not be angry, take a look! ..
Sofia
I don’t remember anything, don’t bother me.
Memories! like a sharp knife onet.
Molchalin (crawls at her feet)
Have mercy ...
Sofia
Do not screw up, stand up.
(, "Woe from Wit")
Fragment assignments
Specify the genre of the work "Woe from Wit"?
Answer: ____________
Several characters are involved in the love conflict in Woe From Wit. Establish a correspondence between these characters and their actions, the events of their lives: for each position of the first column, select the corresponding position from the second column.
Write down the selected numbers in the table under the corresponding letters.
In the above fragment, Molchalin's uninhibited treatment of Liza is contrasted with his willingness to humiliate himself and be hypocritical in front of Sophia. What is the term for opposition in a work of art?
Answer: ____________
How does Molchalin appear in this fragment of the work?
FORTY
Forties, fatal,
Military and frontline,
Where are the funeral notices
And echelon rattles.
The rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
They roam from west to east ...
And this is me at the station
In his greasy earflaps,
Where the asterisk is not authorized,
And cut from a can.
Yes, it's me in this world,
Thin, cheerful and perky.
And I have tobacco in a pouch,
And I have a type-setting mouthpiece.
And I'm joking with the girl,
And I limp more than I need
And I break the soldering in two
And I understand everything in the world.
How it was! Coincidentally -
War, trouble, dream and youth!
And it all sunk into me
And only then I woke up in me! ..
Forties, fatal,
Lead, powder ...
The war is in Russia
And we are so young!
(, 1961)
Poem assignments
Indicate the number of the stanza (ordinal in the nominative case) in which the poet uses impersonation.
Answer: ____________
Select three names from the list below artistic means and the techniques used by the poet in the second stanza of this poem. Write down the numbers under which they are indicated.
How does the poem "The Forties" reflect the fortitude and vitality of the military generation?
I like that you are not sick of me,
I like that I'm not sick with you,
That never a heavy globe
Will not float under our feet.
I like that you can be funny -
Loose - and not play with words,
And do not blush with a suffocating wave,
Slightly touching sleeves.
I also like that you are with me
Calmly hug another
Don't read to me in hellfire
Burn for not kissing you.
That my tender name, my tender, is not
You mention it neither day nor night - in vain ...
That never in the silence of the church
They will not sing over us: Hallelujah!
Thank you with both heart and hand
Because you do not know me yourself! -
Love so: for my night peace,
For the rarity of meetings at sunset hours,
For our non-walks under the moon,
For the sun, not over our heads, -
Because you are sick - alas! - not by me,
Because I am sick - alas! - not by you!
(, 1915)
Poem assignments
Name a technique for using the same word repeatedly:
What's the name tender my, my gentle, not
You mention it neither day nor night - in vain ...
Answer: ____________
From the list below, select three names of artistic means and techniques used by the author in the third stanza of this poem. Write down the numbers under which they are indicated.
What is the complexity and inconsistency of the heroine's relationship to her beloved?
In what works of Russian poets the theme of unrequited love sounds, and in what ways are these works similar to a poem?
Answers to tasks with a short answer
Job No. | Set No. 1 | Set No. 2 | Set No. 3 | Set No. 4 |
lyroepic; lyroepics; epic; epic | lyric hero | |||
psychologism | rhetorical | anaphora; consonance | ||
dialog; polylogue | cross |
|||
comparison | antithesis; contrast | |||
Assessment of the performance of the penultimate tasks of the kits,
If, when checking the tasks of the indicated group, the expert gives 0 points or 1 point according to the first criterion, then according to the second criterion the task is not evaluated (0 points are set in the protocol for checking the answers).
Criterion | Points |
1. The depth of the judgments and the persuasiveness of the arguments | |
The examinee gives a direct coherent answer to the question, based on the author's position; formulates his point of view, if necessary; convincingly substantiates his theses; confirms his thoughts with text; does not replace analysis with a retelling of the text; | |
The examinee gives a direct coherent answer to the question, based on the author's position; formulates his point of view, if necessary; does not replace analysis with a retelling of the text, when answering, not all theses convincingly substantiate them and / or makes one mistake of fact |
The examinee understands the essence of the question, does not give a direct answer to the question, and / or unconvincingly substantiates their theses, and / or partially replaces the analysis of the text with its retelling, and / or makes two mistakes of fact | |
The examinee does not cope with the task: does not answer the question and / or replaces the analysis with a retelling of the text, and / or makes three or more factual errors | |
2. Following the norms of speech | |
No more than one speech error was made | |
More than one speech error was made | |
Maximum score | 4 |
Assessment of the completion of the latest tasks of the kits,
requiring 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).
