Test “Means of artistic expression. Literature training materials What is the name of an expressive evaluative definition
When we talk about art, literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. AT fiction and poetry allocate special techniques for enhancing expressiveness. Competent presentation, public speaking - they also need ways to build expressive speech.
For the first time, the concept of rhetorical figures, figures of speech, appeared among speakers ancient greece. In particular, Aristotle and his followers were engaged in their research and classification. Going into details, scientists identified up to 200 varieties that enrich the language.
The means of expressiveness of speech are divided by language level into:
- phonetic;
- lexical;
- syntactic.
The use of phonetics is traditional for poetry. The poem is often dominated by musical sounds giving poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for amplification.
Anaphora- repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off ...” - a repetition of the initial sounds, Yesenin used a phonetic anaphora.
And here is an example of a lexical anaphora in Pushkin's poems:
Alone you rush through the clear azure,
You alone cast a sad shadow,
You alone grieve the jubilant day.
Epiphora- a similar technique, but much less common, with words or phrases repeated at the end of lines or sentences.
The use of lexical devices associated with a word, lexeme, as well as phrases and sentences, syntax, is considered as a tradition of literary creativity, although it is also widely found in poetry.
Conventionally, all means of expressiveness of the Russian language can be divided into tropes and stylistic figures.
trails
Tropes are the use of words and phrases in a figurative sense. Tropes make speech more figurative, enliven and enrich it. Some tropes and examples of them in literary work are listed below.
Epithet- artistic definition. Using it, the author gives the word an additional emotional coloring, its own assessment. To understand how an epithet differs from an ordinary definition, you need to catch when reading, does the definition give a new connotation to the word? Here is an easy test. Compare: late fall- golden autumn, early spring - young spring, a quiet breeze - a gentle breeze.
personification- transferring the signs of living beings to inanimate objects, nature: "The gloomy rocks looked sternly ...".
Comparison- direct comparison of one object, phenomenon with another. “The night is gloomy, like a beast ...” (Tyutchev).
Metaphor- transferring the meaning of one word, object, phenomenon to another. Similarity detection, implicit comparison.
“A fire of red mountain ash is burning in the garden ...” (Yesenin). The rowan brushes remind the poet of the flames of a fire.
Metonymy- renaming. Transfer of property, value from one object to another according to the principle of adjacency. “Which is in felt, let's bet” (Vysotsky). In felts (material) - in a felt hat.
Synecdoche is a kind of metonymy. Transferring the meaning of one word to another on the basis of a quantitative relationship: singular - plural, part - whole. “We all look at the Napoleons” (Pushkin).
Irony- the use of a word or expression in an inverted sense, mocking. For example, an appeal to the Donkey in Krylov’s fable: “From where, smart, are you wandering, head?”
Hyperbola- a figurative expression containing exorbitant exaggeration. It can relate to size, value, strength, other qualities. Litota, on the contrary, is an exorbitant understatement. Hyperbole is often used by writers, journalists, and litotes are much less common. Examples. Hyperbole: “In a hundred and forty suns the sunset burned” (V.V. Mayakovsky). Litota: "a man with a fingernail."
Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of the allegory is to point to the subtext, to force you to look for hidden meaning when reading. Widely used in fable.
Alogism- deliberate violation of logical connections for the purposes of irony. “That landowner was stupid, he read the Vesti newspaper and his body was soft, white and crumbly.” (Saltykov-Shchedrin). The author deliberately mixes logically heterogeneous concepts in the enumeration.
Grotesque- a special technique, a combination of hyperbole and metaphor, a fantastic surrealistic description. An outstanding master of the Russian grotesque was N. Gogol. On the use of this technique, his story "The Nose" is built. The combination of the absurd with the ordinary makes a special impression when reading this work.
