Reception of a character’s image based on a description of appearance. See what "Character Characteristics" is in other dictionaries. Literature Exam Assessment System
In order to analyze the methods of image character in specific works, you need to familiarize yourself with the ways of its image.
Consider ways to portray a character. L.A. Kozyro, in his textbook for students, "Theory of Literature and the Practice of Reader Activity," denotes two characteristics that make up the character’s image. These are external and internal characteristics.
A character is a text or media figure in a story world, usually human or humanoid. The term “character” is used to refer to participants in the plot worlds created by various media, as opposed to “individuals” as individuals in the real world. The answer to the last question includes determining what knowledge is needed, but also to what extent such knowledge is used to understand the characters. Three types of knowledge, in particular, are related to the narratological analysis of character: the basic type, which provides a very fundamental structure for those entities that are considered as rational creatures; personal models or types, such as a fatal woman or a boiled detective; encyclopedic knowledge of human beings that underlies the conclusions that contribute to the characterization process, i.e. information storage, starting from everyday knowledge and ending with the specifics of the genre.
IN literary work Psychologism is a set of tools used to display the inner world of the hero - for a detailed analysis of his thoughts, feelings and experiences.
This way of representing the character means that the author sets himself the task of showing the character and personality of the hero directly from the psychological side, and making this way of recognizing the hero the main one. Often the ways of depicting the hero’s inner world are divided into “inside” and “outside”.
Most theoretical approaches to character seek to some extent limit their dependence on real knowledge and consider characters as entities in the plot world, subject to certain rules. One of the important directions in the anti-realistic treatment of the character is a functional look.
At the discourse level, the presentation of characters has many features with the presentation of other types of fictional creatures. However, due to the importance of character in the storytelling, these features were discussed mainly in terms of character representation. Among these features are the naming of characters studied in terms of the function and meaning of the names, as well as other ways of referring to characters that contribute to the overall structural consistency of the text. Equally, if not more important, however, it is the process of assigning properties to names that lead to agents possessing these properties in the plot world, a process known as characterization.
The character’s inner world “from the inside” is depicted with the help of internal dialogues, his imagination and memories, monologues and dialogues with himself, sometimes through dreams, letters and personal diaries. The image "from the outside" consists in describing the character’s inner world through the symptoms of his psychological state, which manifest themselves externally.
A characteristic can be direct, because when a trait is clearly indicated by character or indirect, when it is the result of conclusions drawn from a text based partly on world knowledge and especially on different forms of knowledge about the signs mentioned above. The term “characterization” can be used to indicate the assignment of a property to a symbol, as well as the general process and result of attribute attribution for a given symbol. The characterization process can take different forms: for example, a character is attributed to specific traits at the beginning of the narrative, but other traits are added that may not correspond to the original characteristic, thus undermining the first concept of this character.
Most often this is a portrait description of the hero - his facial expressions and gestures, speech turnovers and manner of conversation, it also includes a detail and description of the landscape, as an external element that reflects the internal state of a person. Many writers use a description of everyday life, clothing, behavior and housing for this type of psychologism.
Psychology - a set of tools used to depict the inner world of a character, his psychology, state of mind, thoughts, experiences.
Viewing characters as objects of the plot world does not mean that they are self-sufficient. On the contrary, the plot world is built in the process of narrative communication, and the characters, therefore, form part of the designating structures that motivate and determine narrative communication. Characters also play a role in thematic, symbolic, or other constellations of the text and plot world.
For most readers, characters are one of the most important aspects of the story. How readers relate to the character is a matter of empirical analysis, but it is important to keep in mind that the way the text represents the character greatly affects the relationship between the character and the reader. Three factors are important in this regard: transmission of perspective; the reader’s affective predisposition to the character itself under the influence of: the character’s emotions that are explicitly described or implicitly conveyed; the reader’s reaction to her mental modeling of the character’s position; expression of emotions in the presentation and appreciation of characters in the text.
Epic and dramatic works have wide possibilities of mastering the inner life of man. Carefully individualized reproduction of the experiences of the characters in their relationship and dynamics are termed psychologism.
An external characteristic serves as a means of: a) objectivizing an image-character, and b) expressing a subjective author’s attitude to it.
It is always necessary to classify characters to facilitate description and analysis. However, most of the sentences seem too complicated or theoretically unsatisfactory, so Forster's classification of flat or round characters is still widely used.
People in plays and other texts. Most of these studies are based on cognitive sciences and their models of word processing and people's perceptions. However, despite the fact that there is currently a consensus on some aspects of the character in the narrative, many other aspects are still treated unevenly.
