When we talk about art and literary creativity, we are focused on the impressions that are created when reading. They are largely determined by the imagery of the work. IN fiction and poetry highlight special techniques for enhancing expressiveness. A competent presentation, public speaking - they also need ways to construct expressive speech.
For the first time, the concept of rhetorical figures, figures of speech, appeared among the orators of ancient Greece. In particular, Aristotle and his followers were involved in their study and classification. Delving into the details, scientists have identified up to 200 varieties that enrich the language.
Means of expressive speech are divided according to language level into:
- phonetic;
- lexical;
- syntactic.
The use of phonetics is traditional for poetry. Musical sounds often predominate in a poem, giving poetic speech a special melodiousness. In the drawing of a verse, stress, rhythm and rhyme, and combinations of sounds are used for emphasis.
Anaphora– repetition of sounds, words or phrases at the beginning of sentences, poetic lines or stanzas. “The golden stars dozed off...” - repetition of the initial sounds, Yesenin used phonetic anaphora.
And here is an example of lexical anaphora in Pushkin’s poems:
Alone you rush across the clear azure,
You alone cast a dull shadow,
You alone sadden the jubilant day.
Epiphora- a similar technique, but much less common, in which words or phrases are 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. Paths make speech more figurative, enliven and enrich it. Some tropes and their examples in literary work are listed below.
Epithet- artistic definition. Using it, the author gives the word additional emotional overtones and his own assessment. To understand how an epithet differs from an ordinary definition, you need to understand when reading whether the definition gives a new connotation to the word? Here's a simple test. Compare: late autumn - Golden autumn, early spring - young spring, quiet breeze - gentle breeze.
Personification- transferring the signs of living beings to inanimate objects, nature: “The gloomy rocks looked sternly...”.
Comparison– direct comparison of one object or phenomenon with another. “The night is gloomy, like a beast...” (Tyutchev).
Metaphor– transferring the meaning of one word, object, phenomenon to another. Identifying similarities, implicit comparison.
“There is a red rowan fire burning in the garden...” (Yesenin). The rowan brushes remind the poet of the flame of a fire.
Metonymy– renaming. Transferring a property or meaning from one object to another according to the principle of contiguity. “The one in felt, let’s argue” (Vysotsky). In felt (material) - in a felt hat.
Synecdoche- a type of metonymy. Transferring the meaning of one word to another based on a quantitative connection: singular - plural, part - whole. “We all look at Napoleons” (Pushkin).
Irony- the use of a word or expression in an inverted, mocking sense. For example, the appeal to the Donkey in Krylov’s fable: “Are you crazy, smart one?”
Hyperbola- a figurative expression containing exorbitant exaggeration. It may relate to size, meaning, strength, and other qualities. Litota is, on the contrary, an exorbitant understatement. Hyperbole is often used by writers and journalists, and litotes is much less common. Examples. Hyperbole: “The sunset burned with one hundred and forty suns” (V.V. Mayakovsky). Litota: “a little man with a fingernail.”
Allegory- a specific image, scene, image, object that visually represents an abstract idea. The role of allegory is to suggest subtext, to force one to look for hidden meaning when reading. Widely used in fable.
Alogism– deliberate violation of logical connections for the purpose of irony. “That landowner was stupid, he read the newspaper “Vest” 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 surreal description. An outstanding master of Russian grotesque was N. Gogol. His story “The Nose” is based on the use of this technique. A special impression when reading this work is made by the combination of the absurd with the ordinary.
Figures of speech
Stylistic figures are also used in literature. Their main types are shown in the table:
| Repeat | At the beginning, end, at the junction of sentences | This cry and strings, These flocks, these birds |
| Antithesis | Opposition. Antonyms are often used. | Long hair, short mind |
| Gradation | Arrangement of synonyms in increasing or decreasing order | Smolder, burn, glow, explode |
| Oxymoron | Connecting contradictions | A living corpse, an honest thief. |
| Inversion | Word order changes | He came late (He came late). |
| Parallelism | Comparison in the form of juxtaposition | The wind stirred the dark branches. Fear stirred in him again. |
| Ellipsis | Omitting an implied word | By the hat and out the door (he grabbed it and went out). |
| Parcellation | Dividing a single sentence into separate ones | And I think again. About you. |
| Multi-Union | Connecting through repeating conjunctions | And me, and you, and all of us together |
| Asyndeton | Elimination of unions | You, me, he, she – together the whole country. |
| Rhetorical exclamation, question, appeal. | Used to enhance feelings | What a summer! Who if not us? 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 direct assessment of the author | Henchman, dove, dunce, sycophant. |
Test "Means of Artistic Expression"
To test your understanding of the material, take a short test.