Figures of speech
Stylistic figures are also used in literature. Their main types are displayed in the table:
| Repeat | At the beginning, end, at the junction of sentences | This cry and strings These flocks, these birds |
| Antithesis | Contrasting. Antonyms are often used. | Long hair, short mind |
| gradation | Arrangement of synonyms in increasing or decreasing order | smolder, burn, blaze, explode |
| Oxymoron | Connecting contradictions | A living corpse, an honest thief. |
| Inversion | Word order changes | He came late (He came late). |
| Parallelism | Comparison in juxtaposition form | The wind stirred the dark branches. Fear stirred in him again. |
| Ellipsis | Omitting an implied word | By the hat and through the door (grabbed, went out). |
| Parceling | Dividing a single sentence into separate | And I think again. About you. |
| polyunion | Connection through repeated unions | And me, and you, and all of us together |
| Asyndeton | Exclusion of unions | You, me, he, she - together the whole country. |
| Rhetorical exclamation, question, appeal. | Used to enhance the senses | What a summer! Who if not we? Listen country! |
| Default | Interruption of speech based on a guess, to reproduce strong excitement | My poor brother...execution...Tomorrow at dawn! |
| Emotional-evaluative vocabulary | Words expressing attitude, as well as a direct assessment of the author | Henchman, dove, dunce, sycophant. |
Test "Means of artistic expression"
To test yourself on the assimilation of the material, take a short test.
Read the following passage:
“There, the war smelled of gasoline and soot, burnt iron and gunpowder, it gnashed its caterpillars, scribbled from machine guns and fell into the snow, and rose again under fire ...”
What means of artistic expression are used in an excerpt from the novel by K. Simonov?
Swede, Russian - stabs, cuts, cuts.
Drum beat, clicks, rattle,
The thunder of cannons, the clatter, the neighing, the groan,
And death and hell on all sides.
A. Pushkin
The answer to the test is given at the end of the article.
Expressive language is, first of all, an internal image that arises when reading a book, listening to an oral presentation, presentation. Image management requires pictorial techniques. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their image in your speech pattern.
Study expressive language, its laws. Determine for yourself what is missing in your performances, in your drawing. Think, write, experiment, and your language will become an obedient tool and your weapon.
Answer to the test
K. Simonov. The personification of war in a passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically combines them into a generalized image of war. The used methods of expressive language are polyunion, syntactic repetition, parallelism. Through this combination of stylistic devices, when reading, a revived, rich image of the war is created.
A. Pushkin. There are no conjunctions in the first lines of the poem. In this way, the tension, the saturation of the battle is conveyed. In the phonetic picture of the scene special role plays the sound "r" in different combinations. When reading, a roaring, growling background appears, ideologically conveying the noise of battle.
If answering the test, you could not give the correct answers, do not worry. Just re-read the article.
1. What is the name of the form of allegory characteristic of fables, a parable? ( Allegory)
2. What is the term that is used in literary criticism to refer to an expression that has become winged? OR: In the speech of the heroes of the play there are many short, figurative sayings expressing original thoughts (for example, in Ash's speech: "You are not a nail, I am not a tongs ..."). What are such statements called? OR: Many remarks of the heroes of the play have become common (for example: "You can't always cure the soul with the truth"). Indicate the term that denotes well-aimed figurative expressions containing a complete philosophical thought. (Aphorism)
3. How are characters called in literary criticism who do not appear on stage? OR: In the stories of Ms. Prostakova and Skotinin, the “dead father” and uncle Vavila Faleleich appear. What are the names of the characters mentioned in the speech of the heroes, but not appearing on the stage? ( off-stage)
4. What is the name of the monologue in a literary work that the hero says "to himself"? ( Internal monologue)
5. Wanting to show his importance, Khlestakov uses a clear exaggeration: "thirty-five thousand one couriers." What is the name of an artistic technique based on exaggeration? ( Hyperbola)
6. One of the characteristic techniques of classicism is the disclosure of the character of the hero through his last name. What are these surnames called? OR: In the surname of Khlestakov, as well as in the surnames of other characters in the play, there is a certain figurative characteristic. What are these surnames called? ( Talking)
7. Indicate the name of the technique of artistic exaggeration, in which credibility gives way to fantasy, caricature. ( Grotesque)
8. What is the name of an expressive detail that carries an important semantic load in a literary text? OR: Indicate the name of the detail that gives the story a special expressiveness (for example, a tear that rolled out from Chichikov. OR: What is the term for a significant small detail that contains an important meaning (for example, the father's chest from the story of Ms. Prostakova)? ( Detail)
9. What term denotes the form of speech of the characters, which is an exchange of remarks? OR: The text of the fragment is an alternation of the statements of the characters addressed to each other. What is this form of speech communication called? ( Dialog)
10. Specify genre to which the work belongs. (Epic genres: Novel, short story, short story, fairy tale, fable, epic, short story, essay... Dramatic genres: drama, comedy, tragedy...