Sorokin V.I. The Torii Literature lists twelve diverse means of portraying a character.
If the reader does not imagine the character’s appearance, it is very difficult to perceive the character as a living creature. Therefore, the reader’s acquaintance with the character begins, as a rule, with a description of his face, figure, hands, gait, manner of behavior, dressing, etc., that is, with the portrait characteristics of the character.
Characters have long been considered fictitious people. To understand the characters, readers tend to resort to their knowledge of real people. Another school of thought depicted character as simple words or a paradigm of attributes described by words. In this point of view, the character should not be perceived by anything as a person, but upon closer examination, these semants correspond to traditional character traits. Although he differs from Bart in many ways, Lotman describes the character in a similar vein as the sum of all binary oppositions to other characters in the text that together make up the paradigm.
Each talented writer has his own style of portraying hero portraits. The portrait depends not only on the author’s manner, but also on the environment depicted by the writer, that is, indicates the social belonging of the character. So, in A.P. Chekhov’s story “Children”, the portrait of Andrei’s “Kuharkin’s son” contrasts with the images of well-fed, well-groomed noble children: “The fifth partner, Kuharkin’s son Andrei, a black-nosed, sickly boy, in a cotton shirt and a copper cross on his chest, standing motionless and dreamily looking at the numbers. "
Thus, the character is part of a constellation of characters who either share a set of common features or represent opposite traits. Given this situation, Margolin's series of essays, combining the elements of structuralism, the theory of reception, and the theory of fictional worlds, was a breakthrough. For Margolin, symbols are primarily elements of the constructed narrative world: “Character,” he asserts, “is a general semiotic element, independent of any particular verbal expression and ontologically distinct from it.”
He also points out that characters can have different ways of being on story worlds: they can be factual, counterfeit, hypothetical, conditional, or purely subjective. It also addresses issues such as the appearance of characters and what makes up their personality, especially in plot worlds, as a conceptual concept.
The portrait helps to reveal the intellectual capabilities, moral qualities, psychological state of the character.
Portrait characteristics are used in creating not only the image of a person, but also the image of an animal. But we are interested in precisely the ways of depicting the image of a person.
Portrait as a means of creating an image of a character is not present in every work. But even a single portrait detail helps create an image.
Philosophers, especially those rooted in analytical philosophy, discussed the character’s special ontological status under the label of character incompleteness. Unlike people who exist in the real world and are full, we can only speak meaningfully about those aspects of the characters that were described in the text or which are implied by it. Therefore, symbol descriptions have spaces, and often the missing information cannot be deduced from this information. The creation of art.
New essays in philosophical aesthetics. Despite the fact that currently there is a wide consensus that the character is best described as a subject that is part of the plot world, the ontological status of this world and its entities remains unclear. The main differences between these approaches are how character representation is described and in using principles borrowed from cognitive sciences. The structure of the literary text. This code also resorts to people's perception in everyday life, so there is an interaction between character formation and people's perception, not only because people's perception determines how plausible the character is, but also because the characters presented in the stories can change the way we perceive people.
A literary portrait means an image in a work of art of the whole appearance of a person, including here his face, physique, clothing, manner of behavior, gesticulation, and facial expressions.
Creating an image-character, many writers describe his appearance. They do it differently: some depict in detail the portrait of the hero in one place, assembled; others in different places of the work mark individual lines of the portrait, as a result of which the reader eventually gets a clear idea of \u200b\u200bhis appearance. Some writers use this technique almost always, others rarely, it is connected with the peculiarity of the individual manner of the artist, with the genre of the work, and with many other conditions of creativity, but always the writer, describing the appearance of the actor, seeks to emphasize such details that make it possible to imagine more vividly and the external and internal appearance of the hero - to create a lively visually tangible image and identify the most significant character traits of the given character, and express the author’s attitude towards him.
Literature Exam Assessment System
At the same time, this cultural code contains information that does not apply to people, but only to characters, especially to characters and genres. However, the concept of a cultural code is probably too vague as it encompasses various aspects or levels that should be distinguished: the basic type; personal models; character schemes. The concept of the basic type takes the latest ideas of developmental psychology. From the very beginning, people distinguish between objects and creatures. They relate to the perception of the latest theory of the mind, which ascribes to them mental states, such as intentions, desires and beliefs.
It is noted that every portrait is to one degree or another characteristic - this means that according to external features we can at least fluently and approximately judge the character of a person. In this case, the portrait can be equipped with an author’s commentary, revealing the relationship of the portrait and character.