Read the following passage:
“There the war smelled of gasoline and soot, burnt iron and gunpowder, it scraped with caterpillar tracks, screeched from machine guns and fell into the snow, and rose again under fire...”
What means artistic expression used in an excerpt from the novel by K. Simonov?
Swede, Russian - stabs, chops, cuts.
Drumming, clicks, grinding,
The thunder of guns, stomping, neighing, groaning,
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, or a presentation. To manipulate images, visual techniques are needed. There are enough of them in the great and mighty Russian. Use them, and the listener or reader will find their own image in your speech pattern.
Study expressive language and 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 the passage. Metonymy: howling soldiers, equipment, battlefield - the author ideologically connects them into a generalized image of war. The techniques of expressive language used are polyunion, syntactic repetition, parallelism. Through this combination of stylistic techniques when reading, a revived, rich image of war is created.
A. Pushkin. The poem lacks conjunctions in the first lines. In this way the tension and richness of the battle are conveyed. In the phonetic design of the scene, the sound “r” plays a special role in different combinations. When reading, a rumbling, growling background appears, ideologically conveying the noise of battle.
If you were unable to give the correct answers while answering the test, do not be upset. Just re-read the article.
1. What is the name for the form of allegory characteristic of fables, a parable? ( Allegory)
2. Name the term that is used in literary criticism to designate an expression that has become popular? OR: In the speech of the heroes of the play there are many short, figurative sayings that express original thoughts (for example, in the speech of Ash: “You are not a nail, I am not pliers...”). What are such statements called? OR: Many of the remarks of the characters in the play have become commonly used (for example: “You can’t always cure your soul with the truth”). Indicate the term that denotes apt figurative expressions containing a complete philosophical thought. ( Aphorism)
3. In literary criticism, what are characters who do not appear on stage called? 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 stage? ( Off-stage)
4. In a literary work, what is the name of the monologue that the hero pronounces “to himself”? ( Inner monologue)
5. Wanting to show his importance, Khlestakov uses a clear exaggeration: “thirty-five thousand couriers alone.” What is the name of artistic device based on exaggeration? ( Hyperbola)
6. One of the characteristic techniques of classicism is to reveal the character of the hero through his last name. What are these surnames called? OR: In the surname of Khlestakov, as in the surnames of others characters plays, a certain figurative characteristic is laid down. What are these surnames called? ( Speakers)
7. Indicate the name of the technique of artistic exaggeration, in which verisimilitude gives way to fantasy or 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 special expressiveness (for example, the tear that rolled out from Chichikov. OR: What term denotes a significant small detail that contains an important meaning (for example, Father’s chest from the story of Mrs. Prostakova)? ( Detail)
9. What term refers to the form of speech of characters that represents an exchange of remarks? OR: The text of the fragment is an alternation of statements of the characters addressed to each other. What is this form called? verbal communication? (Dialogue)
10. Specify genre, to which the work belongs. (Epic genres: Novel, short story, tale, fairy tale, fable, epic, short story, essay... Dramatic genres: drama, comedy, tragedy...
11. Define genre of work. Fonvizin “The Minor” is a comedy. Griboyedov "Woe from Wit" - comedy. Gogol "The Inspector General" is a comedy. Ostrovsky's "The Thunderstorm" is a drama. Chekhov's "The Cherry Orchard" is a comedy. Gorky "At the Bottom" - drama.
12. Which one genre variety refers to the novel? ( Social-philosophical, psychological, social-everyday...)
13. To what stage in the development of action does this fragment belong? ( Commencement, climax, denouement). OR: What is the moment of highest tension in the development of a dramatic plot called? ( Climax).