11. Determine genre of work. Fonvizin "Undergrowth" - a comedy. Griboyedov "Woe from Wit" - comedy. Gogol "The Government Inspector" is a comedy. Ostrovsky's "Thunderstorm" - drama. Chekhov "The Cherry Orchard" - comedy. Gorky "At the bottom" - drama.
12. To what genre variety refers to the novel? ( Socio-philosophical, psychological, social and household ...)
13. What stage in the development of the action does this fragment belong to? ( Ending, climax, denouement). OR: What is the name of the moment of the highest tension in the development of a dramatic plot. ( climax).
14. The free, unconstrained nature of the characters' speech is emphasized in this fragment by violating the direct word order in their phrases: "I'll give you money for them"; “After all, I have never sold the dead.” Name this trick. ( Inversion)
15. What is the name of the type of description in literary works that allowed the author to recreate the atmosphere of the dwelling? OR: Indicate the term that is used in literary criticism to describe the situation of the action, the interior decoration of the premises (“... in the corner, in front of the black board of the icon of the Three-Handed Mother of God, a lamp was burning, they sat down at a long table on a black leather sofa ...”). ( Interior)
16. Name an artistic technique in which the implied meaning of a word or phrase is the opposite of what is literally expressed (“Master of interpreting decrees”). ( Irony)
17. The fragment begins and ends with a description of the fire in Smolensk, etc. Indicate the term that denotes the location and relationship of parts, episodes, images in a work of art. OR: What term is used to designate the organization of parts of a work, images and their connections? ( Composition)
18. The fragment depicts a sharp clash of positions of the heroes. What is the name of such a collision in the work? OR: The clashes between the characters are detected from the very beginning of the play. What is the name of the irreconcilable contradiction underlying the dramatic action? ( Conflict)
19. Type conflict? (public, love, social). OR: The conflict associated with the relationship between the hero and the heroine determines the plot action " Clean Monday» I.A. Bunin. Define this conflict. ( Love)
20. What literary direction was this work created? ( Sentimentalism, classicism, realism, symbolism...). OR: Indicate the name of the literary movement of the 18th century, the tradition of which Griboedov continues, endowing some of the heroes of his realistic play with “talking” surnames - characteristics. ( Classicism) OR: What is the name of the literary trend, the principles of which are partly formulated in the second part of the presented fragment (“bring out everything that is every minute before our eyes and that indifferent eyes do not see - all the terrible, amazing mire of trifles that have entangled our life”)? ( Realism)
21. Indicate the type of trail, which is based on the transfer of the properties of some objects and phenomena to others (“flame of talent”). OR: What term refers to the means of allegorical expression, which the author refers to when describing giant ship"Atlantis": "... floors ... gaped with fiery countless eyes"? ( Metaphor)
22. What is the name of a detailed statement of one hero? ( Monologue)
23. At the beginning of the episode, a description of the night village is given. What is the term for such a description? OR: What term is used to designate the description of nature? ( Landscape)
24. Indicate the trope, which is a replacement of a proper name with a descriptive phrase. ( paraphrase)
25. What is the name of the intentional use of the same words in the text, which enhances the significance of the statement? OR: “Yes, he’s disgusted me, disgusted ..”, “It’s so hard, so hard.” What is the name of this technique? ( Repeat)
26. Name an artistic medium based on the image of a person's appearance, his face, clothes, etc. (“The fluff on her upper lip was covered in hoarfrost, the amber of her cheeks turned slightly pink, the blackness of the ray completely merged with the pupil ...”). OR: At the beginning of the fragment, a description of the character's appearance is given. What is the name of this characterization tool? ( Portrait)