Correspondence of the features of the portrait to the features of character is a rather arbitrary and relative thing; it depends on the views and beliefs accepted in a given culture, on the nature of artistic conventions. In the early stages of the development of culture, it was assumed that spiritual beauty also corresponded to a beautiful appearance; negative characters were portrayed as ugly and disgusting. In the future, the connections of the external and internal in the literary portrait are substantially complicated. In particular, already in the 19th century, the inverse relationship between portrait and character becomes possible: a positive character can be ugly, and a negative one can be beautiful.
When an object in the plot world is identified as a symbol, this structure is applied to this object, so the basic type provides the main outline of the character: there is an invisible "inside" that is the source of all intentions, desires, etc. and a visible “external” that can be perceived. Theory of Reason and Roman. At another, more specific level, knowledge of the types of time and culture contribute to the perception of the characters. Such figures serve as characteristic models.
Character models are often associated with standardized “character constellations,” such as a cuckold, wife, and lover. It is important to note that the basic type and models of characters do not exhaust the corresponding forms of knowledge for the characters. In many cases, character descriptions encyclopedic knowledge comes into play - both with the real world and with fictional worlds, combining two or more items of personal information. In many cases, the texts provide the reader with only a piece of information, prompting the reader to fill in the missing parts based on relevant knowledge.
Thus, we see that the portrait in literature has always performed not only an image, but also an evaluation function.
Kozyro L.A. in his work he calls three types of portrait - this is a portrait description, portrait-comparison, portrait-impression.
Portrait description is the simplest and most commonly used form of portrait characterization. It consistently, with varying degrees of completeness, gives a kind of list of portrait details.
In textual analysis, such an encyclopedia of characters is more relevant than the other two, and differences in the interpretation of characters are often based on the fact that different entries from the encyclopedia of characters resort to them. What Aristotle said in connection with the tragedy has become the source of the school of thought, which claims that in order to understand the character in a fictional text, you only need to analyze his role in action. Analyzing one hundred Russian fairy tales, he built a sequence of 31 functions, which he attributed to seven areas of action or character types: the enemy; donors; assistant; princess and her father; consignor; hero; false hero.
Kozyro L.A. gives an example: “Chechevitsyn was the same age and height as Volodya, but not so plump and white, and thin, dark-skinned, covered with freckles. His hair was bristly, his eyes were narrow, his lips were thick, in general he was very ugly, and if he didn’t have a gymnasium jacket, then by appearance he could be mistaken for a Kuharkin’s son ”(A.P. Chekhov.“ Boys ” )
Each actant is not necessarily implemented in one character, since one character can fulfill more than one role, and one role can be distributed between several characters. According to Campbell, who bases his arguments on Freud’s attitude and especially on Jung’s psychoanalysis, monomite is universal and can be found in stories, myths and legends around the world. Unlike these generalized model-oriented approaches, traditional approaches tend to use genre and temporal vocabulary for action roles such as a confidant and an intriguer in a traditional drama, or a villain, buddy, and henchman in popular media of the 20th century.
Sometimes the description is provided with a generalizing conclusion or an author’s comment regarding the character of the character manifested in the portrait. Sometimes one or two leading details are emphasized in the description.
Portrait comparison is a more complex type of portrait characteristic. In it, it is important not only to help the reader more clearly imagine the appearance of the hero, but also to create a certain impression on him of the person, his appearance.
Impression portrait is the most difficult type of portrait. The peculiarity is that there are no portrait features or details as such at all or very little, only the impression made by the appearance of the hero on an outside observer or on any of the characters of the work remains.
Often a portrait is given through the perception of another character, which extends the functions of the portrait in the work, since it also characterizes this other.
It is necessary to distinguish between static (remaining unchanged throughout the work) and dynamic (changing throughout the text) portraits.
A portrait can be detailed and sketchy, represented only by one or more of the most expressive details.
We agree with the conclusion of L. Kozyro that the portrait in a literary work has two main functions: graphic (makes it possible to represent the person being portrayed) and characterological (serves as a means of expressing the image's content and author’s attitude to it).
The next characteristic that scientists note is the objective (material) setting that surrounds the character. It also helps characterize the character from the outside.
The character is revealed not only in his appearance, but also with what things he surrounds himself, how he treats them. This is what writers use for the artistic characterization of the character ... By means of subject characterization, the author also creates an individual character and a social type, and expresses the idea.
The image of the hero of an artwork is composed of many factors - this is character, appearance, profession, hobbies, circle of acquaintances, and attitude to oneself and others. One of the main ones is the character’s speech, which fully reveals and inner world, and lifestyle.
