(independent and service parts of speech)

Define the terms: categorical meaning, part of speech, independent parts of speech, service parts of speech, lexical and grammatical category, noun, adjective, numeral, pronoun, adverb, verb, preposition, conjunction, particle, interjection, modal word, state category word.

The card must contain :

1. Name of the term; translation of the term (or its constituent parts) into Russian, indicating the source language.

2. Terms-synonyms or similar concepts in Russian linguistics.

Sample:

Polysemy

For example:

Polysemy lexical

Polysemy grammatical- the presence of grammatical forms and syntactic constructions of several meanings.

polysemic- multivalued.

1. Fill in the table in detail:

Part of speech		Lexico-grammatical categories		Syntax functions (with examples)
Noun
Adjective
Numeral
Pronoun
Proper verb forms
modal word
Interjection

2. Describe the cases of the transition of words from one part of speech to another, give the name of the processes, give examples.

3. Select independently any text containing at least 20 lines, and determine the part of speech and grammatical features every word.

For example: The morning dawn lit up brightly.

Bright - how? adverb of measure and degree;

Fired up - what did you do? verb, perfective, 2 conjugations, intransitive, reflexive, indicative, past tense, feminine, singular .

Morning - what? adjective, relative, feminine, in singular, in the nominative case.

Dawn - what? noun, concrete, common noun, inanimate, feminine, in the singular, in the nominative case.

4. In this text, find and name all the service parts of speech.

Levin has been married for three months now. He was happy, but not in the way he expected. At every step he found disappointment in old dreams and a new unexpected charm. Levin was happy, but as he entered into family life, he saw at every step that it was not at all what he had imagined. At every step he experienced what a person who admired the smooth, happy course of a boat on the lake would experience after he himself got into this boat. He saw that it was not enough to sit up straight and not sway, but one also had to think, not for a moment forgetting where to swim, that there was water underfoot and that one had to row, and that unaccustomed hands hurt, that it was easy to look at it, and that doing this, although very joyful, is very difficult. (L. Tolstoy.)

16. Types of dictionaries: encyclopedic and linguistic dictionaries.

17. Morpheme as a unit of language. Functions of morphemes and their types. Affixes and their varieties. The concept of the basis of the word. Word-forming and form-forming bases.

18. Word formation as a section of the science of language. Basic units and methods of word formation.

19. The grammatical structure of the language. Basic units of grammatical structure. Lexical and grammatical meaning.

20. Grammatical form as a unity of grammatical meaning and means of its expression. Synthetic and analytical forms of the word.

21. Basic ways and means of expressing grammatical meanings.

22. The concept of grammatical categories. Types and functions of grammatical categories.

23. Subject of morphology. Grammatical meaning, grammatical category, grammatical form. Morphological categories. Their types and functions. Lexico-grammatical categories of words.

24. The problem of parts of speech as lexical and grammatical categories (classes) of words. Categorical features of parts of speech.

25. Noun as a part of speech. Grammar categories and lexico-grammatical categories of nouns. Their signs.

26. Adjective as a part of speech. LGR adjectives. Their signs.

27. Short adjectives. Their morphological features and syntactic features.

28. Degrees of comparison of adjectives. Ways of education.

29. The numeral as a part of speech. Declension of numbers.

30. Pronoun as a part of speech. LGR pronouns.

31. Adverb as a part of speech. LGR adverbs.

32. General characteristics of the verb as a part of speech.

36. Verb conjugation, methods of its definition and types.

37. Bases of the verb and their characteristics.

38. Synthetic and analytical verbal forms.

39. Participle and gerund participle as special verb forms.

40. Service parts of speech and their characteristics.

41. A simple sentence is the basic unit of syntax. The main and secondary members of the sentence.

42. Classification of a simple sentence. Types of one-component sentence.

43. Difficult sentence, characteristics, varieties.

44. Punctuation marks in a compound sentence.

45. Punctuation marks in a complex sentence.

46. ​​Punctuation marks in a non-union complex sentence.

47. Text, its structure and grammatical features.

48. Complex syntactic whole.

49. Dialogical unity. Period.

Practical tasks for students

Correspondence department of the 2nd course FDiKPiP (Speech therapy)

for the third semester

Practice #1

Phonetic system of the Russian language

Activate terms: acoustic sign, articulation, exposure (exposure), indentation (recursion), attack (excursion), sonorous, noisy, variant (phonemes), variations (phonemes), differential signs, integral signs, perceptual function, significative function, strong position, weak position, phoneme, row, rise, velarization, diphthong, consonantism, labialization, affricate, accommodation, assimilation, haplology, dissimilation, diaeresis, reduction, vowel harmony, epenthesis(See a sample terminology card at the end of the assignment).

Theoretical questions:

1. Acoustic properties of sounds (tones and noises, height, strength, duration, timbre).

2. Articulation and its phases.

3. Describe the phoneme as a typical sound of the language (the ratio of phoneme and sound; phoneme functions; phoneme variation; differential and integral features of phonemes).

4. How do vowels and consonants differ from each other?

5. The system of vowel phonemes of the Russian language. Name the strong positions of the vowels.

6. The system of consonant phonemes of the Russian language. Name the strong positions of the consonants.

7. Name and describe the main positional processes.

8. Name and describe the main combinatorial processes

Practical part:

1. Describe in detail (in phases) the articulation of the following sounds: [a], [y], [m], [h].

2. In words finger, care, crown, raspberry Change one letter to make a new word. Give your examples.

3. Determine the number of sounds in words I, he, small, salt, pit, take, south, entrance.

4. Determine how many times there are sounds in words:

[w]: The beetle buzzes softly, squeals and trembles.

[w]: Not he is good who is handsome in face, but he is good who is good for work.

[t]: The director of the enterprise signed the document and gave it to the representative of the sponsored factory.

5. Transcribe the words. Indicate the strong and weak positions of phonemes: girl, commander, circle, spring, idea, engineer, day, barrow, watery, escape, here, slippery, beat off, city, in a hurry, randomly, tribute, given, drain, anger, tip.

6. Find cases with positional stunning of consonants in the following text: The ogre invites the ogre to dinner.

The ogre replied: “No!

I will not go to you, neighbor!

It's not bad to go to lunch

But not in the form of a dish! (B. Zakhoder)

7. Transcribe the text. Find the positional and combinatorial processes taking place in it. Produce phonetic analysis underlined word (see sample at the end of the task):

There was a gray silence all around. The park was plunged into darkness. Occasionally, transparent ice drops fell on our hands from the branches. And all the yellow palmate leaves flew off. Their light crackling followed us on our heels.

A leaden sky stretched overhead, but the color of that lead was Parisian—light—and very light.

Then, through the tulle haze of the clouds, the pink light of the sun began to seep, and the plane trees suddenly seemed to come to life and change in their faces - covered with a copper sheen.

I remembered the same rosy evening at the Ilyinsky pool, and the familiar melancholy suddenly clenched her heart, - longing for our simple land, its sunsets, its plantain and the modest rustle of fallen leaves. (According to K. Paustovsky).

8. Complete exercises 33, 36, 59 from Bogachev's book, language with the basics of linguistics: workshop: textbook. allowance for students. higher ped. textbook institutions / Yu. P. Bogachev. - M., 2006. - S. 19, 20, 26).

Order of phonetic analysis

1. Transcribe a word

2. Name the letters.

3. Designate the sounds corresponding to the letters.

4. Describe the sounds:

Vowel - series, rise, labialized / non-labialized, stressed / unstressed;

Consonant - place of formation, method of formation, noisy / sonorous, voiced / deaf paired / unpaired, hard / soft paired / unpaired.

5. Show the ratio of sounds and letters.

6. Write the word in sounds with stress and division into syllables.

Sample: Laugh [cm "ie - y" a-ts]

"es" - [s] - acc., anterior lingual dental, fricative, noisy, deaf paired, hard paired;

"em" - [m "] - acc., labial-labial, stop-nasal, sonorous, voiced unpaired, soft paired;

“e” - [ie] - ch., front row, upper-middle rise, non-labialized, unstressed;

[th] - acc., middle lingual, fricative, sonorous, voiced unpaired, "I" soft unpaired;

[a] - ch., middle row, lower rise, non-labialized, percussive;

"te"

"soft sign"[c] - acc., anterior lingual dental, stop, affricate,

noisy, deaf unpaired, hard unpaired;

"es"

"I" - [b] - ch., middle row, middle rise, unlabialized, unstressed.

8 letters - 7 sounds [cm "ee -y" a-tsb]

Requirements for the design of a terminological card

The card must contain :

1. Name of the term; translation of the term (or its constituent parts) into Russian, indicating the source language.

2. Terms-synonyms or similar concepts in Russian linguistics.

4. Signs of a designated language unit or category, allocation of a classification feature, classification; functions.

5. Examples illustrating a concept, application of a term, or classification.

6. Derivatives of this term (with an interpretation or an example of contextual use).

Polysemy - (Greek polysēmos - many-valued). The synonym is ambiguity.

The presence of a unit of language more than one meaning - two or more (Linguistic encyclopedic Dictionary. - M., 1990).

For example:

Polysemy lexical- the ability of one word to serve to designate different objects and phenomena of reality.

Polysemy grammatical- the presence of grammatical forms and syntactic constructions of several meanings.

polysemic- multivalued.

Main literature:

Barannikova, in linguistics / . - Saratov, 1978. - S. 47-53, 69-79.

Bogachev, language with the basics of linguistics: a textbook for students. higher ped. textbook institutions / Yu. P. Bogachev. - M., 2006. - S. 73-99.

Bondarko, L. V. et al. Fundamentals of general phonetics / L. V. Bondarko. - St. Petersburg, 1991. - S. 20-55.

Golovin, in linguistics / B. N. Golovin. - M., 1983. - S. 32-37.

Kodukhov, in linguistics / V. I. Kodukhov. - M., 1987. - S. 101-120, 125-131.

Maslov, in linguistics / Yu. S. Maslov. - M., 1987. - S. 33-39, 44-66.

Reformed, in linguistics / A. A. Reformatsky. - M., 1967. - S. 155-187.

Additional literature:

Zhuravlev, and meaning / A.P. Zhuravlev. - M., 1982.

Leontiev, "cold" and "hot" / A. A. Leontiev // Science and Life. - 1974. - No. 4.

Mikhailov, : problems, searches... / M. M. Mikhailov. - Cheboksary, 1989. - S. 44-46.

Russian language. Encyclopedia. - M., 1979. - S. 56; pp. 317-319.

Modern Russian language. At 3 pm Part 1. Introduction. Vocabulary. Phraseology. Phonetics. Graphics and spelling / , . - M., 1987. - S. 108-131, 150-180.