27. The speech of the characters is replete with words and expressions that violate the literary norm (“such rubbish”, “grip me”, etc.). Specify this type of speech. ( vernacular)
28. What is the term used to describe the way of displaying the internal state of the characters, thoughts and feelings? OR: What is the name of the image of the hero's inner experiences, manifested in his behavior? (“He got mixed up, blushed all over, made a negative gesture with his head”)? ( Psychologism)
29. Events in the work are presented on behalf of a fictional character. What is the name of the character of the work, who is entrusted with the narration of events and other characters? ( Narrator)
30. What is the name of the hero who expresses the author's position? ( reasoner)
31. The first act of M. Gorky's play “At the Bottom” opens with the author's explanation: “A cellar that looks like a cave. Ceiling - heavy stone vaults, sooty, with fallen off plaster ... ". What is the name of the author's explanation that precedes or accompanies the course of action in the play? OR: Indicate the term used in the plays for brief author's remarks ("Teasing him", "With a sigh", etc.). ( remark)
32. Name the term that denotes the statement of the characters in the play. OR: What is the name of a particular phrase of the interlocutor in the stage dialogue in dramaturgy? ( Replica)
33. Enter a title kind literature to which the work belongs? ( Epic, drama)
34. What is a special kind of comic called in literary criticism: ridicule, exposure of negative aspects of life, depicting them in an absurd caricature form (for example, the image of generals in the fairy tale by M. E. Saltykov-Shchedrin “The Tale of How One Man Feeded Two Generals”?) ( Satire)
35. Describing the tavern to which the heroes arrived, I.A. Bunin uses a figurative expression built on the correlation of two objects, concepts or states that have a common feature (“it was steamy, like in a bathhouse”). What is the name of this artistic technique? OR: Indicate the technique used by the author in the following phrase: "...soaring high above all other geniuses of the world, as an eagle soars above other high-flyers." ( Comparison)
36. What is the name of the part of the act (action) of a dramatic work in which the composition of the characters remains unchanged? ( Scene)
37. What term denotes the totality of events, turns and vicissitudes of action in a work? ( Plot)
39. artistic time and space- the most important characteristics of the author's model of the world. What traditional spatial landmark does Goncharov use to create the image of a symbolically saturated enclosed space? ( House)
41. The above scene contains information about the characters, the place and time of the action, describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by these features. OR: What term is used to denote the part of the work, which depicts the circumstances that precede the main events of the plot? ( exposition)
42. What is the term for the final component of a work? ( Epilogue)
43. What is the name of a tool in literary criticism that helps to describe the hero (“weak”, “puny”)? OR: What is the name of figurative definitions, which are a traditional means of artistic representation? (
LITERATURE Training Materials
EXPLANATORY NOTE
Training materials are designed to prepare for a single state exam and the state final examination (in writing) in literature.
The training materials consist of 2 sections.
Section 1 4 sets of tasks are offered that are related to the analysis of a literary text.
Sets 1 and 2 include 9 tasks each. Tasks No. 1-7 are estimated at a maximum of 1 point. Tasks No. 8 and No. 9 are evaluated with a maximum of 4 points in accordance with the evaluation criteria. Tasks No. 1-9 can be included both in the GVE-11 examination materials and in the KIM USE.
Sets 3 and 4 include 7 tasks each. Tasks No. 1-5 are estimated at a maximum of 1 point. Tasks No. 6 and No. 7 are evaluated with a maximum of 4 points in accordance with the evaluation criteria. Tasks No. 1-7 can be included both in the GVE-11 examination materials and in the KIM USE.
Section 2 There are 6 essay themes. The essay is evaluated with a maximum of 14 points in accordance with the criteria. The tasks proposed in section 2 are used only in the KIM USE in literature and are not included in the GVE-11.