It should be cautioned against confusing concepts when analyzing the speech of heroes. Often, the character’s speech characteristics mean the content of his statements, that is, what the character says, what thoughts and opinions he expresses. In fact speech characteristic - something else.
It is necessary to look not at the “what” the heroes say, but at the “how” they say it. Look at the style of speech, its stylistic coloring, the nature of vocabulary, the construction of intonational-syntactic constructions, etc.
Speech is the most important indicator of a person’s national and social affiliation, evidence of his temperament, mind, talent, degree and nature of education, etc.
The character of a person is clearly manifested in his speech, in what and how he speaks. The writer, creating a typical character, always gives his characters a characteristic individualized speech for them.
Kozyro L.A. says that actions and actions are the most important indicators of the character’s character, his worldview, the entire spiritual world. We judge people, first of all, by their deeds.
Sorokin V.I. calls this tool "hero behavior."
The character of a person is manifested especially clearly, of course, in his actions ... The character of a person is especially pronounced in difficult situations of life, when he finds himself in an unusual, difficult position, but everyday characterization of a person is also important for characterization — the writer uses both of these cases.
The author of a work of art draws reader's attention not only to the essence of actions, words, feelings, thoughts of a character, but also to the manner of performing actions, i.e., forms of behavior. The term behavior of a character is understood as the embodiment of his inner life in the totality of external features: in gestures, facial expressions, manner of speaking, intonation, in body positions (poses), and also in clothes and hairstyle (this is also about cosmetics). A form of behavior is not just a set of external details of an act, but a kind of unity, totality, integrity.
Forms of behavior give the inner being of a person (attitudes, world attitude, experiences) distinctness, certainty, completeness.
Sometimes, when creating a character’s image, a writer reveals his character not only indirectly, by depicting his portrait, actions, experiences, etc., but also in a direct form: he speaks on his own behalf of the essential features of his character.
Self-characterization when the character himself speaks about himself, about his qualities.
A mutual characteristic is an assessment of one character on behalf of other characters.
A characterizing name when the character’s name reflects his qualities, characteristics.
In the work of Sorokin V.I. this remedy is designated as a “characterizing surname”.
All this related to external characteristics. Let's look at the ways of internal characterization.
Reception of the image of the character is a direct image of his inner world. Recreating a character’s spiritual life is called psychological analysis. In every writer and in every work, psychological analysis takes on its own unique form.
One of these methods is an internal monologue, in which the flow of thoughts, feelings, impressions that currently own the hero’s soul is recorded.
The most important method of psychological characterization of the character of many writers is the description of the character portrayed from the point of view of this character.
Chekhov “Grisha”: “Grisha, a small, plump boy born two years and eight months ago, walks with a nanny along the boulevard .... Until now, Grisha knew only one quadrangular world, where his bed was in one corner, the nanny's chest in the other, the chair in the third, and the lamp in the fourth. If you look under the bed, you will see a doll with a broken arm and a drum, and behind a nanny’s chest there are a lot of different things: spools of thread, pieces of paper, a box without a lid and a broken clown. In this world, in addition to the nanny and Grisha, there are often a mother and a cat. Mom is like a doll, and a cat is like a dad's fur coat, only the fur coat has no eyes and tail. From the world called the nursery, the door leads to a space where they dine and drink tea. Here Grishin stands a chair with high legs and a clock hangs that exist only to wave the pendulum and ring. From the dining room you can go into the room, where there are red chairs. Then a spot darkens on the carpet, for which Grisha is still threatening with his fingers. Behind this room there is another one, where dad is not allowed in and where dad flashes - the personality is extremely mysterious! The nanny and mother are understandable: they dress Grisha, feed and put him to bed, but for what dad exists, it is not known. ”
It is very important for the image of a living person to show what he thinks and feels at different times, the writer's ability to “move into the soul” of his hero.
The worldview of a character is one of the means of characterizing a character.
The depiction of the views and beliefs of actors is one of the most important means of artistic characterization in literature, especially if the writer portrays the ideological struggle in society.
There is a hidden analysis of the spiritual life of heroes when their psyche is not revealed directly, but how it is expressed in actions, gestures, facial expressions of people.
F. Engels noted that "... the personality is characterized not only by what it does, but also by the way it does." To characterize the characters, the writer also uses the image of the characteristic features of her actions.
Allocate a biography of the hero. It can be framed, for example, as a background.
For the purpose of artistic characterization, some authors set out the life story of the characters or tell individual moments from this story.