Modern Russian language: theory. Analysis of language units: In 2 hours - Part 1. Phonetics and orthoepy. Graphics and spelling. Lexicology. Phraseology. Lexicography. Morphemics. Word formation /, I. I. Shcheboleva; ed. . - M., 2001. - S. 17-26, 35-46, 75-95.

Encyclopedic Dictionary of a Young Philologist. - M., 1984. - S. 24-25, 31-32, 113.

Practice #2

Morphemic word structure

Activate terms:morpheme, morph, affix, prefix, root, suffix, inflection, interfix, postfix, unifix, stem, word form

Theoretical questions:

1. What is a morpheme? How is a morpheme different from a morph?

2. Describe the root morpheme. How is it different from affix? What root is called connected?

3. Name and characterize affixal morphemes.

4. What is the difference between derivational and formative suffixes? Fill in the table (according to the book):

Part of speech	Formative suffix	grammatical meaning
Noun
Adjective
Proper verb forms Participle gerund

5. What is a null morpheme? Give examples.

Municipal secondary school No. 17

Educational area "Philology"

Subject "Literature"

LANDSCAPE FUNCTIONS

IN THE STORIES OF K.G. PAUSTOVSKY

(On the example of the stories "Telegram", "Snow", "Night in October",

"Yellow Light", "Ilyinsky Whirlpool", "Sleeping Boy")

Artist: Kasaeva Ekaterina,

student of 10 "A" class.

teacher of Russian language and literature.

Nizhnevartovsk, 2011

Introduction.
Chapter 1. K. G. Paustovsky - a singer of Russian nature.
Chapter 2. Functions of the landscape in a realistic work.
Chapter 3. The artistic purpose of the landscape in the stories of K. G. Paustovsky.
3.1. Landscape as part of the real setting of the action. (The relationship between the nature and mood of the work. Poetry of nature).
3.2. Landscape as an element of composition.
3.3. Landscape as a means of penetration into the inner world of the characters.

3.4. The symbolic meaning of the landscape. ("Ilyinsky pool", "Sleeping boy")

Conclusion

Bibliography

Introduction
In the history of Russian literature of the 20th century, there was, perhaps, no other such writer as Konstantin Georgievich Paustovsky, who loved nature so sincerely, selflessly and tenderly. native land and so fully, versatile reflected it in his work. He could not imagine life without communion with nature. A true artist of words and a singer of his native land, the writer calls with all his creativity to protect and love our world, this beautiful and easily vulnerable native nature. He is a caring son of his homeland, a connoisseur and discoverer of "new areas of beauty" of the world around us.

Many researchers studied Paustovsky's work, and they all agreed on one thing: he was an unsurpassed master of landscape painting. A skillful and precise combination of colors, harmony and tenderness of tones characterize the writer's manner in describing the soft and discreet beauty of Russian nature in the middle zone.

Unfortunately, the works of K.G. Paustovsky are not studied in high school, and it is this Russian writer of the 20th century who continues the traditions of A.S. Pushkin, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, A.P. Chekhov, who masterfully connected the description of nature with the state of man, with his spiritual appearance, helping the reader to better imagine the real situation, to emphasize the beautiful or ugly in life.

All of the above determined the relevance and choice research topic: "Functions of the landscape in the stories of K. G. Paustovsky."

Object of study are the stories of K. G. Paustovsky.

Subject of research became a function of the landscape in the stories of the writer.

Objective: to determine the originality and meaning of descriptions of nature in some stories of the writer.

The goal set defines specific research objectives:

1. using a description of a short creative biography to show the formation of the writer as a person;

2. consider the functions of the landscape in the works of art of sentimentalists, romantics and realists;

3. to analyze some of the stories of K. Paustovsky, to establish what functions the landscape performs in these works of art.

We have put forward working hypothesis , which consists in the fact that the landscape performs various functions in the works of the writer.

Main methods are observation, description, analysis, comparison.

Scientific novelty The work is determined by the fact that it establishes the functions of the landscape in the works of art by K. G. Paustovsky.

theoretical significance. Due to the fact that, according to literary critics, one of the pillars of Paustovsky's work is the commonality of a person with his natural environment, the paper provides a rationale for the appointment of landscape in the writer's works.

Practical significance of the study is that:

1. The work contains brief biographical information about the writer, which helps to understand why it was so important to tell him about the beauty of Russian nature;

2. it is shown what role the landscape plays in works of art in general and in Paustovsky's stories in particular;

3. analysis of stories allows you to see the application of theoretical knowledge in the course of studying the work of K. Paustovsky in practice.

Work structure: the work consists of an introduction, the main part (includes three chapters), a conclusion and a list of references, an appendix.
Chapter 1.
K. G. Paustovsky is a singer of Russian nature.
The writing life of K. Paustovsky began with the desire to know everything and see everything. Most of the writer's work is devoted to his native land - its all-Russian fields, its forests, rivers and lakes. He was a most attentive and grateful listener of the inexhaustible music of the nature of his native land.

Konstantin Paustovsky was born in Moscow on May 31, 1892 in big family, where they sang a lot, played the piano, loved the theater, argued and moved from place to place many times. Paustovsky's childhood and youthful impressions of what he saw gave rise to the "muse of distant wanderings" in the future writer. This "muse" haunted the writer all his life. The passion for changing places and traveling around the world helped Paustovsky become a man and a writer, choose an unusual profession for himself, which makes it possible to be a participant in various events and clashes of human passions, to be a participant in this ebullient life.

Paustovsky always, from childhood, was characterized by a heightened sense of nature. Native nature is included in the works of K. Paustovsky as an integral part.

Paustovsky is convinced that “one cannot write books and not know what grasses are in forest glades and swamps where Sirius rises, how birch leaves differ from aspen leaves, whether tits fly away for the winter, when rye blooms and what winds bring rain or drought, overcast or bright skies. You can't write books and not know what a pre-dawn wind is like or a dead night under the open sky in October. Writing is incompatible with effeminacy, room boredom, and contempt for nature. The writer should have hands not only covered with calluses from the pen, but also cracked from the river water.

Paustovsky shows in his work the breathtaking scope and poignant beauty of the expanses of Russia, "its cold silence of the steppes, its boundless swaying forests, the floods of its rivers, like seas", all this evokes feelings in the writer that are inseparable from pride for his land.

Wherever the writer is, there is nothing more desirable for him than from any earthly distance, even if only mentally, again and again to return to his native land, to the free expanse of forests and fields filled with coolness and moisture.

Mikhail Prishvin, who highly appreciated the landscapes of Paustovsky, noticed another feature. He said that Paustovsky's landscapes are never deserted, that the artist carefully examines life "in a good disposition towards man." The writer himself believed that the originality of his artistic manner lies, among other things, also in the fact that, along with rough, unadorned reality, like "albeit a dim light", his "light, romantic fiction" sparkles in him.

Everything could serve as a plot for K. Paustovsky - any trifle, any manifestation of animal or plant life. AT " Meshcherskaya side» K. Paustovsky opens to his readers Meshchera - a corner of his native land, gives it to us as a precious pearl of nature. At the same time, the writer repeatedly emphasizes that this nature outwardly seems to be completely simple, discreet, even everyday: “There are no special beauties and riches in the Meshchera region, except for forests, meadows and clear air.” But it seems so, he says, only in the first days, and then every hour Meshcher becomes richer, more diverse and sweeter to the heart. “And finally, the time is coming when amazing stories can be told about her.”

Chapter Conclusions
In the first chapter, we reviewed brief biographical information about the writer, which helps to understand why it was so important to tell K. G. Paustovsky about the beauty of Russian nature. With his poetic works, K. Paustovsky inspires great respect for nature, for the expediency of its laws and its beauty that elevates the soul. Paustovsky is called the master of the landscape, distinguishing inconspicuous play of colors, and the lyricist, able to express the elusive movements of the soul.

Chapter 2

Theoretical background of the study.

Functions of the landscape in a realistic work.
Landscape in a work of art is called the image of pictures of nature, which performs various functions depending on the style and method of the writer. The following features of the landscape stand out:

1. The landscape helps to present the real situation of the events described.

2. The landscape often acts as an essential element of the composition. (For example, the description of a snowstorm in A. Pushkin's story is the climax of the work)

3. The description of nature is a means of penetrating the inner world of the characters. Harmonious, fertile nature, perhaps, is opposed to the screaming contradictions of social life. The landscape can be in harmony with the character's worldview, helping to reveal it more fully. A lyrical landscape can depict a change in the hero's mood.

4. Description of nature often has a symbolic meaning. At the same time, specific images or pictures of nature acquire a special meaning. (So, for example, the mountains in Lermontov's poem "Mtsyri" become for the hero a symbol of freedom and homeland).

In the lyrics, the landscape has an independent meaning: the perception of nature by the lyrical hero. In prose, the landscape is closely connected with the nature of the author's speech, the image of the narrator.

If the landscape occupied a relatively modest place in the work of the classicists and early enlighteners, then the sentimentalists depict their heroes against the backdrop of nature, peaceful nature, beneficial to the soul. Sentimentalists proclaim the ideas of moral equality of people, naturalness, simplicity, organic connection with nature. They are characterized by an interest in common man, to the world of his feelings, natural nature, to everyday life.

The nature of romantics is usually restless and corresponds to the stormy passions of the heroes. Romanticism rejects everyday life and rushes to the exotic, opposed to modern everyday life. Freedom, power, indomitability, eternal disagreement with others are the qualities used by romantics.

Realists more deeply and soberly reflect and see the world, evaluate reality. Realism seeks the causes of all phenomena in human psychology and in the social life of society. Not exceptional personalities in exceptional circumstances are of interest to realist writers, but phenomena characteristic of a certain time, a certain country and environment.

K. G. Paustovsky strove to direct all the power of his imagination to see and show the extraordinary in the ordinary and the ordinary in the extraordinary. Accuracy of specific descriptions, careful transmission of real details, rigorous authenticity - in a word, everything that is called realism helped him to reveal the inner poetry of life, romance and magic inherent not in fiction, but in itself. Paustovsky was a witness and participant in revolutionary events and two world wars, his stories, like other works of art, reflected the inviolability and beauty of the surrounding world.
Chapter Conclusions

The landscape performs various functions in a work of art, depending on the style and method of the writer. Further attention in our work will be paid to the functions of the landscape in the stories of K. G. Paustovsky.

Chapter 3
The artistic purpose of the landscape in the stories of K. G. Paustovsky.
Based on all of the above, we will try to find out how the writer uses the functions of the landscape in the stories indicated in the topic of the research work. It should immediately be noted that the purpose of the landscape in the works of the writer, as a rule, is ambiguous. Let's try to test the working hypothesis put forward by us earlier.
3.1. Landscape as part of the real setting of the action.