While completing the task, the examinee independently selects two works of different authors for contextual comparison (in one of the examples, it is permissible to refer to the work of the author who owns the source text). When specifying the author, initials are necessary only to distinguish between namesakes and relatives, if this is essential for an adequate perception of the content of the answer (for example,
L.N. and, V.L. and).
indicates but not all convincing substantiates everyone's choice earnestly juxtaposes indicates titles of two works and their authors, substantiates earnestly juxtaposes both works with the proposed text in a given direction of analysis (some minor flaws are allowed when comparing); indicates titles of two works and their authors, earnestly substantiates selection of each piece, admits some shortcomings when juxtaposing two works with the proposed text in a given direction of analysis / or convincingly compares only one work with the proposed text (some minor flaws are allowed in the comparison) AND / OR makes one factual error, without altogether distorting the author's position |
a) the examinee answers the question, indicates titles of two works and their authors, substantiates selection of only one piece (perhaps not in all convincing) earnestly juxtaposes one work with the proposed text in a given direction of analysis (some minor flaws are allowed when comparing); b) the examinee answers the question, indicates titles of two works and their authors, does not substantiate choice of both works (or gives an unconvincing justification) earnestly juxtaposes one or both works with the proposed text in a given direction of analysis (some minor flaws are allowed when comparing); c) the examinee answers the question, indicates titles of two works and their authors, substantiates choice of two works (perhaps not in all convincing) / or convincingly justifies the choice of only one work, does not match one or both works with text in a given direction of analysis; d) the examinee answers the question, indicates substantiates the choice of the work (perhaps not in everything convincing), earnestly juxtaposes this is a work with the proposed text in a given direction of analysis (some minor flaws are allowed when comparing) AND / OR makes two errors of fact, in general, without distorting the author's position |
a) the examinee answers the question, indicates titles of two works and their authors, not at all convincing substantiates selection of one piece / or does not justify his choice (or gives an unconvincing justification) unconvincing juxtaposes these works with the proposed text / or compares them with the proposed text without taking into account the given direction of analysis; b) the examinee answers the question, indicates the title of only one work and its author, substantiates the choice of a work (perhaps not at all convincing) and unconvincing juxtaposes this is a work with the proposed text; v) indicates the title of only one work and its author, AND / OR makes three factual errors | |
a) the examinee does not answer the question; b) gives an answer that is not meaningfully related AND / OR indicates the title of one work and its author, but does not substantiate your choice (or gives the wrong justification), does not match this is a work with the proposed text, AND / OR makes more than three factual errors | |
Maximum score | 4 |
SECTION 2
Instructions for completing tasks
The tasks require a detailed answer in the essay genre.
Write an essay in the volume of at least 200 words (if the volume of the essay is less than 150 words, then it is worth 0 points).
Argument your theses based on literary works(in an essay on lyrics, it is necessary to analyze at least two poems).
Use literary-theoretical concepts to analyze the work.
Think over the composition of the essay.
Essay Topics
2. How is the theme of freedom reflected in poetry?
3. How did the meeting with Platon Karataev influence the worldview of Pierre Bezukhov? (Based on the novel "War and Peace")
4. What are the strengths and weaknesses of the generation of “sons”? (Based on the novel "Fathers and Sons").
5. What is the meaning of the title of the story "The Fate of a Man"?
6. What are the reasons difficult life Russian peasant woman Matryona? (Based on the story "Matryonin Dvor")
Assessment of the performance of tasks,
requiring writing a detailed, reasoned answer in the genre of an essay 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 2 is considered unfulfilled and not further checked... For four other criteria (2, 3, 4, 5) 0 points are awarded.
When assessing the performance of tasks in part 2, the volume of the written essay should be taken into account. The examinees are recommended to have a volume of at least
200 words. 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.
Criteria | |
1. The depth of disclosure of the topic of the essay and the persuasiveness of judgments | |
The examinee reveals the topic of the essay based on the author's position; formulates his point of view; convincingly substantiates his theses; there are no actual errors or inaccuracies | |
The examinee reveals the topic of the essay based on the author's position; formulates his point of view, not all theses are convincingly substantiated and / or makes one or two errors of fact | |
The examinee reveals the topic of the essay superficially or one-sidedly, without relying on the author's position, and / or does not substantiate his theses, and / or makes three or four mistakes of fact | |
The examinee does not disclose the topic of the essay and / or makes more than four factual errors |
2. The level of knowledge of theoretical and literary concepts | |
The examinee uses theoretical and literary concepts to analyze the work, there are no errors and inaccuracies in the use of concepts | |
The examinee includes in the text of the essay theoretical and literary concepts, does not use them to analyze the work and / or makes one mistake in their use | |
The examinee does not use theoretical and literary concepts or makes more than one mistake in their use | |
3. Justification of attracting the text of the work | |
The text of the work in question is drawn versatile and reasonably (quotes with comments to them; short retelling content required to prove the judgment; addressing micro-themes of the text and their interpretation; all sorts of references to what is depicted in the work, etc.) | |
The text is attracted in many ways, not always justified, and / or available isolated cases attracting text out of direct connection with the proposed thesis | |
The text is used only as a retelling of the depicted | |
The text is not involved, judgments are not justified by the text | |
4. Compositional integrity and consistency of presentation | |
The work is characterized by compositional integrity, its parts are logically connected, there are no violations of the sequence and unreasonable repetitions within the semantic parts | |
The work is characterized by compositional integrity, its parts are logically connected with each other, within the semantic parts there are violations of the sequence and unreasonable repetitions | |
The compositional intention is traced in the work, there are violations of the compositional connection between the semantic parts, and / or the thought repeats itself and does not develop | |
There is no compositional intention in the work; gross violations of the sequence of parts of the statement were made, significantly complicating the understanding of the meaning of the essay |