SECTION 1
Instructions for completing sets of tasks No. 1-4
The tasks in each set are related to the analysis of a literary text (a fragment of an epic, or lyrical epic, or dramatic work, go lyric poem, or fables).
Read the literary texts below and complete the tasks for the given text. The answer to all tasks, except for the last two, is a word, or a phrase, or a sequence of numbers.
When performing two recent assignments give a direct coherent answer to the question (approximate length - 5-10 sentences). Rely on the author's position, if necessary, state your point of view. Justify your answer based on the text.
When completing the last task, select two works by different authors for comparison (in one of the examples, it is permissible to refer to the work of the author who owns source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in the given direction of analysis.
Set of tasks №1
But Chichikov simply said that such an undertaking, or negotiation, would in no way be inconsistent with civil decrees and further types of Russia, and a minute later he added that the treasury would even receive benefits, for it would receive legal duties.
- So you think? ..
- I think it will be good.
“But if it’s good, that’s another matter: I’m against it,” said Manilov, and completely calmed down.
Now we just have to agree on a price.
- How about the price? Manilov said again and stopped. “Do you really think that I would take money for souls that, in some way, ended their existence?” If you have received such, so to speak, a fantastic desire, then for my part I pass them on to you without interest and take over the bill of sale.
A great reproach would be given to the historian of the proposed events if he neglected to say that pleasure overcame the guest after such words uttered by Manilov. No matter how sedate and reasonable he was, he almost made a jump after the model of a goat, which, as you know, is done only in the strongest outbursts of joy. He twisted so violently in his chair that the woolen material that covered the pillow snapped; Manilov himself looked at him in some bewilderment. Prompted by gratitude, he immediately uttered so many thanks that he became confused, blushed all over, made a negative gesture with his head, and finally expressed himself that this being was nothing, that he, exactly, would like to prove in some way the heart's attraction, the magnetism of the soul, and the dead souls are, in a way, complete rubbish.
"Don't be very rubbish," said Chichikov, shaking his hand. A very deep sigh was let out here. He seemed to be in the mood for outpourings of the heart; not without feeling and expression, he finally uttered the following words: - If you only knew what service you rendered to this, apparently, rubbish, to a man without a tribe and family! And indeed, what did I not tolerate? like some kind of barge among the ferocious waves ... What kind of persecution, what persecution did not experience, what grief did not taste, but for what? for keeping the truth, for being pure in his conscience, for giving a hand to both the helpless widow and the miserable orphan!
Manilov was completely moved. Both friends shook hands for a long time and looked silently into each other's eyes for a long time, in which tears were visible. Manilov did not want to let go of our hero's hand and continued to press it so fervently that he no longer knew how to rescue it. Finally, pulling it out slowly, he said that it would not be a bad thing to make the bill of sale as soon as possible and it would be good if he himself visited the city. Then he took his hat and began to take his leave.
(, "Dead Souls")
Tasks for the fragment
What is Gogol's definition of the Dead Souls genre?
Answer: ____________
Chichikov visits, in addition to Manilov, other landowners. Establish a correspondence between the names of the landowners and the features of their appearance: for each position in the first column, select the corresponding position from the second column.
What is the name of the artistic technique based on the juxtaposition of phenomena, objects (“like some kind of barge among the ferocious waves”)?
Answer: ____________
Why did Manilov's intention to give away dead souls free of charge make such a strong impression on Chichikov?
Molchalin
What wedding? with whom?
Lisa
And with the young lady?
Molchalin
There is much hope ahead
We'll spend time without a wedding.
Lisa
What are you, sir! yes we are someone
To yourself as another's husband?
Molchalin
Don't know. And I'm so shaking,
And at one thought I crush,
Someday will catch us
Disperse, curse! .. What? open your soul?
I don't see anything in Sofia Pavlovna
Enviable. God grant her a century to live richly,
Loved Chatsky once,
He will stop loving me like him.
My angel, I would like half
To feel the same for her that I feel for you;
No, no matter how I tell myself
I'm getting ready to be gentle, but I'm getting wet - and I'll lay a sheet.