It is important not only what kind of artistic means the author uses to create an image-character, but also the order of their inclusion in the text. All of these artistic means allow the reader to draw conclusions about the author’s attitude to the hero.
Creative artists find many different tricks in order to show the appearance and inner world of a person. They use all the various means for this, but each in its own way, depending on the individual style of creativity, on the genre of works, on the literary trend that prevails at the time of its activity, and on many other conditions.
The image of the character is composed of external and internal characteristics.
The main external characteristics include:
· Portrait characteristic
· Description of the subject environment
· Speech characteristic
· Self-characterization
Mutual characteristic
· Characteristic name
The main internal characteristics include:
An internal monologue of the description depicted from the point of view of this character
· Character worldview
· Character imaginations and memories
· Character Dreams
· Letters and personal diaries
This list does not exhaust the entire abundance of means that writers use for artistic characterization.
Conclusion to Chapter 1
Thus, after reviewing the scientific literature on the topic of research, the following conclusions were made.
1. An artistic image is a part of reality recreated in a work with the help of the author’s imagination, it is the final result of aesthetic activity.
2. The artistic image has its own specific features: integrity, expressiveness, self-sufficiency, associativity, concreteness, clarity, metaphor, maximum capacity and ambiguity, typical value.
3. In the literature, there are distinguished images-characters, images-landscapes, images-things. At the level of origin, there are two large groups of artistic images: copyright and traditional.
4. Character - the protagonist of a work of art with its inherent behavior, appearance, world outlook.
5. In the same meaning as “character” in modern literary criticism, the phrases “character” and “literary hero” are often used. But the concept of “character” is neutral and does not contain an evaluating function.
6. According to the degree of generalization, artistic images are divided into individual, characteristic, typical.
7. In the works of art between the characters a special system is formed. The character system is a strict hierarchical structure. The character system is a certain correlation of characters.
8. There are three types of characters: main, secondary, episodic.
· By the degree of participation in the plot and, accordingly, the amount of text that this character is assigned
· By the degree of importance of this character for the disclosure of the sides of the artistic content.
10. The image of the character is composed of external and internal characteristics.
11. The main external characteristics include: portrait characteristics, a description of the subject situation, speech characteristics, a description of the “behavior of the hero”, the author’s characteristics, self-characteristics, mutual characteristics characterizing the name.
12. The main internal characteristics include: an internal monologue of the character depicted from the point of view of this character, the character’s worldview, the character’s imagination and memories, the character’s dreams, letters, and personal diaries.
13. Allocate a biography of the hero. It can be framed, for example, as a background.
1. What is the name of the allegory characteristic of fables and parables called? ( Allegory)
2. What is the term 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 the speech of Ashes: “You are not a nail, I am not a tick ...”). What are such statements called? OR: Many replicas of the heroes of the play have become commonplace (for example: “It’s not always true that you will cure the soul”). Indicate the term by which well-defined figurative expressions containing complete philosophical thought are designated. ( Aphorism)
3. What are the names of characters in literature who do not appear on stage? OR: The stories of Ms. Prostakova and Skotinin featured “dead father” and Uncle Vavila Faleleich. What are the names of the characters mentioned in the speeches of the heroes, but not appearing on stage? ( Off stage)
4. What is the name of the monologue in the literary work, which the hero says "to himself"? ( Internal monologue)
5. Wanting to show its significance, Khlestakov uses a clear exaggeration: "thirty-five thousand couriers alone." What is an exaggeration based technique called? ( 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: The name of Khlestakov, as well as the names of other characters in the play, contains 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 fiction, 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 narrative special expressiveness (for example, a tear rolled out by Chichikov. OR: What is the term for a meaningful small detail that contains important meaning (for example, priest’s chest from the story of Ms. Prostakova)? ( Detail)
9. What term refers to 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 heroes addressed to each other. What is the name of this form of verbal communication? ( Dialog)
10. Indicate genreto which the work belongs. (Epic genres: novel, short story, short story, fairy tale, fable, epic, short story, essay ... Dramatic genres: drama, comedy, tragedy ...
11. Define genre of work. Fonvizin "Undergrowth" - a comedy. Griboedov “Woe from Wit” is a comedy. Gogol "The Examiner" is a comedy. Ostrovsky "Thunderstorm" - a drama. Chekhov "Cherry Orchard" - a comedy. Gorky's “At the Bottom” is a drama.
12. To which genre variety is the novel related? ( Socio-philosophical, psychological, social-household ...)
13. To what stage in the development of the action does this fragment belong? ( The plot, the climax, the denouement) OR: What is the name of the moment of the highest tension in the development of the dramatic plot. ( Climax).