The relationship between the nature and mood of the work. Poetry of nature. (According to the stories "Yellow Light", "Snow", "Night in October", "Telegram").
Story " Yellow Light" written by Paustovsky in 1938 on the eve of the outbreak of World War II. This is a very rich story in terms of the selection of the finest color shades. The flight of the maple leaf is the main content of the story. The writer writes about how imperceptibly, slightly swaying, an autumn maple leaf separated from a branch, how, having begun its journey to the ground, “shuddered, stopped for a moment in the air and began to fall obliquely at my feet, slightly rustling and swaying. For the first time I heard the rustle of a falling leaf - an indistinct sound, like a child's whisper ... "

It is impossible not to be fascinated by such a "plot", not to admire this almost childishly fresh perception of the world, combined with the wisdom of a powerful word. At the beginning of the story, the reader feels the calm of a peaceful life, stability, a sense of happiness and peace. The author describes his room as follows: "the room was flooded with an even yellow light." This peaceful life was like a beautiful and quiet autumn. Paustovsky uses such a technique as personification: “Lights autumn leaves”, “The garden shed dry foliage, it lay in noisy piles on the ground and spread a dull glow. From this radiance, the faces of people seemed tanned ... ”The impression of peace and quiet, peace and inviolability of a simple and beautiful life is created.

But autumn always ends. “The forests were drizzling with a rain of falling foliage. Only towards the end of September the copses were exposed, and through the thicket of trees the blue distance of the compressed fields became visible. Through the mouth of the old man Prokhor, Paustovsky allegorically makes us understand that peaceful life must be protected, that it is in danger, that people themselves are to blame for losing peace and tranquility by inventing weapons. “For example, a leaf flies off in the fall, and people are unaware that a person is the main defendant in this case. Man, let's say, invented gunpowder.

In ancient times, blacksmiths forged the first gun, stuffed it with gunpowder, and that gun hit the fool. The fool was walking through the forest and saw Orioles flying under the sky, yellow birds flying and whistling, inviting guests. The fool hit them with both barrels - and the golden fluff flew to the ground, fell on the forests, and the forests withered, withered and died overnight. The fool killed the first bird - and the earth became sad. How did she get sad? “From that time, leaf fall began, and wet autumn and leafy winds and winters.” The landscape has changed. The colors, the background of life have changed. The approach of trouble is already felt. “Autumn mixed all the pure colors that existed on earth, and applied them, like on a canvas, to the distant expanses of earth and sky. I saw foliage not only gold and purple, but also scarlet, purple, brown, black, gray and almost white. “Autumn haze hanging motionless in the air” is like the calm before the storm.

“In the pine thickets the birches trembled from the cold,” as if they felt the breath of winter. BUT winter is in the story symbol end of peaceful life. Winter is war, it is cold, hunger, human grief. It is inexorably approaching, it is inevitable. Both earth and heaven are preparing for it. It is felt: “Night stood over the hushed earth. The autumn constellations shone in the bucket of water and in the small window of the hut with the same intensity as in the sky. The starry night passed over the earth, dropping cold sparks of engines. Paustovsky skillfully uses epithets, thanks to which the reader sees and feels gradual changes in the world around him, in nature, in people.

The war has already begun, it has begun somewhere there, but it is inevitably approaching and will certainly be here, with us. War is like the element of fire, like a fire: “The fire quickly drove ... It hummed. Like hundreds of aircraft strafing over the ground. In the smoke-filled sky, the sun hung like a crimson spider on a dense gray web. Garr ate at his eyes. A slow rain of ashes fell.

The war is approaching, and we can already “hear” it: “At night, a gloomy glow swirled in the east, cows mooed sadly around the yards, horses neighed and flares flashed on the horizon - these were the Red Army units that extinguished the fire, warned each other about the approaching fire” .

At the end of the story, the author brings us back to his house, where he washes the cobwebs from his face and heats the stove. He remains in thought "to patiently wait for the dawn." After reading the story to the end, you understand that the “yellow light” for Paustovsky is also hope, the hope that everything will be fine. But for some reason, the sadness of the writer is felt. Probably from the fact that Paustovsky understood with his mind that war could not be avoided, that it would come like a spider, like a fire to his native land, but he could not accept this with his heart, because he loved his Motherland to the point of pain in his heart.
In the story of K. Paustovsky "Snow", written in 1943, the action takes place during the war, and the pre-winter landscape that opens the narrative is filled with hidden anxiety: “Behind the house, behind the overgrown garden, a birch grove was white. In it, from morning until dusk, jackdaws screamed, swept in clouds over bare peaks, called bad weather.

The meeting of two people who suddenly feel a deep spiritual kinship takes place surrounded by a traditional romantic landscape: a garden, an arbor, a lilac, a moon. The only unusual thing is that their meeting takes place in winter - a garden in the snow, lilacs in hoarfrost. The writer lovingly describes the dilapidated gazebo: "Potapov went into the gazebo, put his hands on the old railing." The gazebo, like the garden, as if alive: “The garden, as it were, shuddered. Snow fell off the branches and rustled. This detail - light snow falling - appears twice more in the story, creating a special atmosphere of fragility, trepidation, poetry: “A bird fell silently from a tree, shook off the snow. He poured white dust for a long time, powdered the windows ”; “Snow melted on her eyelashes and on her cheeks, which must have fallen from the branches.” Such a "highlighted", soft, lyrical the tone of the landscape corresponds to the psychological mood of the characters.

The story "Snow" can be called the most delicate lyrical watercolor. Indeed, the landscape is given in halftones: “The days were soft, gray. The river did not freeze for a long time; steam rose from its green water”; "The sky became cloudy pink"; “The misty moon has already risen high. In its light, the birch trees shone faintly, casting light shadows on the snow”; “The snow shone dimly through the windows”; "Fading sky, pale sea"; "The dim sunset could not go out."

The heightened sense of nature, characteristic of Paustovsky, was fully manifested in the story "Snow". In the description of the landscape, he uses the entire range of artistic possibilities from an impressionistic detail that captures the volatile moments of life, realistically accurate sketches of everyday life to a symbolically ambiguous image of snow. Having read the story to the end, we understand why Paustovsky called it that way - “Snow”.

During the war years, the writer was looking for how to support the courage to live and fight in a person. Paustovsky tried to recall the realities of the desired peaceful life. The image of a small provincial house combines the features of urban and rural life: Potapov's house "stood on a mountain, above the northern river, at the very exit from the town", that is, on the outskirts. It, in essence, is no different from an ordinary village house - with a creaking gate, with an old bell in the hallway, on which a funny inscription was cast: "I'm hanging at the door - ring more cheerfully!"; “Down under the mountain, women strummed empty buckets - they went to the ice-hole for water.” This measured provincial life now seems so attractive to Potapov: “Does the bell ring at the door? he asks in a letter to his father. “Are I going to wash my face again with our well water from a jug?” Do you remember? Eh, if you only knew how much I fell in love with all this from here, from afar… I remembered this in the most terrible moments of the battle. I knew that I was protecting not only the whole country, but also this little and sweetest corner for me - and you, and our garden, and our swirling boys, and birch groves across the river, and even the cat Arkhip. In a short watercolor story, thanks to the landscape, Paustovsky managed to create a touchingly lyrical, concrete and at the same time generalized image of his native corner, living in the soul of every person.
In "A Night in October" the landscape also serves as a background for unfolding events, acts as part of the real situation. It was written in 1945 - in the year of the end of the Great Patriotic War. The author ends up in a village beyond Ryazan. Reading the story, one feels fatigue from the war, an acute desire for peace and quiet. And the ringing silence seems to be present. The description of the landscape helps to understand this: "...complete silence, when it seems that the earth has stopped and silently hangs in world space."
in the story "Telegram" we, following the author's intention, observe the gradualness and inevitability of a tragic denouement. Katerina Petrovna's daughter, Nastya, who lives in Leningrad, receives a telegram. At that time the weather was like this: “Watery snow was falling. Gray hoarfrost appeared at St. Isaac's Cathedral. The gloomy sky descended lower and lower on the city.

Katerina Petrovna is dying. The landscape becomes different: bright, even cheerful and cold. “Katerina Petrovna was buried the next day. It froze. A thin snow fell. The day turned white, and the sky was dry, bright, but gray, as if a washed, frozen canvas had been stretched overhead. Dali beyond the river stood gray. They were drawn with a sharp and cheerful smell of snow, seized by the first frost of willow bark. Death brought relief to Katerina Petrovna, her mental anguish, pain and loneliness, longing and worries about her daughter, and the vain expectation of her arrival ended.

The story "Telegram" is perceived as a very sad story about a mother who is waiting in vain for the arrival of her daughter. The role of the landscape is that it enhances sadness and helps to understand the meaning of the title of the story that causes anxiety. It turns out to the one who was and, it seems, will always be, you can not have time, and not say something important. You can lose a lot in the hustle and bustle of life.
3.2. Landscape as an element of composition.

("Snow", "Telegram", "Yellow Light", "Sleeping Boy").

Including a description of nature in the narrative, a talented writer, master landscape lyrics, Paustovsky also uses it as an element of composition. It can't be overlooked in the stories. "Yellow Light", "Snow", "Telegram", where the pictures of the surrounding world are certainly connected with the events taking place. The description of bad weather corresponds to dramatic experiences (the loneliness of Katerina Petrovna, the approach of war in the story “Yellow Light”) - this, as a rule, is the climax. In conclusion, everything seems to return to normal, there is hope for the future or belated repentance, and nature is transformed.

Story "Sleep Boy" was written by Paustovsky in 1957, during the period of the "thaw" that began after Stalin's death, when hopes for a new life revived. All people had one goal and dream - to build a beautiful and happy life.

In the exposition, we read that “the ice had recently passed, and the river shone with yellow water. It was the earliest spring - dry and gray. Only on the lilacs in the front gardens the buds were already green.

The story of a remarkable man, Leonty Nazarovich, who has been overwhelmed all his life by “a great dream to turn his native town into a continuous garden and flower garden” is the central part of the work. He was an enthusiast "fanatic of floriculture", a talkative person, very fast and fussy. He is always busy with only one thing - the decoration of his town, he did not care about himself. Leonty Nazarovich "always fought with someone because of new plantings, argued, argued." This botanist believed that "it is necessary to green up and ennoble every piece of land." And Leonty Nazarovich was a real patriot, he “wrote the history of his town and gave the most prominent place to the artists. He loved painting, willingly read books on art and avidly collected reproductions.

The culmination of the story is the story of the flower that the driver gave the girl, and the thoughts of Loenty Nazarovich: “Human life should be decorated. Necessarily. (...) Flowers and everything else that is pleasing to the soul and the eye should accompany us in our worldly career. From this, a person becomes more magnanimous than an example. ”

And in conclusion, the author makes a surprising discovery: the abandoned grave of the Russian artist Borisov-Musatov has changed: “everything was tidied up inside, and a large semicircle of planted shrubs closed the figure of a sleeping boy, washed from clay.” And Lavrenty Nazarovich did it.