Sofia (to the side)
What baseness!
Chatsky (behind the column)
Lisa
And you are not ashamed?
Molchalin
My father bequeathed to me:
First, to please all people without exception -
The owner, where you happen to live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
The janitor's dog, so that it was affectionate.
Lisa
Say, sir, you have a huge guardianship!
Molchalin
And here's the lover I assume
To please the daughter of such a man...
Lisa
Who feeds and waters
And sometimes give a rank?
Come on, enough talk.
Molchalin
Let's go love to share our deplorable steal.
Let me embrace you from the heart of fullness.
(Liza is not given.)
Why is she not you!
(Wants to go, Sophia won't let her.)
Sofia (almost in a whisper, the whole scene is in a low voice)
Terrible person! I'm ashamed of myself, I'm ashamed of the walls.
Molchalin
How! Sofia Pavlovna...
Sofia
Not a word, for God's sake
Shut up, I'll take care of everything.
Molchalin (drops to her knees, Sofia pushes him away)
Oh! remember! do not be angry, look! ..
Sofia
I don't remember anything, don't bother me.
Memories! like a sharp knife.
Molchalin (crawls at her feet)
Have mercy...
Sofia
Don't be mean, stand up.
(, "Woe from Wit")
Tasks for the fragment
Indicate the genre of the work "Woe from Wit"?
Answer: ____________
Several characters are involved in the love conflict in Woe from Wit. Establish a correspondence between these characters and their actions, the events of their lives: for each position of the first column, select the corresponding position from the second column.
Write in the table the selected numbers under the corresponding letters.
In the above fragment, Molchalin's uninhibited treatment of Liza is contrasted with his willingness to humiliate himself and be hypocritical in front of Sophia. What is the definition of opposition in a work of art?
Answer: ____________
How does Molchalin appear in this fragment of the work?
FORTY
forties, fatal,
military and frontline
Where are the funeral notices
And echelon interchanges.
Rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
Wandering from west to east...
And this is me at the station
In your dirty earflap,
Where the asterisk is not statutory,
And cut out of a can.
Yes, this is me in the world,
Skinny, funny and playful.
And I have tobacco in a pouch,
And I have a mouthpiece.
And I'm joking with the girl
And I'm lame more than necessary
And I break the solder in two,
And I understand everything.
How it was! How did it match-
War, trouble, dream and youth!
And it all sunk into me
And only then I woke up! ..
forties, fatal,
Lead, gunpowder...
War walks in Russia,
And we are so young!
(, 1961)
Assignments for the poem
Indicate the number of the stanza (ordinal number in the nominative case) in which the poet uses personification.
Answer: ____________
Choose three names from the list below artistic means and the techniques used by the poet in the second stanza of this poem. Write down the numbers under which they are indicated.
How is the fortitude and vitality of the military generation displayed in the poem "Forties"?
I like that you are not sick of me,
I like that I'm not sick of you,
That never a heavy globe of the earth
Won't float under our feet.
I like that you can be funny -
Dissolute - and do not play with words,
And do not blush with a suffocating wave,
Lightly touching sleeves.
I also like that you are with me
Calmly hug another
Don't read to me in hellfire
Burn for the fact that I do not kiss you.
That my tender name, my gentle, not
You mention neither day nor night - in vain ...
What never in church silence
They will not sing over us: hallelujah!
Thank you with heart and hand
Because you me - not knowing yourself! -
So love: for my peace of the night,
For the rarity of meetings at sunset,
For our non-festivities under the moon,
For the sun, not over our heads, -
Because you are sick - alas! - not by me
Because I'm sick - alas! - not by you!
(, 1915)
Assignments for the poem
Name the technique that consists in the repeated use of the same word:
What's the name gentle my, my gentle, not
You mention neither day nor night - in vain ...
Answer: ____________
From the list below, select three names of artistic means and techniques used by the author in the third stanza of this poem. Write down the numbers under which they are indicated.
What is the complexity and inconsistency of the heroine's relationship to her lover?