14. The free, laid-back character of the characters' speech is emphasized in this fragment by violating the direct order of words in their phrases: “I will give you money for them”; "After all, I have never sold the dead." What is this technique? ( Inversion)
15. What is the name of the kind of description in literary works that allowed the author to recreate the home environment? OR: Indicate the term used in literary criticism to describe the situation of action, the interior decoration of the premises ("... in the corner, in front of the blackboard of the icon of the Virgin of the Three-Handled Lamp, the lamp was on, sat at a long table on a black leather sofa ..."). ( Interior)
16. What is the artistic technique, which implies that the implied meaning of a word or phrase is the opposite of what is literally expressed ("Master interpreting decrees"). ( Irony)
17. The fragment begins and ends with a description of the fire in Smolensk, etc. Indicate the term that indicates the location and relationship of parts, episodes, images in a work of art. OR: What term refers to the organization of parts of a work, images and their connections? ( Composition)
18. The fragment depicts a sharp clash of the positions of the heroes. What is the name of such a collision in a work? OR: 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? (Social, love, social) OR: The conflict related to the relationship between the hero and the heroine determines the plot action of “Clean Monday” I.A. Bunina. Give a definition of this conflict. ( Love)
20. Within what literary direction was this work created? ( Sentimentalism, classicism, realism, symbolism ...) OR: Indicate the name of the literary direction of the 18th century, the tradition of which is continued by Griboedov, endowing some heroes of his realistic play with “speaking” names - characteristics. OR: What is the name of the literary direction, the principles of which are partly formulated in the second part of the presented fragment (“to bring out everything that is minutely in the eyes and which indifferent eyes do not see — all the terrible, amazing silence of trifles that have entangled our lives”)? ( Classicism)
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 means the allegorical means of expression that the author refers to when describing the gigantic ship Atlantis: "... the 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, the night village is described. What term refers to such a description? OR: What term is used to denote a description of nature? ( Scenery)
24. Indicate the pathway, which is a replacement of the proper name with a descriptive turn. ( Perifraz)
25. What is the name of the deliberate use of identical words in the text that enhances the significance of the statement? OR: “Yes, he hurt me, hurt ..”, “It’s so hard, so hard.” What is the name of this technique? ( Replay)
26. What is an artistic tool based on the image of a person’s appearance, his face, clothes, etc. (“The cannon on her upper lip was frosty, the amber of her cheeks was slightly pink, the blackness of the rayk 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. Heroes' speech is replete with words and expressions that violate the literary norm ("such rubbish", "hug me", etc.). Indicate this type of speech. ( Vernacular)
28. What term denotes a way to display the internal state of heroes, thoughts and feelings? OR: What is the name of the image of the inner experiences of the hero, manifested in his behavior? (“Mixed up, blushed all over, made a negative gesture with his head”)? ( Psychologism)
29. Events in a work are set out 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? ( Resonator)
31. The first act of M. Gorky’s play “At the Bottom” opens the author’s explanation: “A cellar that looks like a cave. The ceiling is heavy stone vaults, smoked, with stucco falling off ... ” What is the name of the author’s explanation preceding or accompanying the course of action in the play? OR: Indicate the term by which short author’s remarks are called in the plays (“Teases him,” “With a sigh,” etc.). ( Remark)
32. What is the term that refers to the statement of the characters in the play. OR: What is the name of the interlocutor’s phrase in the stage dialogue? ( Replica)
33. Indicate the name kind literature to which the work belongs? ( Epic Drama)
34. What is the name of a special kind of comic in literary criticism: ridicule, exposing the negative aspects of life, depicting them in an absurd caricature (for example, the image of generals in the fairy tale by M. E. Saltykov-Shchedrin “The Tale of How One Man Fed Two Generals”? ) ( Satire)
35. Describing the tavern in 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 attribute (“it was paired, like in a bathhouse”). What is the name of this artistic device? OR: Indicate the technique used by the author in the following phrase: “... soaring high above all other geniuses of the world, like an eagle soaring above other high flying ones”. ( Comparison)
36. What is the name of the part of the act (action) dramatic work, in which the composition of the actors remains unchanged? ( Scene)
37. What term designates a combination of events, turns and ups and downs of action in a work? ( Plot)