The artist Borisov-Musatov, who lived in this town, painted one of his best landscapes from the slope, which he loved so much. Paustovsky compares this landscape with a dream: "so subtle and thoughtful." The painting depicts one of the autumn days “The genius of the artist was that he managed to stop time for several days so that the last leaves would fly off more slowly and the farewell beauty of the earth would not disappear so soon before our eyes” Paustovsky compares this lovely autumn with a girl “with bright and stern eyes promising grief and happiness.

It is no coincidence that an unusual monument was erected on the grave of Borisov-Musatov - a sculpture of a sleeping boy. The sleeping boy is a symbol of stopped time, as in the painting by the artist Borisov-Musatov.

In the story "The Asleep Boy" we also see the author's attitude to the wonderful gifts of nature. For Paustovsky, the world of nature is a fairy tale: “The light of the lighthouse swept over the flowers, and they seemed fantastic in their color. There were hyacinths as if they were made of wax and old gold, of turquoise and snow, of red wine and black velvet. Paustovsky believes that not only during our lifetime we should be surrounded by beautiful flowers, but after death, the graves should be decorated with flowers. Flowers are like a reminder that a person did not just live his life, but left some kind of mark on the earth, did something good for other people. And it doesn't matter what kind of person is our Russian artist Borisov-Musatov or the great Italian Rafael. They both deserve to be remembered for their deeds.

The main idea of ​​this story is that the need for beauty and creativity is inseparable from a person, that without it a person may not want to live in the world. Defending the beauty of nature, Paustovsky defended the full existence and spiritual wealth of man.

Paustovsky was one of the first to raise his voice in defense of nature, who drew public attention to the shady consequences of the technical progress who furiously denounced the destruction of forests, damage to rivers, air pollution.

3.3. Landscape as a means of penetration into the inner world of the characters.

("Telegram", "Night in October").

The description of nature is quite often used by Paustovsky in order to emphasize the state of mind of his characters.

At the beginning of the story "Snow" the landscape, which creates an atmosphere of orphanhood and homelessness, is deeply in tune with the inner state of the young lieutenant Potapov, returning after being wounded to the front and accidentally learning that his father had died: “Potapov went through the city to the river. A blue sky hung over her. A rare snowball flew obliquely between heaven and earth ... It was getting dark. The wind blew from the other side, from the forests, blew out tears. The lieutenant doubts whether he now needs to go into his own house: “The thought that strange, indifferent people live in his father’s house was unbearable.” But he does not know that the singer Tatyana Petrovna, who had settled in the house, evacuated from Moscow, read his letter from the front, addressed to his father, who by that time was no longer alive: “I close my eyes and then I see: here I open the gate, I enter the garden . Winter, snow, but the path to the old gazebo over the cliff is cleared, and the lilac bushes are covered with frost. Furnaces crackle in the rooms. It smells like birch smoke."

He still does not know that Tatyana Petrovna read his letter and prepared everything for his arrival. By the end of the story, the inner state of the hero changes, and the landscape also changes.
The hero of another story - "Night in October"- feels a quiet joy from the events taking place, when the war is over and everything is slowly returning to normal: the soldier Zuev goes home, and peaceful life on earth. “... Zuev does not want to rush just because, with extraordinary and some kind of astonished joy, he feels himself in familiar and lovely places where he did not hope to return.” And native places meet the soldier with unusual air: “And the air! What air, my dear mother! I insisted on herbs for the whole autumn. I have not breathed such air anywhere except in our forests. How the soldier Zuev must have missed his native side, how tired of the war, how light and joyful it became in his heart, with what pleasure he breathes. “From the meadows, there was a smell of withered grass, the sweetish smell of willow leaves.” The landscape helps to especially sharply understand how Zuev feels a peaceful life, the soldier himself says: “Good, in general, life. I really feel it after the war. I especially feel it."

The joy of returning from the war is changed by anxiety from the surprise that happened to the soldier Zuev on the way to the house. The author and his fellow traveler find themselves in an unpleasant and dangerous situation: the river flooded the road. “Water rushed at our very feet and washed away the low bank. A heavy splash was heard - it was falling pieces of the washed-out coast. The landscape emphasizes the anxious state of the characters: “The night has darkened, damn it! The wind broke, it, slowly humming, flew in from the darkness and began to carry small snow grains askew above the ground. Feeling something dangerous and threatening, terrible and coming: “muddy waves…”, “…the water was thicker…”, “…the meadows are empty…”, “…the pine forest hummed heavily in the wind, the night dragged on, became more and more colder."

Paustovsky skillfully uses definitions and personifications, they help create a tense, disturbing atmosphere in the surrounding landscape: “Water hissed. The water was level with the shore and was already rinsing with narrow tongues into the meadows. The heroes of the story become scared because, perhaps, they will die, drown. The landscape is also terrible: "... a black waterfall, where all the muddy water falls, and darkness, and all this night." Salvation nevertheless came on time, and the landscape changed again: “In the forest it was calm, warm, it smelled of prelude. Now the night seemed amazing and beautiful to me. As beautiful as life itself. “The wind blew the clouds away, and the starry sky was already sparkling over the black garden, now immediately flaring up, then just as immediately dimming.”

So the description of nature helps to understand the state of the characters at the moment of joy, anxiety and fear. Paustovsky's landscape is psychological.

in the story "Telegram" the ability of the writer in a special vision of the world, in conveying his feelings through linguistic visual and expressive means, is clearly expressed. The work touches upon complex human relationships: the alienation and disunity of close people, the inability and unwillingness to show their feelings and, as a result, the tragic loneliness to which a person condemns himself.

The landscape not only creates the background of the work, but also helps to penetrate the inner world of the characters. K. Paustovsky said that the landscape is sad when a person is sad. It is this autumn landscape that we see in the story. The landscape is dull and sad. The artist uses such definitions: cold, rainy, homeless. The author singles out and emphasizes such details that create the impression of loneliness and cold: a lonely sunflower, a frozen maple, forgotten stars. We read the beginning of the story: “October was extremely cold, rainy. Tiled roofs blackened. The tangled grass in the garden died, and everything bloomed, and the little sunflower near the fence could not bloom and crumble in any way.

Katerina Petrovna's condition is getting worse and worse. We observe what happens in nature: "The wind whistled outside the windows in the bare branches, knocked down the last leaves." All this conveys to us an increase in bad weather, a feeling of anxiety, which is also connected with the state of Katerina Petrovna, an old woman, lonely and sick, waiting in vain for the arrival of her only daughter. "The maple was flying around, chilled, he had nowhere to go from this homeless, windy night."

The author here refers to personification: maple is not a simple autumn picture, it is the memory of Katerina Petrovna, seeing him, she remembers herself. Terrible loneliness, emptiness around a sick woman, all this absorbs the cold of autumn.
3.4. The symbolic meaning of the landscape.

("Ilyinsky pool", "Sleeping boy")

The landscape in a work of art can also have a symbolic meaning.

For example, in the story "Yellow Light" yellow light is the color of autumn, and autumn in the story is a symbol of a peaceful, calm life. We observe this symbol, like a red thread, throughout the entire work. Thus, the landscape appears here both as an element of the composition, and at the same time has a symbolic meaning.

in the story "Snow"Before the arrival of Lieutenant Potapov, Tatyana Petrovna told Varya "to take a wooden shovel and clear the path to the gazebo over the cliff." And indeed, Potapov believes: “Now it’s all alien to me - this town, and the river, and the house,” but, going up to the house, he sees: “A path cleared in the snow led to the gazebo.” This particular detail of the winter garden is repeated: "The woman took him by the sleeve and led him along the cleared path." Its metaphorical and symbolic meaning is obvious: throughout the story, both the singer and Potapov are trying to remember where they saw each other before, to clear, so to speak, the paths of memory. At the end of the story, repeating three times, the motif of the trail appears. Potapov writes in a letter to Tatyana Petrovna that he saw her “on the path to Oreanda. A girl was sitting on a bench near the path ... She saw me, got up and went to meet ... Since then, I have fallen in love with Crimea and this trail ... ". The heroes manage to find a path to each other's hearts. This landscape image becomes a symbol of the found contact of people who have never actually met before: Tatyana Petrovna has never been to the Crimea, and Potapov was mistaken.

In everyday consciousness, the winter landscape is associated with purity, whiteness, light, peace. If you turn to symbolism of snow in the mythopoetic tradition, then its role acquires special depth in Paustovsky’s story: “Snow covering the fields in the winter months aroused the idea of ​​a white cover in which the earth is dressed (...) Winter is the death of nature, this cover is called a shroud.” Potapov learns in winter that his father has died, he comes to his grave, covered with snow.
"Ilyinsky pool" was written in 1964. This is a work about the essence of Russian nature. It is "typical" and even "classic". Such places act on the heart with irresistible force. They are blissful, soothing, because there is something sacred in them - Paustovsky believes so. The essence of this story is that "of course, the greatness of events imposes its reflection on the landscape." On the fields of Borodino we feel the special solemnity of nature and hear the ringing silence. But there are magnificent places in Russia with very modest names, and they are also beautiful and worthy of admiration and chanting. One of such places is Ilyinsky Omut. Last years the writer lived in the small town of Tarusa. It was there that he looked out, opened and described the pool. This seemingly unremarkable place after Paustovsky's description of it became famous, its hidden beauty, brought out by the truly magical word of the enchanted writer, became clearly visible to everyone. Among all the simple and beautiful places of Russian nature, Ilyinsky pool is a symbol of the Russian land. The author convinces us of this: “Believe me, I have seen a lot of expanses under any latitudes, but I have never seen such a rich distance as in the Ilyinsky pool. And I must never see. This place, by its charm and fusion of simple wildflowers, evokes in the soul a state of the deepest peace and, at the same time, a strange desire: if you are destined to die, then only here, in the weak sunshine, among this tall grass.

To show all the charm and beauty of his native nature, Paustovsky uses such artistic means, as comparisons (secular willows and willows, like balls of gray-green smoke, leaves hang as if in lethargy) and epithets (bottomless failure, enchanted lake, dark olive coniferous water, bluish haze, white and bulging clouds). Thanks to these artistic devices, readers can not only read, but also see the described landscapes, not only see, but also hear the “dry rustle”, “endless rustle”, not only hear, but also feel the smells: “I opened a halo of thyme in my palm and with pleasure I inhaled its smell - dry, healing and southern. And it seemed to me that nearby, behind the windmill, the sea had already opened up and that it was not the steppes that smelled of thyme, but its sands smoothed by the surf.