In what works of Russian poets does the theme of unrequited love sound, and in what ways are these works similar to a poem?
Answers to tasks with a short answer
job number | Set #1 | Set №2 | Set №3 | Set №4 |
lyroepic; lyrepic; epic; epic | lyrical hero | |||
psychologism | rhetorical | anaphora; unity of command | ||
dialog; polylogue | cross |
|||
comparison | antithesis; contrast | |||
Evaluation of the performance of the penultimate tasks of the sets,
If, when checking the tasks of the specified group, the expert gives 0 points or 1 point according to the first criterion, then the task is not evaluated according to the second criterion (0 points are given in the protocol for checking answers).
Criterion | Points |
1. The depth of the judgments made and the persuasiveness of the arguments | |
The examinee gives a direct coherent answer to the question, based on the author's position; if necessary, formulates his point of view; convincingly substantiates his thesis; confirms his thoughts with text; does not replace analysis with retelling of the text; | |
The examinee gives a direct coherent answer to the question, based on the author's position; if necessary, formulates his point of view; does not replace analysis with retelling of the text, when answering, not all theses convincingly substantiate them and/or makes one factual error |
The examinee understands the essence of the question, does not provide a direct answer to the question and / or unconvincingly substantiates their theses, and / or partially replaces the analysis of the text with its retelling, and/or makes two factual errors | |
The examinee fails to complete the task: does not answer the question and / or replaces the analysis with a retelling of the text, and/or makes three or more factual errors | |
2. Following the rules of speech | |
No more than one spelling error | |
More than one speech error | |
Maximum score | 4 |
Evaluation of the completion of the last tasks of the sets,
requiring writing a detailed answer in the amount of 5-10 sentences
Indication of the volume is conditional; the assessment of the answer depends on its content (with deep knowledge, the examinee can answer in a larger volume, with the ability to accurately formulate his thoughts, the examinee can quite fully answer in a smaller volume).
When completing the task, the examinee independently selects two works by different authors for contextual comparison (in one of the examples, it is permissible to refer to the work of the author who owns the source text). When indicating the author, initials are only necessary to distinguish between namesakes and relatives, if this is essential for adequate perception of the content of the answer (for example,
L. N. i, V. L. i).
indicates but not entirely convincing substantiates everyone's choice earnestly compares indicates titles of two works and their authors, substantiates earnestly compares both works with the proposed text in a given direction of analysis (when comparing, some minor flaws are allowed); indicates titles of two works and their authors, earnestly substantiates selection of each piece allows for some shortcomings comparison two works with a proposed text in a given direction of analysis / or convincingly compares only one work with the proposed text (when comparing, individual minor flaws are allowed) AND / OR makes one factual error, without generally distorting the author's position |
a) the examiner answers the question, indicates titles of two works and their authors, substantiates the choice of only one work (perhaps not convincingly in everything) earnestly compares one work with the proposed text in a given direction of analysis (when comparing, individual minor flaws are allowed); b) the examiner answers the question, indicates titles of two works and their authors, does not substantiate the choice of both works (or gives an unconvincing justification) earnestly compares one or both works with the proposed text in a given direction of analysis (when comparing, individual minor flaws are allowed); c) the examinee answers the question, indicates titles of two works and their authors, substantiates choice of two works (perhaps not convincing in everything) / or convincingly justifies the choice of only one work, does not match one or both works with text in a given direction of analysis; d) the examinee answers the question, indicates substantiates the choice of the work (perhaps not convincingly in everything), earnestly compares this is a work with a proposed text in a given direction of analysis (when comparing, some minor flaws are allowed) AND/OR makes two factual errors without generally distorting the author's position |
a) the examiner answers the question, indicates titles of two works and their authors, not entirely convincing substantiates choice of one piece / or does not justify his choice (or gives an unconvincing justification) unconvincing compares these works with suggested text / or compares them with the proposed text without taking into account the given direction of analysis; b) the examiner answers the question, indicates title of only one work and its author, substantiates choice of work (perhaps not entirely convincing) and unconvincing compares this is a work with a proposed text; in) indicates title of only one work and its author, AND/OR makes three factual errors | |
a) the examinee does not answer the question; b) gives an answer that is not meaningfully related AND/OR indicates title of one work and its author, but does not substantiate his choice (or gives an incorrect justification), does not match this is a work with a suggested text, AND/OR makes more than three factual errors | |
Maximum score | 4 |
SECTION 2
Instructions for completing tasks
Tasks require a detailed answer in the composition genre.