39. Art time and space - The most important characteristics of the author’s model of the world. What traditional spatial reference does Goncharov use to create an 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, for which these characteristics are characteristic. OR: What term is used to denote a part of a work that depicts circumstances preceding the main events of the plot? ( Exposition)
42. What is the term for the final component of a work? ( Epilogue)
43. What is called in literary criticism a tool that helps to describe the hero ("weak", "puny")? OR: What are the names of figurative definitions, which are the traditional means of artistic visualization? ( Epithet)
1. What is the name of the allegory method, which consists in portraying an abstract idea through concrete images? ( Allegory)
2. What is the poetic technique for repeating the same consonant sounds? OR: What stylistic device does Parsnip use to enhance the expressiveness of the image in the words “Figaro // Cast down in the garden”? OR: What kind of sound recording, based on the repetition of consonants, is used in the following lines: “There inolny inabove these inetc // And, with inmerging with inaluna ... "? ( Alliteration)
3. Indicate the name of the stylistic device that the poet uses, starting the line with the same word. OR: What artistic means of repeating the initial parts of the lines was used to enhance the emotional expressiveness of the poem: "Do not wake up like eight years ago .// Do not wake up what was celebrated ..."? OR: What is the name of the stylistic figure used by Pasternak in the first seven lines of the poem and based on the repetition of their initial words? ( Anaphora)
4. What is the name of an artistic device based on a sharp contrast? OR: What is the name of the method of sharply contrasting concepts, positions, states and images (“Impersonal - to humanize, // Unfulfilled - to translate!”)? ( Antithesis or contrast)
5. What is the name of the poetic technique based on the repetition of vowels? OR: What is the name of the stylistic device based on the repetition of identical vowels in a string (“In any cr al ampad ")? ( Assonance)
6. What is the name of the poetic form, which is characterized by the absence of rhyme, size ("She immediately dropped to the floor // Thick volume of an art magazine, // And now it began to seem, // That in my big room // Very little space." A. Block)? ( Vers libre)
8. What term is used to name one of the tropes, a figurative expression that exaggerates any action or phenomenon (“The dusk of the night has been set upon me // Thousand binoculars on the axis”)? ( Hyperbola)
9. What is the name of the artistically significant detail, which plays an important role in the embodiment of the author’s intention (“in an old-fashioned shushun”)? ( Detail)
10. To which poetic the genre Does this poem refer to? ( Ode, elegy, initiation, epigram ......) OR: What is the author's definition of the cloud in pants? ( Tetraptich) OR: What is the genre of classical poetry, the features of which are present in the poem S.A. Yesenina "I do not regret, I do not call, I do not cry ...". ( Elegy) OR: What is the author's definition of the genre of the poem "Sea"? ( Elegy) OR: Indicate the traditional lyrical genre with which the poem M.I. Tsvetaeva "Poems to the Block." ( Message)
11. The poet often uses an artistic technique, which consists in a hidden mockery of the heroes. Indicate its name. ( Irony)
12. What is the name of the kind of lyrics to which this poem belongs? OR: To which genre-thematic variety of poetry is this poem? ( Landscape, civil, love, friendly, meditative (Tyutchev "There is buoyancy in the sea waves ..."), philosophical...) OR: To which genre-thematic variety of lyrics affecting the eternal questions of being, does A.A. Block? ( philosophical)
13. What is the name of a stylistic figure based on a change in the direct order of words? OR: What stylistic figure, in violation of the generally accepted word order, does the poet use to create ...? OR: What is the name of the means of artistic expressiveness, which consists in violating the direct order of words in the sentence ("Too early loss and fatigue // Have I experienced in life")? ( Inversion)
14. What term is called a complex of lines, consisting of quatrains, each of which is an organized association of poetic lines. ( Quatrain)
15. The given fragment is conditionally divided into two interconnected parts, on the border of which there is the union “a” (“And if sometime in this country ...”). What is the name of the construction of the work, the location and the relationship of its parts? ( Composition)
16. What kind of view compositioncharacterized by the repetition at the beginning and end of the product of the same motive, line, etc. ( Roundabout)
17. The main literary areas, poetic currents. ( classicism, sentimentalism, romanticism, realism, modernism (divided by currents: symbolism, acmeism, futurism, imagism), socialist realism, postmodernism) OR: What is the name of the poetic movement, one of the prominent representatives of which in the 1910s was A.A. The block and principles of which are partly reflected in the poem "The Twelve"? ( Symbolism) OR: What is the name of the avant-garde current in poetry, the bright representative of which was V.V. Mayakovsky? ( Futurism) OR: To which branch of Russian poetry of the second half of the 20th century does V.S. Vysotsky's work belong? ( Author's poetry)