Ilyinsky pool for Paustovsky is a symbol of the Motherland. “Each time, going on long trips, I always came to the Ilyinsky pool. I simply could not leave without saying goodbye to him, with the familiar willows, with these all-Russian fields. I said to myself: “You will remember this thistle someday when you fly over the Mediterranean Sea. And you will remember this last rosy ray of the sun, scattered in the heavenly space, somewhere near Paris.

The author's love and longing for his native land and nature is felt throughout the entire work. “And I unbearably wanted to go home, to a simple log house on the Oka, on the Ilyinsky pool, where willows, foggy Russian lowland sunsets are waiting for me.”

In his native land, the writer is warm and light, cozy and calm. “I thought that all these gullible stems and herbs, of course, are my silent friends, that I feel calm and joyful to see them every day and live with them in a quiet steppe under a free sky.” But in a foreign land, everything is different: “Grey silence stood around. The park was plunged into darkness. Occasionally, transparent ice drops fell on our hands from a branch. The leaden sky stretched overhead ... "Paustovsky compares majestic France and simple Russia: "Beautiful France, of course, remained magnificent, but indifferent to us. Longing for Russia fell on the heart. From that day on, I began to hurry home, to the Oka, where everything was so familiar, so sweet and simple-hearted. I fell in love with France a long time ago. But for her sake I could not refuse even such a small thing as the morning saffron ray of the sun on the log wall of an old hut.

Love for the Motherland and native nature is the main theme of Paustovsky's work. "Not! A person cannot live without a homeland, just as one cannot live without a heart.
Chapter Conclusions
The analysis of the stories of K. G. Paustovsky undertaken in the work made it possible to confirm the working hypothesis that the purpose of the landscape in the writer's works is ambiguous.

The results of the analysis carried out in the work allow us to draw the following conclusions: the landscape in the stories of K. G. Paustovsky performs the following functions:
1. Landscape as part of the real setting of the action.

2. Landscape as an element of composition.

3. Landscape as a means of penetration into the inner world of the characters.

4. The landscape has a symbolic meaning.

Conclusion
In our work, we examined the main functions of the landscape in some of the works of K. G. Paustovsky. On the example of the analysis of some stories, we once again confirmed the idea that the landscape in a work of art has a very important semantic load: it helps to imagine the real situation in which the action unfolds; they emphasize or shade the state of mind of the characters, the nature of the events taking place; the landscape can be used by the author as an element of the composition and have a symbolic meaning. In addition, Paustovsky's landscape is associated with the nature of the narrative and correlates with the mood of the author, helping him to express main idea.

KG Paustovsky is an extraordinary writer in Russian literature. The universally recognized skill of Paustovsky, received by him as a gift and improved by labor, his unsurpassed magical Russian language, his unquestionable high artistry, seem traditional for great Russian prose. Paustovsky, of course, is a master of landscape, and it is not surprising that the accurately named and described geographical places, with all the impeccable fidelity of the image, acquire a resemblance to the edges invented by Alexander Grin. It is known that Paustovsky was very fond of this writer, because he himself was a poet and a romantic no less. And yet he is "different" and resembles Green even less than realist writers.

This is the peculiarity of Paustovsky, that the air of dreams and eternity, through which he looks and breathes, does not come off the land on which the writer lives and works. Meshchera is Meshchera, Ilyinsky pool is Ilyinsky pool. Paustovsky's vision, the poet's vision through the air of dreams, adds beauty to these places, but, transforming them with attentive love, does not distort them in the least.

The realistically authentic and romantically elevated prose of Paustovsky is saturated with a mass of exact knowledge and that light poetic fiction, from which the prose line begins to shine with a mysterious unsteady brilliance. This extraordinary fusion - accuracy and lyricism, reality and fiction, sobriety and delight - all this is characteristic of the writer's work. A special feature of Paustovsky's talent is the ability to recreate life in its entirety, to "charge" the pages of books with the sound of the sea or forest rustles that immerse us in the natural world.

The practical value of this work lies in the possibility of its use in the study of the work of K. G. Paustovsky in literature lessons.

Literature
1. Beloshin A.M. The role of the landscape in the story of K. G. Paustovsky "Snow". // Russian speech. - 2003. No. 1.

2. Bulkina T. The singer of Russian nature - the hero of the war. (105th birthday). - "Russian newspaper". - 1997. - May 30.

3. Budagov R.A. Writers about language and the language of writers. - M., 1984.

4. Memories of Konstantin Paustovsky. Collection. //Comp. L.A.Levitsky. – M.; Soviet writer, 1983.

6. Ilyin V.S. Konstantin Paustovsky. Travel Poetry. Literary portrait of Paustovsky. - M., Sov. writer, 1967.

7. Kovsky V. Realists and romantics. - M., Hood. Literature, 1990.

6. Literature: student's reference book. - M., 1995.

9. Mingelene E. Analysis of the story of K. Paustovsky "Telegram". // "Literature". (Supplement to "September 1") - 2004. - No. 5 (February).

10. Nikolskaya T. Spiritual wings...: 100 years since the birth of Paustovsky. // "Nature and Man" 2002. №6.

11. Paustovsky K.G. - Poetic radiance. Tales. Stories. Letters. - M., "Young Guard", 1976.

12. Paustovsky K.G. - Smoke of the Fatherland. - M., Pravda, 1985.

13. K. Paustovsky on the style and language of writers. - M., 1984.

14. Russian literature. - Essays. Portraits. Essay. - M., Education, 1991.

15. Trefilova G.P. K. Paustovsky is a master of prose. – M., Fiction, 1983.

16. Turchenko N.N. Observations on language while studying Paustovsky's story "Telegram". // "Russian at school". 1999. No. 4.

17. Kholmogorov M. He lived between us... Rereading K. Paustovsky. // "Questions of Literature". 1995. Issue. 5.

18. Chichibabin B. Saving Beauty: (About Paustovsky) // Reading Circle. - M., 1998.

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The dark forest stood, frowning under dim light moon and mushrooms. There was silence all around. The dead ferns stirred, and a tabby cat came out. Shaking his muscles, he looked at a bunch of cats sitting in a clearing overgrown with dark gray grass. “Thank you for coming,” Talon growled. The dark-spotted gray cat turned his head to the muscular cat and asked: “What do you want, friend?” "I need help," he said calmly. “I learned that once every two million years, the gates from the Dark Forest open. - So what?! - a dark gray cat jumped up. Does that give us hope? The fact that in some years an angelic cat will appear from heaven and take us back to earth? - Do not boil, Palisade. Tigerclaw looked at his friend. - Two million years will come the day after tomorrow, friends... And then we will be able to take revenge on this flea-bearing Firestar, who ruined my whole life and sent me to rot here forever! His booming voice echoed throughout the forest. - Claw, you're right. – Said Ugolyok. Everyone must take revenge in their own way. You to Firestar, Palisade to Graystripe, and I to the Hollyleaf brothers. - Coal, wise words. But we need someone who is devoted to the best warriors like us, a strong and cunning cat .. And most importantly, before the attack on ThunderClan, everyone should stop trusting each other ... - Claw finished his speech. - May I help you? The three cats turned to the sound. Out of the stunted bushes came a huge cat with brown hair and eyes as red as flames. - Tell me your name, stranger, and how can you help us? - Said Ember - My name is Bloody Raven. I live on the other side of this forest. I used to be a RiverClan cat, but they kicked me out because I gave the kittens tainted fish that made them vomit. I like to watch others suffer. Also, I tortured kittens, gradually tearing off their limbs. But I still have a son who is still faithful to me. Now his name is Skalozub, - the old man slyly looked in the direction where the gates of the Dark Forest will open. The sparrow wandered through the rain-drenched grass. He walked to a clearing found by the warriors in a dark part of the wilderness. The glade was useful. According to Lionblaze, this is a small patch of land overgrown with moss and bushes. Marshy area, where there is a lot of catnip and yew berries. Gathering a full mouth of grass, he wandered into the camp. On the way Sparrow came across a thorn. Having somehow limped to the camp, he threw the grass before leaving and began to pull out a splinter. - Sparrow! - I heard a cry from the nursery. The healer turned his head towards the sound. "I'm coming, I'm coming," the healer grumbled. Sparrow got up from his familiar place and went towards the nursery. - What happened? the healer asked without a shadow of concern. - Chanterelle scratched Gloom's side! Alya screamed uneasily. - Now we will cure, - Sparrow said. The healer led the squire into the cave and began to wrap the wound with cobwebs. - Sparrow! came a cry across the clearing. So what happened?! the healer yelled angrily. - I brought nails! - the apprentice of the healer Kolosochek happily announced. - Thanks. Put it in the right corner of the crack, - mumbled the healer. Well, everything is dark. Go get some rest. Come a little later, I'll put some nettles on. Now healers have begun to use nettle against scratches. Its juice penetrates the wound more quickly and heals than marigolds. But they were not forgotten either. They are used against inflammation and rotting wounds. Having done all the work, Sparrow decided to rest. Bringing the feathers of a freshly eaten thrush, he fell on the mat and fell into a sound sleep. When he woke up, he found himself in a foggy place. Walking forward a little, he heard rustling. Turning around, he saw only red eyes and brown hair. But they disappeared with the mist. The sky shone and appeared bright stars . Suddenly, Sparrow smelled the sweet smell of familiar wool. - Variegated? It's you? he asked the stars. Suddenly, a mist covered with stars descended from the sky. A minute later, a wonderful cat came out. - Yes. I came to talk to you. – Said Spottedleaf. - I'm listening to you, - the healer looked at the cat inquiringly. Spottedleaf looked around to make sure no one heard them. - I want to tell you this. A cat will come to your camp. He is cunning like a fox. Its teeth are sharper than those of a tiger. He will blend in with the crowd. He will quarrel with your fellow tribesmen and seize power ... - What? Sparrow asked. - Soon, my boy, you will know... You will know... - The former healer said and disappeared. "They always speak in riddles," he snorted. Waking up from the noise, he went out into the clearing. A lot of cats gathered there and everyone was whispering. He caught the scent of a stranger. - What happened? Who is it? he asked Dove sitting next to him. - This is? This is a huge muscular cat. It is gray with dark gray spots. They cover his hair on the crown and sides. And his eyes are as red as the sunset. - Dovewing finished looking at the stranger. There was the sound of pebbles being thrown. It was Firestar coming down the cliff. He approached the stranger. Politely invited him to his cave. Entering the cave, he began to speak. - Who are you? - looking around, the stranger from head to toe asked the leader. - Skalozub. I am a loner, but I really want to join you. You are so strong! So excellent! - Skalozub admired. After finishing the conversation, Firestar jumped onto the rock and gathered all the cats. - Now this stranger named Skalozub will be our warrior! he proclaimed. The cats exploded, shouting their joyous greetings to the strong cat. Lionblaze approached Sparrow and Dovepaw. "I don't like this guy," he said suspiciously. “He seems rather nice to me,” said Dovewing. Lionblaze looked at her carefully. He loves her for a long time, but she does not pay any attention to him. “Brother, there is something I need to tell you,” Sparrow whispered into Lionblaze’s ear. They went to the healer's cave and Sparrow told him about his dream. When he finished, he told his story. - I saw such red eyes... And I don't really like this cat, - he said. - Do not worry. I’ll find out all about this cat,” Lionblaze mumbled. The spider wandered through the dark forest. “Where am I?!” went through his head. As he walked, he heard voices. Hiding in the bushes, he froze and did not move. “I am the father here,” said the gray cat. "Good," said Blood Raven. “You completed the first part of the Puffertooth plan,” Tigerclaw said. The spider involuntarily shuddered when he heard the name of his compatriot. “What part of the plan? And who is it?" mentally he asked himself a question. “You gained their trust in just 3 days,” Tigerclaw continued. - It is worthy of praise! - Shouted the Palisade. - Yes. Palisade is right. You will gain control of ThunderClan when we kill Firestar, Graystripe, Sparrow, and Lionblaze,” the striped giant said with a small smile. The spider was frightened and stepped on a branch lying behind him. The cats heard the noise and began to whisper. - Come on, son. Do it, said the brown cat. The spider ran without looking at the road. Branches whipped his face and paws. He heard that they were running after him. The puffer fled, trotting after the clumsy squire. His eyes blazed like hell in the pitch darkness. Spider, stumbled on the root of a tree and fell. Realizing that he could not run further, he began to hide in the binding of oak roots. Skulozub, approached him. With one stroke of his paw, he cut the roots of the tree. He hung over him like a cloud over a mountain. The last thing Spiderman saw was his eyes burning with red flame and wishing the death of all living things.