Write an essay of at least 200 words (if the essay is less than 150 words, then it is rated 0 points).
Argument your thesis based on literary works(in an essay on lyrics, it is necessary to analyze at least two poems).
Use literary-theoretical concepts to analyze the work.
Consider the composition of the essay.
Essay topics
2. How is the theme of freedom reflected in poetry?
3. How did the meeting with Platon Karataev influence the worldview of Pierre Bezukhov? (Based on the novel "War and Peace")
4. What are the strengths and weaknesses of the “sons” generation? (Based on the novel "Fathers and Sons").
5. What is the meaning of the title of the story "The Fate of Man"?
6. What are the reasons for the difficult life of the Russian peasant woman Matryona? (According to the story "Matryonin Dvor")
Assessing the performance of tasks,
requiring writing a detailed reasoned answer in the genre of an essay with a volume of at least 200 words
Among the five criteria by which the essay is evaluated, the first criterion (substantive aspect) is the main one. If, when checking the work, the expert puts 0 points according to the first criterion, the task of part 2 is considered not completed and not checked further. Four other criteria (2, 3, 4, 5) are assigned 0 points.
When evaluating the performance of the tasks of part 2, the volume of the written essay should be taken into account. Examinees are recommended a volume of at least
200 words. If the essay contains less than 150 words (all words, including service words, are included in the word count), then such work is considered unfinished
and scored 0 points.
When the volume of the essay is from 150 to 200 words, the maximum number of errors for each point level does not change.
Criteria | |
1. The depth of disclosure of the theme of the essay and the persuasiveness of judgments | |
The examinee reveals the topic of the essay, based on the author's position; formulates his point of view; convincingly substantiates his thesis; there are no factual errors or inaccuracies | |
The examinee reveals the topic of the essay, based on the author's position; expresses his point of view not all theses are convincingly substantiated and/or makes one or two factual errors | |
The examinee reveals the topic of the essay superficially or one-sidedly, without relying on the author's position, and / or does not substantiate their theses, and/or makes three or four factual errors | |
The examinee does not reveal the topic of the essay and/or makes more than four factual errors |
2. Level of proficiency in theoretical and literary concepts | |
The examinee uses theoretical and literary concepts to analyze the work, there are no errors or inaccuracies in the use of concepts | |
The examinee includes theoretical and literary concepts in the text of the essay, does not use them to analyze the work and/or makes one mistake in their use | |
The examinee does not use literary-theoretical concepts or makes more than one error in their use | |
3. The validity of the involvement of the text of the work | |
The text of the work under consideration is drawn versatile and reasonably (citations with comments to them; brief retelling the content necessary to prove judgments; appeal to the micro-themes of the text and their interpretation; various kinds of references to what is depicted in the work, etc.) | |
The text is drawn in a variety of ways, not always justified and/or there are isolated instances where the text is involved outside of direct connection with the thesis put forward | |
The text is involved only as a retelling of the depicted | |
The text is not involved, judgments are not substantiated by the text | |
4. Compositional integrity and consistency of presentation | |
The composition is characterized by compositional integrity, its parts are logically connected, there are no violations of sequence and unreasonable repetitions inside the semantic parts. | |
The composition is characterized by compositional integrity, its parts are logically interconnected, there are sequence violations and unreasonable repetitions inside the semantic parts | |
Compositional intent is traced in the composition, there are violations of the compositional connection between the semantic parts, and/or the thought is repeated and not developed | |
There is no compositional intent in the composition; gross violations of the sequence of parts of the statement were made, significantly complicating the understanding of the meaning of the essay |