18. The term, which in literary criticism is called a figurative-expressive tool that allows you to transfer meaning by similarity from one subject to another? (Means of allegorical expressiveness). OR: “City of shrimp”, “white magic of foam”, etc. What means of artistic expression based on the figurative meaning of words was used by the poet to create images? ( Metaphor)
19. In his work VV Mayakovsky uses the new words he created: “December”, “favorite”. What is the term used to designate such words. ( Neologism)
20. What is the name of the technique based on a combination of incompatible concepts? ( Oxymoron)
21. What is the name of the technique that allows you to endow the world with human feelings and emotions? OR: What kind of trail, based on the similarity of inanimate objects with living things, is used in the line “face to face with laughter”? OR: What is the name of the method of humanizing natural phenomena, which gives the author’s descriptions a special expressiveness (“Only a blizzard with a long laugh // Flooded in the snow ...”)? ( Personification)
22. In the poem Cloud in Pants, the author throws a sharp challenge to the public, setting the whole work in a revealing and journalistic mood. What term refers to such an ideological and emotional mood of a work of art? ( Pathos)
23. What is the name of the technique, which consists in replacing the word with a descriptive expression indicating important properties, qualities, signs of an object or phenomenon? ( Perifraz)
24. What term is called a description of nature in a literary work? ( Scenery)
25. What artistic technique was used twice in the first stanza to enhance the semantic expressiveness of the text? ("Here everything will survive me, // Everything, even dilapidated nesting // And this air, spring air, // Sea completed flight.) ( Replay)
26. Philosophical poem B.L. Pasternak concludes with a line that is an aphoristic popular dictum: “Life to live - not a field to cross over”. What is this saying called? ( Proverb)
27. The sincere, confidential tone of the lyrical hero’s appeal to his mother is emphasized by the use of words that go beyond the limits of literary norm (“sadanul”, “very little”, “turned back”). What are these words called? ( Vernacular)
28. Indicate the sizewho wrote the poem. ( Yamb, chorea, dactyl, amphibrach, anapest)) See more details on the website "To the lesson of literature": Poetic sizes. "OR: Indicate the size with which S. Yesenin’s poem" We are leaving a little now ... "is written (give the answer in the nominative case without indicating the number of stops). ( Trochee)
29. To enhance the emotional significance of the statement, the author uses the form of a question that does not require an answer. What is the name of this means of expression? ( A rhetorical question) OR: What are the names of emotional, non-answer questions, exclamations and appeals ("Unfulfilled - translate!"; "Forgive gloom - is it // Hidden engine of it?")? ( Rhetorical) OR: Give a definition of exclamations that the poet uses to enhance reader perception ("Do we beg for favors from time!"). ( Rhetorical exclamations)
30. What is the term that designates the consonance of the ends of poetic lines? OR: What is the consonance of the ends of poetic lines (a blizzard - spreads; cold - from a window, etc.)? ( Rhyme)
31. What is the name of the character rhyming? (Annular, cross, adjacent) OR: Indicate the type of rhyme in V. Vysotsky’s poem: "How the prophetic Oleg is now gathering // To beat the shield onto the gate, // When a man suddenly runs up to him - // And to lisp something ..." ( Cross) OR: Indicate rhyme type: time - belts. ( Uncomplicated)
32. What means of expressing one’s own position does the poet resort to exposing his characters not to hidden, but to outright mockery, reproof? ( Sarcasm)
33. What is the name of a generalized image that includes many associative features? OR:
What are the names of multi-valued generalized images that are an important element of the art world of the Bloc (a bloody flag, a hungry dog, a white corolla of roses, etc.)? ( Symbol)
34. What is the method of correlation of various phenomena used by the poet in the phrases “heaped over with alder” and “cast down by hail”. OR: What is the means of artistic depiction, based on the correlation of objects and phenomena: "And the old woman howled, like a wounded beast." OR: What is a visual expressive tool based on a comparison of objects and phenomena: “Like an ointment, a thick blue stain // Lays down with bunnies on the ground ...” ( Comparison)
35. What is the name of literary criticism in a combination of lines sealed by a common rhyme and intonation? ( Stanza)
36. A quote preceding a subsequent work and echoes the main text. ( Epigraph)
37. What is the term that is called an artistic definition. OR: The fragment uses figurative definitions “tormented mouth”, “at the treasured stump”, “in the blessed death”, etc. What kind of path was used in these examples? OR: Indicate the name of the means of artistic visualization, which is an emotionally-evaluative definition ("Gentle tread of a bi-racial"). ( Epithet)