1. The hottest day of summer drew to a close, and a sleepy silence enveloped the large square houses of Privet Street.

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   The hottest day of the summer was drawing to a close, and a sleepy silence enveloped the large square houses of Privet Street. The usually gleaming cars were now gathering dust in the driveways, and the once emerald green lawns had turned yellow.

2. And with a troubled conscience. Creating a better world, it is impossible not to keep in mind that in the face of true reality, a utopia

   Utopia

3. Lukyanov Alexander Nikolaevich

   Document

   In today's world, writing a utopia is always associated with responsibility and a troubled conscience. Creating a better world, it is impossible not to keep in mind that in the face of true reality, utopia looks fragile and implausible,

4. The record-breaking hot day of this summer was coming to an end. The large, square houses of Privet Alley were enveloped in drowsy silence.

   Document

   The record-breaking hot day of this summer was coming to an end. The large, square houses of Privet Alley were enveloped in a drowsy silence. The cars parked near them, usually sparkling clean, are dull with dust, and the lawns, once

5. Leonid Saxon axel, cree and white mask

   Document

   Axel sighed, straightened his panama hat, which sometimes slipped off his head - after all, he had to recline in the shade, on stone steps leading into the water, - and cautiously, through his eyelashes, looked at the blinding blue sky.

The answers to tasks 1–24 are a word, a phrase, a number or a sequence of words, numbers. Write your answer to the right of the task number without spaces, commas or other additional characters.

Read the text and do tasks 1-3.

(1) Observation of the nature of the connection between parts of the text showed that its individual parts are united not only by the usual forms of connection - unions, allied words, but also by other means that are less clearly distinguished in the fabric of the text. (2) These include repetitions of words, phrases, sentences, structures of the same type. (3) ______ even associations can serve as means of communication between separate parts, following one after another, and also located at some distance from each other.

1

Which of the following sentences correctly conveys the MAIN information contained in the text?

1. Separate parts of the text are united only by the usual forms of communication - unions, allied words.

2. The means of communication in the text can be both unions and allied words, and means that are less clearly distinguished in the fabric of the text: associations, repetition of words, structures of the same type.

3. Both unions and allied words, as well as means that are less clearly distinguished in the fabric of the text: associations, repetition of words, structures of the same type - can serve as means of communication in the text.

4. Associations can serve as means of communication between separate parts of the text, following one after another, and also located at some distance from each other.

5. Separate parts of the text are united by the repetition of words, phrases, sentences, structures of the same type.

2

Which of the following words (combinations of words) should be in place of the gap in the third (3) sentence of the text? Write down this word (combination of words).

3. Obviously

4. In addition,

5. Hardly

3

Read the fragment of the dictionary entry, which gives the meaning of the word FABRIC. Determine the meaning in which this word is used in the first (1) sentence of the text. Write down the number corresponding to this value in the given fragment of the dictionary entry.

FABRIC, -and, w.

1. A product made by weaving. Silk t. Linen fabrics.

2. General name for woven, knitted and some non-woven materials. Drapery.

3. trans. The basis, the content of something. (book). T. story.

4. In animal and plant organisms: a system of predominantly homogeneous cells and their metabolic products. Connecting t. Muscular t. Nervous t. Protective t. (in plants).

4

In one of the words below, a mistake was made in setting the stress: the letter denoting the stressed vowel is highlighted INCORRECTLY. Write out this word.

repeated

clog up

5

In one of the sentences below, the underlined word is WRONGLY used. Correct the mistake and write the word correctly.

1. With accurate shots from a mortar, he destroyed ENEMY targets and helped our soldiers go on the offensive.

2. Twins are so similar that you can't tell them apart.

3. The fire that started on Kupecheskaya Street engulfed a good half of the city.

4. He is obliged to bring AESTHETIC pleasure to the public with beautiful and spectacular performances.

5. In the old days, there was navigation along many of the Poltava rivers, but now they have been PARTILED by dams.

6

In one of the words highlighted below, a mistake was made in the formation of the word form. Correct the mistake and write the word correctly.

FIVE athletes

YOUNGEST participant

IGNITE A FIRE

LET'S TRY TO HELP

no CLAIMS

7

Establish a correspondence between the sentences and the grammatical errors made in them: for each position of the first column, select the corresponding position from the second column.

GRAMMATICAL ERRORS	SUGGESTIONS
A) an error in the construction of a complex sentence	1) Folklore, like literature, is the art of the word.
B) violation of the connection between the subject and the predicate	2) Suddenly thunder struck, lightning flashed, and people on the shore screamed.
C) violation of the species-temporal correlation of verb forms	3) Matryona was that righteous man, without whom, according to the proverb, the village does not stand.
D) violation of the construction of a sentence with participial turnover	4) Fifty-one construction projects were commissioned last year.
E) incorrect use of the case form of a noun with a preposition	5) Poetry not only convinces a person of the possibility of happiness, but also brings happiness into the world itself.
	6) Every time, returning from the pool, she passed by this house.
	7) The team of James Cook immediately returned to the ship, frightened by the armed natives.
	8) According to the assumption, the tango was based on the traditional dance of Argentine cowboys.
	9) One of the Russian writers who described Russian life in detail was Ivan Bunin.

Write your answer in numbers without spaces or other characters.

8

Determine the word in which the unstressed checked vowel of the root is missing. Write out this word by inserting the missing letter.

av...nture

unfolding...

in...furry

application...

9

Find a row in which the same letter is missing in both words. Write these words out with the missing letter.

pr..image, pr..homeland

oh..tenok, po..strings

sub..ect, round..drive

s..gra, super..gra

not..cheap, ..do

10

Write down the word in which the letter I is written in place of the gap.

suede

magnesium...

toy...

assign...

harden...

11

Write down the word in which the letter E is written in place of the gap

wrestling..shishing

hear.. my

meaning..my

12

Indicate all the numbers in the place of which the letter I is written.

N (1) who before Pushkin n (2) reproduced n (3) in verse, n (4) in our simple prose rural nature with such simplicity of truth and such warmth of sympathy.

13

Determine the sentence in which both underlined words are written APART. Open the brackets and write out these two words.

1. HARDLY (WHILE) he will be able to solve this problem, (WHERE) THEREFORE he did not waste time in vain.

2. (FOR) THAT path, obviously, no one traveled for a long time, SO (AS) the rut was not at all visible behind the roadside grass.

3. The room turned out to be quite large and bright at the SAME time, but (IN) AFTER I took it off for a short time.

4. (And) SO, the holidays are coming soon, (B) DURING which I have serious work to do.

5. Gray silence stood (IN) CIRCLE, (FROM) RARE cold drops fell on the hands from the branches.

14

Indicate all the numbers in the place of which HN is written.

The old (1) guest (2) always amazed the guests with the (3) layout: the corridors ended in unexpected (4) dead ends, and the room numbers were hopelessly confused (5).

15

Set up punctuation marks. Indicate the numbers of sentences in which you need to put ONE comma.

1. Under the birches, a gazebo with a flat green dome and wooden blue columns was visible.

2. Bullfinches flew out of the thicket and appeared in gardens and orchards.

3. The South is a gigantic condenser of plants, the birthplace of heat and human culture.

4. He put dry grass and brushwood into the fire and fanned the flame.

5. This business has its advantages and disadvantages.

16

The walls of the house (1) updated with paint (2) and cornices (3) tinted around the entire perimeter, lined with a bright border of tiles (4), look festive.

17

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentences.

Clouds (1) heavenly (2) eternal wanderers!

Steppe azure (3) pearl chain

Rush (4) you (5) like (6) like me (7) exiles (8)

From the sweet north to the south.

18

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence.

In the evenings (1) when the breeze subsided (2) and warm soaring emanated from the heated earth (3) such grace came around (4) and everything seemed so solid and eternal (5) that one could not believe in anything.

19

Place punctuation marks: indicate all the numbers in the place of which commas should be in the sentence.

The elk became so attached to the boy (1) that (2) when he went somewhere (3) the animal sniffed the air anxiously (4) and refused to eat.

20

Edit the sentence: correct lexical error replacing the misused word. Write down the chosen word, observing the norms of the modern Russian literary language.

Much attention will be paid to the improvement of the city.

Read the text and complete tasks 21-26.

(1) Once upon a time in Russia there was such an age: adolescence. (2) No wonder Leo Tolstoy called the three parts of his trilogy: “Childhood”, “Boyhood”, “Youth”. (3) In our most important Academic Dictionary, it is written that adolescence is “the age between childhood and youth.”

(4) In my opinion, a rather incomprehensible explanation. (5) When does childhood end? (6) Everyone is different. (7) For some, at the age of six: they are already nursing the younger ones, in the garden and in the yard they help their parents in an adult way. (8) And I had to meet those for whom it had not yet ended at the age of 40.

(9) But this age - adolescence - still exists. (10) And he, perhaps, is the most important in a person's life.

(11) At this time, habits are formed. (12) Good or bad, but for life. (13) Noble deeds are being committed - because the craving for good has not yet been crushed, not corrected by selfish or some other calculations. (14) Important decisions are made. (15) And some people follow what they decided in adolescence, all their lives.

(16) At this important, but short time, some books are either read - or never read again. (17) Because there are three laws of reading, and two and a half of them are derived by me personally.

(20) And the third: it is in adolescence that you need to make a list of books that you must have time to read in life. (21) Compile - and after that refuse to read any nonsense, which is now everywhere - in bulk.

(22) Let me explain the first law. (23) No one will tell you in advance what exactly you should read early. (24) Because - everyone is different! (25) One - early, and the other - just right. (26) And it will be too early for his peer until old age: he reads - and cannot understand what's what.

(27) If it’s too early for you to read this book, you yourself will be the first to notice this. (28) And put it aside until better days. (29) So if the book turned out to be out of your age, out of your mind - it's okay, come back to it later. (30) But this can be established, it seems to me, only by experience - by starting to read. (31) I know for sure that some at the age of 15 swallowed Dostoevsky's "Crime and Punishment", for others, reading a brilliant novel was a true punishment.

(32) With the second law, the situation is more serious.

(33) Yes, there are such books that you need to read exactly at the age of 12, at 14. (34) Firstly, only at this age you will get one hundred percent pleasure from it. (35) And secondly, create a reserve for yourself (that is, the necessary stock) for the future. (Z6) It's great to re-read The Adventures of Tom Sawyer sometime on vacation! (37) I know people who re-read this book of their childhood - with familiar illustrations! - several times: at the age of 25, then about forty years and so on. (38) But I have not met those who sat down to read it for the first time at the age of 40. (39) Firstly, there is no time. (40) Secondly, it won’t even cross your mind. (41) And thirdly, if you take it, you are unlikely to read excitedly. (42) So, look through with a slight smile. (43) “It’s a pity,” you say, “that I didn’t get caught in childhood ...”

(44) In general, I was too lazy at one time - I lost for life.

(45) As for the third law, many will think: what's wrong with reading empty, randomly handy or just fashionable books at that moment? (46) Some people think so - but what? (47) Nothing special. (48) Moore, but you can read.

(49) But the point is mainly that a bad book forever deprives you of the opportunity to read a good one. (50) Time is not dimensionless.

(51) When I was in the sixth grade and continued to read, as they say, avidly, I suddenly read somewhere that a person can read, it seems, no more than 7 thousand books in a lifetime. (52) It doesn't matter if the figure is accurate or not. (53) It is important that I was horrified at the thought that the second-rate books I read, absorbing the hours measured for a person to read (there are not very many of them left anyway - from other things), obviously deprive me of something. (54) First of all - the opportunity to read some other books - the very ones that you need to read in life. (55) I still didn’t really know which ones. (56) But she already knew for sure that they were. (57) The shelf (sometimes called the golden shelf), on which these very books stand, which must be read before the age of 14-15 (well, in extreme cases, up to 17), has one property: not everyone sees those books, which are on it. (58) Someone will never see many of them in their entire lives and, of course, will not read them.

2. Describe the cases of the transition of words from one part of speech to another, give the name of the processes, give examples.

3. Select independently any text containing at least 20 lines, and determine the part of speech and grammatical features of each word.

For example: The morning dawn lit up brightly.

Bright - how? adverb of measure and degree;

Fired up - what did you do? verb, perfective, 2 conjugations, intransitive, reflexive, indicative, past tense, feminine, singular.

Morning - what? adjective, relative, feminine, singular, nominative.

Dawn - what? noun, concrete, common noun, inanimate, female, in the singular, in the nominative case.

4. In this text, find and name all the service parts of speech.

Levin has been married for three months now. He was happy, but not in the way he expected. At every step he found disappointment in old dreams and a new unexpected charm. Levin was happy, but as he entered into family life, he saw at every step that it was not at all what he had imagined. At every step he experienced what a person who admired the smooth, happy course of a boat on the lake would experience after he himself got into this boat. He saw that it was not enough to sit up straight and not sway, but one also had to think, not for a moment forgetting where to swim, that there was water underfoot and that one had to row, and that unaccustomed hands hurt, that it was easy to look at it, and that doing this, although very joyful, is very difficult. (L. Tolstoy.)

5. Perform one morphological analysis of each part of speech (take the words for analysis from the text of task 3).

Plan morphological analysis noun

I. Part of speech, general meaning.

II. Morphological features (indicate the means of expression):

1. initial form (I. p. units);

2. permanent signs: proper / common noun, LGR, animation / inanimateness / out of this category, gender, declension;

3. inconstant signs: case (value!), number.

III. Syntactic role in a sentence.
Plan of morphological analysis of the name of the adjective

1. initial form(I. p. units of h.m.r. / f.r.).

2. LGR adjective.

3. Full / short form (for quality adjectives).

4. Degree of comparison (for quality adjectives).

5. Gender, number, case (for the full form).

6. Declension type.

Plan for the morphological analysis of the name of the numeral

1. Initial form.

2. LGR of the numeral.

3. Derivative / non-derivative. For a derivative, it is a way of formation. Simple / compound.

4. Case, its expression.

5. Syntactic role in the sentence.

Plan for the morphological analysis of the pronoun

1. Initial form.

2. Rank by value.

3. Group by grammatical correlation with other parts of speech (place-noun, place-adjective, place-numeral).

4. Grammatical meanings and their expression (according to the group): case, number, gender, person.

5. Syntactic role and syntactic links.

Plan of morphological analysis of the adverb

1. Lexico-grammatical category, subtype.

2. Is there a form of degrees of comparison?

3. Syntactic role and syntactic links.

Plan for the morphological analysis of the words of the state category

1. Syntactic role and syntactic links.

2. Meaning (state of nature, etc.).

3. Grammatical meanings and their expression: mood, tense, aspect (not for everyone).

Verb morphological analysis plan

1. Initial form.

2. Transitional / intransitive, returnable / irrevocable, pledge.

3. Appearance (does it have a species pair, means of expressing a species, one-species / two-species), a way of verbal action.

4. Inclination, time, person (means of expression, main or figurative meaning).

5. Number, gender (if defined).

6. Class, conjugation.

7. Syntactic role in the sentence.

Plan for the morphological analysis of the sacrament

3. View (how expressed, whether there is a species pair).

4. Pledge (if they suffer, then the full or short form), time (means of expression).

5. Class, conjugation.

6. Gender, number, case (means of expression).

7. Syntactic role in the sentence.

Plan for the morphological analysis of the participle

1. Initial form (infinitive).

2. What verb is formed from: trans. / non-transition.; return / non-return

3. View, species pair (means of expression).

4. Relative time (no morphological time).

5. Class, conjugation.

6. Syntactic role in the sentence.
Plan for the morphological analysis of the preposition

1. Derivative or non-derivative. For a derivative, the origin.

2. What case is combined with.

3. Meaning.

Union morphological analysis plan

1. Simple or compound.

2. Union type by syntactic function: coordinating or subordinating; rank by value.

3. Meaning.

Particle morphological analysis plan

Rank by value.

Plan of morphological analysis of the modal word

1. Rank by value.

2. Syntactic function.
Plan of morphological analysis of interjection

semantic function.

Literature:

Bogachev, Yu. P. Russian language with the basics of linguistics: a textbook for students. higher ped. textbook institutions / Yu. P. Bogachev. - M., 2006.

Kodukhov, V. I. Introduction to linguistics / V. I. Kodukhov. - M., 1987.

Muchnik, I. P. Grammatical categories of the verb and name in the modern Russian literary language / I. P. Muchnik. - M., 1971.

Reformatsky, A. A. Introduction to linguistics / A. A. Reformatsky. - M., 2001.

Russian language. Encyclopedia. - M., 1979.

Modern Russian language / ed. P. A. Lekanta. - M., 2000.

Suprun, E. A. Parts of speech in Russian / E. A. Suprun. - M., 1971.

Chirkina, I. P. Modern Russian language in tables and diagrams / I. P. Chirkina. - M., 1979.
Questions for the test in the discipline

(FDiKPiP, 3rd year s / o (log.), 5th semester)

1. 
   The concept of a phrase as a unit of syntax.
2. 
   Classification of phrases.
3. 
   Coordination.
4. 
   Control.
5. 
   Adjacency.
6. 
   The simple sentence is the basic unit of syntax.
7. 
   main members of the proposal.
8. 
   Types of predicate.
9. 
   Secondary members of the sentence.
10. 
    Definition.
11. 
    Addition.
12. 
    Circumstance.
13. 
    Classification of a simple sentence.
14. 
    Types of one-component sentence.
15. 
    Nominative proposal.
16. 
    Genitive suggestion.
17. 
    Definitely a personal suggestion.
18. 
    Indefinite personal offer.
19. 
    Generalized personal proposal.
20. 
    Impersonal offer.
21. 
    infinitive sentence.
22. 
    Complicated proposal.
23. 
    Homogeneous members of the proposal.
24. 
    Separate members of the proposal.
25. 
    Introductory and insert structures.
26. 
    Appeal.
27. 
    The concept of a complex sentence.
28. 
    Non-free syntactic constructions.
29. 
    Classification of a complex sentence.
30. 
    Compound sentence.
31. 
    Complex sentence.
32. 
    The difference between the union and the allied word.
33. 
    Subordinate clauses of undivided structure.
34. 
    Subordinate clauses of dissected structure.
35. 
    Types of subordination.
36. 
    Associative compound sentence.
37. 
    
38. 
    
39. 
    
40. 
    
41. 
    
42. 
    dialogic unity.
43. 
    Period.

Questions for the exam in the discipline

"Russian language with the basics of linguistics"

(FDiKPiP, 3rd year s / o (log.), 6 semester)

1. 
   Linguistics as a science. The place of linguistics among other sciences.
2. 
   Language and culture. Language and society. Language and thought.
3. 
   Language and speech. Units of language in their relationship with units of speech.
4. 
   Language as a system and structure. Basic units of the language. Types of relationships between units of linguistic structure. The concept of language levels. Interaction of different levels of language.
5. 
   Acoustic and articulatory properties of speech sounds.
6. 
   Vowel system (vocalism). Signs of vowels and principles of their classification.
7. 
   The system of consonants (consonantism). Signs of consonants and principles of their classification.
8. 
   Changes in sounds in the flow of speech. Positional and combinatorial changes of sounds.
9. 
   Phoneme as a unit of language. The concept of phoneme, phoneme and sound in their relationship. Integral and differential features of the phoneme. Phoneme system.
10. 
    The word is the basic unit of language. The nominative function of the word. The lexical meaning of the word.
11. 
    Direct and figurative meanings. Portable value types.
12. 
    Phraseological composition of the language. Features of phraseology as a unit of language. Types of phraseological units.
13. 
    Antonyms and synonyms as a manifestation of the systematic nature of the language.
14. 
    Paronyms, homonyms.
15. 
    Neologisms, historicisms, archaisms.
16. 
    Dictionary types: encyclopedic and linguistic dictionaries.
17. 
    Morpheme as a unit of language. Functions of morphemes and their types. Affixes and their varieties. The concept of the basis of the word. Word-forming and form-forming bases.
18. 
    Word formation as a branch of the science of language. Basic units and methods of word formation.
19. 
    The grammatical structure of the language. Basic units of grammar. Lexical and grammatical meaning.
20. 
    Grammatical form as a unity of grammatical meaning and means of its expression. Synthetic and analytical forms of the word.
21. 
    The main ways and means of expressing grammatical meanings.
22. 
    The concept of grammatical categories. Types and functions of grammatical categories.
23. 
    The subject of morphology. Grammatical meaning, grammatical category, grammatical form. Morphological categories. Their types and functions. Lexico-grammatical categories of words.
24. 
    The problem of parts of speech as lexical and grammatical categories (classes) of words. Categorical features of parts of speech.
25. 
    The noun is a part of speech. Grammatical categories and lexical and grammatical categories of nouns. Their signs.
26. 
    Adjective as a part of speech. LGR adjectives. Their signs.
27. 
    Short adjectives. Their morphological features and syntactic features.
28. 
    Degrees of comparison of adjectives. Ways of education.
29. 
    The noun is a part of speech. Declension of numbers.
30. 
    Pronoun as a part of speech. LGR pronouns.
31. 
    An adverb is a part of speech. LGR adverbs.
32. 
    General characteristics of the verb as a part of speech.
33. 
    The grammatical category of the aspect of the verb.
34. 
    The grammatical category of the voice of the verb.
35. 
    Grammatical categories of mood and verb tense.
36. 
    Verb conjugation, ways of defining it and types.
37. 
    Verb bases and their characteristics.
38. 
    Synthetic and analytic verb forms.
39. 
    Participle and gerund participle as special verb forms.
40. 
    Service parts of speech and their characteristics.
41. 
    The simple sentence is the basic unit of syntax. The main and secondary members of the sentence.
42. 
    Classification of a simple sentence. Types of one-component sentence.
43. 
    Complex sentence, characteristics, varieties.
44. 
    Punctuation marks in compound sentences.
45. 
    Punctuation marks in a complex sentence.
46. 
    Punctuation marks in a non-union complex sentence.
47. 
    Text, its structure and grammatical features.
48. 
    Complex syntactic integer.
49. 
    dialogic unity. Period.

Practical tasks for students

Correspondence department of the 2nd course FDiKPiP (Speech therapy)

for the third semester
Practice #1

Phonetic system of the Russian language
Activate terms: acoustic sign, articulation, exposure (exposure), indentation (recursion), attack (excursion), sonorous, noisy, variant (phonemes), variations (phonemes), differential signs, integral signs, perceptual function, significative function, strong position, weak position, phoneme, ppoison, rise, velarization, diphthong, consonantism, labialization, affricate, accommodation, assimilation, haplology, dissimilation, diaeresis, reduction, vowel harmony, epenthesis(See a sample terminology card at the end of the assignment).
Theoretical questions:

1. Acoustic properties of sounds (tones and noises, height, strength, duration, timbre).

2. Articulation and its phases.

3. Describe the phoneme as a typical sound of the language (the ratio of phoneme and sound; phoneme functions; phoneme variation; differential and integral features of phonemes).

4. How do vowels and consonants differ from each other?

5. The system of vowel phonemes of the Russian language. Name the strong positions of the vowels.

6. The system of consonant phonemes of the Russian language. Name the strong positions of the consonants.

7. Name and describe the main positional processes.

8. Name and describe the main combinatorial processes
Practical part:

1. Describe in detail (in phases) the articulation of the following sounds: [a], [y], [m], [h].

2. In words finger, care, crown, raspberry Change one letter to make a new word. Give your examples.

3. Determine the number of sounds in words I, he, small, salt, pit, take, south, entrance.

4. Determine how many times there are sounds in words:

[w]: The beetle buzzes softly, squeals and trembles.

[w]: Not he is good who is handsome in face, but he is good who is good for work.

[t]: The director of the enterprise signed the document and gave it to the representative of the sponsored factory.

5. Transcribe the words. Indicate the strong and weak positions of phonemes: girl, commander, circle, spring, idea, engineer, day, barrow, watery, escape, here, slippery, beat off, city, in a hurry, randomly, tribute, given, drain, anger, tip.

6. Find cases with positional stunning of consonants in the following text: The ogre invites the ogre to dinner.

The ogre replied: “No!

I will not go to you, neighbor!

It's not bad to go to lunch

But not in the form of a dish! (B. Zakhoder)

7. Transcribe the text. Find the positional and combinatorial processes taking place in it. Perform a phonetic analysis of the underlined word (see the sample at the end of the task):

There was a gray silence all around. The park was plunged into darkness. Occasionally, transparent ice drops fell on our hands from the branches. And all the yellow palmate leaves flew off. Their light crackling followed us on our heels.

A leaden sky stretched overhead, but the color of that lead was Parisian—light—and very light.

Then, through the tulle haze of the clouds, the pink light of the sun began to seep, and the plane trees suddenly seemed to come to life and change in their faces - covered with a copper sheen.

I remembered the same rosy evening at the Ilyinsky pool, and the familiar melancholy suddenly clenched her heart, - longing for our simple land, its sunsets, its plantain and the modest rustle of fallen leaves. (According to K. Paustovsky).

8. Complete exercises 33, 36, 59 from the book by Bogachev, Yu. P. Russian language with the basics of linguistics: workshop: textbook. allowance for students. higher ped. textbook institutions / Yu. P. Bogachev. - M., 2006. - S. 19, 20, 26).

Order of phonetic analysis

1. Transcribe a word

2. Name the letters.

3. Designate the sounds corresponding to the letters.

4. Describe the sounds:

Vowel - series, rise, labialized / non-labialized, stressed / unstressed;

Consonant - place of formation, method of formation, noisy / sonorous, voiced / deaf paired / unpaired, hard / soft paired / unpaired.

5. Show the ratio of sounds and letters.

6. Write the word in sounds with stress and division into syllables.
Sample: Laugh [cm" and e-th "a-ts]

"es" - [s] - acc., anterior lingual dental, fricative, noisy, deaf paired, hard paired;

"em" - [m "] - acc., labial-labial, stop-nasal, sonorous, voiced unpaired, soft paired;

“e” - [and e] - ch., front row, upper-middle rise, non-labialized, unstressed;

[th] - acc., middle lingual, fricative, sonorous, voiced unpaired, "I" soft unpaired;

[a] - ch., middle row, lower rise, non-labialized, percussive;

"te"

“soft sign” [c] - acc., anterior lingual dental, stop, affricate,

noisy, deaf unpaired, hard unpaired;

"es"

"I" - [b] - ch., middle row, middle rise, unlabialized, unstressed.

8 letters - 7 sounds [cm "and e-th" a-ts]
Requirements for the design of a terminological card

The card must contain :

1. Name of the term; translation of the term (or its constituent parts) into Russian, indicating the source language.

2. Terms-synonyms or similar concepts in Russian linguistics.

4. Signs of a designated language unit or category, allocation of a classification feature, classification; functions.

5. Examples illustrating a concept, application of a term, or classification.

6. Derivatives of this term (with an interpretation or an example of contextual use).

Sample:

Polysemy - (Greek polysēmos - many-valued). The synonym is ambiguity.

The presence of a unit of language more than one meaning - two or more (Linguistic Encyclopedic Dictionary. - M., 1990).

For example:

Polysemy lexical- the ability of one word to serve to designate different objects and phenomena of reality.

Polysemy grammatical- the presence of grammatical forms and syntactic constructions of several meanings.

polysemic- multivalued.
Main literature:

Barannikova, L.I. Introduction to linguistics / L.I. Barannikova. - Saratov, 1978. - S. 47-53, 69-79.

Bogachev, Yu. P. Russian language with the basics of linguistics: a textbook for students. higher ped. textbook institutions / Yu. P. Bogachev. - M., 2006. - S. 73-99.

Bondarko, L. V. et al. Fundamentals of general phonetics / L. V. Bondarko. - St. Petersburg, 1991. - S. 20-55.

Golovin, B. N. Introduction to linguistics / B. N. Golovin. - M., 1983. - S. 32-37.

Kodukhov, V. I. Introduction to linguistics / V. I. Kodukhov. - M., 1987. - S. 101-120, 125-131.

Maslov, Yu. S. Introduction to linguistics / Yu. S. Maslov. - M., 1987. - S. 33-39, 44-66.

Reformatsky, A. A. Introduction to Linguistics / A. A. Reformatsky. - M., 1967. - S. 155-187.

Additional literature:

Zhuravlev, A.P. Sound and meaning / A.P. Zhuravlev. - M., 1982.

Leontiev, A. A. The words "cold" and "hot" / A. A. Leontiev // Science and Life. - 1974. - No. 4.

Mikhailov, M. M. Bilingualism: problems, searches... / M. M. Mikhailov. - Cheboksary, 1989. - S. 44-46.

Russian language. Encyclopedia. - M., 1979. - S. 56; pp. 317-319.

Modern Russian language. At 3 pm Part 1. Introduction. Vocabulary. Phraseology. Phonetics. Graphics and spelling / N. M. Shansky, V. V. Ivanov. - M., 1987. - S. 108-131, 150-180.

Modern Russian language: theory. Analysis of language units: In 2 hours - Part 1. Phonetics and orthoepy. Graphics and spelling. Lexicology. Phraseology. Lexicography. Morphemics. Word formation / E. I. Dibrova, L. L. Kasatkina, N. A. Nikolina, I. I. Shcheboleva; ed. E. I. Dibrova. - M., 2001. - S. 17-26, 35-46, 75-95.

Encyclopedic Dictionary of a Young Philologist. - M., 1984. - S. 24-25, 31-32, 113.

Practice #2

Morphemic word structure
Activate terms:morpheme, morph, affix, prefix, root, suffix, inflection, interfix, postfix, unifix, stem, word form
Theoretical questions:

1. What is a morpheme? How is a morpheme different from a morph?

2. Describe the root morpheme. How is it different from affix? What root is called connected?

3. Name and characterize affixal morphemes.

4. What is the difference between derivational and formative suffixes? Fill in the table (according to the book by Potikha Z.A.):

Part of speech	Formative suffix	grammatical meaning	Example
Noun
Adjective
Verb Proper verb forms Participle gerund