14. The free, relaxed 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’ve never sold dead people before.” Name this technique. ( Inversion)
15. What is the name of the type of description in literary works that allowed the author to recreate the furnishings of a home? OR: Indicate the term that in literary criticism is used to describe the setting of the action, the interior decoration of the premises (“... in the corner, in front of the black board of the icon of the Mother of God of the Three-Handed One, 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 the literally expressed (“Master of interpreting decrees”). ( Irony)
17. The fragment begins and ends with a description of a 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 denotes the organization of parts of a work, images and their connections? ( Composition)
18. The fragment depicts an acute clash of positions between the heroes. What is such a collision called in the work? OR: Clashes between the characters are revealed from the very beginning of the play. What is the name of the irreconcilable contradiction underlying dramatic action? ( Conflict)
19. Type conflict? (Public, love, social). OR: The conflict associated with the relationship between the hero and heroine determines the plot action of “Clean Monday” by I.A. Bunina. Define this conflict. ( Love)
20. Within 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 “speaking” surnames - characteristics. ( Classicism) OR: What is the name of the literary movement, the principles of which are partly formulated in the second part of the presented fragment (“to bring out everything that is every minute in front of our eyes and what indifferent eyes do not see - all the terrible, amazing mud of little things that entangle our lives”)? ( Realism)
21. Indicate the type of trope, which is based on the transfer of the properties of some objects and phenomena to others (“flame of talent”). OR: What term denotes the means of allegorical expressiveness that the author refers to when describing the giant ship “Atlantis”: “... the floors... gaped with countless fiery eyes”? ( Metaphor)
22. What is the name of the extended statement of one character? ( 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 describe nature? ( Scenery)
24. Indicate a trope that is a replacement of a proper name with a descriptive phrase. ( Periphrase)
25. What is the deliberate use of identical words in a text that enhances the significance of a statement? OR: “Yes, he was hateful to me, hateful...”, “It’s so hard, so hard.” What is this technique called? ( 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 frosted, the amber of her cheeks turned slightly pink, the blackness of the paradise completely merged with the pupil...”). OR: At the beginning of the fragment a description of the character’s appearance is given. What is this means of characterization called? ( Portrait)
27. The heroes’ speech is replete with words and expressions that violate literary norm(“such rubbish”, “get around me”, etc.). Indicate this type of speech. ( Vernacular)
28. What term refers to the display method internal state heroes, thoughts and feelings? OR: What is the name of the image of the hero’s internal experiences, manifested in his behavior? (“confused, blushed all over, made a negative gesture with his head”)? ( Psychologism)
29. The events in the work are presented from the perspective of a fictional character. What is the name of the character in the work who is entrusted with the narration of events and other characters? ( 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 Lower Depths” opens with the author’s explanation: “A basement like a cave. The ceiling is heavy stone vaults, smoked, with falling off plaster...” What is the name of the author's explanation that precedes or accompanies the course of action in a play? OR: Indicate the term used in plays to describe short authorial remarks (“Teases him,” “With a sigh,” etc.). ( Remarque)
32. Name the term that refers to the statements of the characters in the play. OR: What is the name in dramaturgy for a single phrase of an interlocutor in a stage dialogue? ( Replica)
33. Enter a title sort of literature to which the work belongs? ( Epic, drama)
34. What is a special type of comic called in literary criticism: ridicule, exposure of negative aspects of life, their depiction in an absurd caricature (for example, the depiction 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 where the heroes arrived, I.A. Bunin uses a figurative expression based on the correlation of two objects, concepts or states that have common feature(“it was 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-flying ones.” ( 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 twists and turns of action in a work? ( Plot)
39. Artistic time and space– the most important characteristics of the author’s model of the world. What traditional spatial landmark does Goncharov use to create the image of a symbolically rich closed space? ( House)
41. The above scene contains information about the characters, place and time of the action, and describes the circumstances that took place before it began. Indicate the stage in the development of the plot, which is characterized by the named features. OR: What term is used to designate the part of the work that depicts the circumstances preceding the main events of the plot? ( Exposition)
42. What term refers to the final component of a work? ( Epilogue)
43. What is the name in literary criticism for a means that helps describe a hero (“weak”, “frail”)? OR: What are the names of figurative definitions that are a traditional means of artistic representation? (
Training materials on LITERATURE
EXPLANATORY NOTE
Training materials are designed to prepare for a single state exam and the state final exam (in writing) in literature.
The training materials consist of 2 sections.
In section 1 4 sets of tasks are offered that are related to the analysis of literary text.
Sets 1 and 2 each contain 9 tasks. Tasks No. 1-7 are assessed with a maximum of 1 point. Tasks No. 8 and No. 9 are assessed with a maximum of 4 points in accordance with the assessment criteria. Tasks No. 1-9 can be included both in the examination materials of GVE-11 and in the Unified State Exam KIM.
Sets 3 and 4 each contain 7 tasks. Tasks No. 1-5 are assessed with a maximum of 1 point. Tasks No. 6 and No. 7 are assessed with a maximum of 4 points in accordance with the assessment criteria. Tasks No. 1-7 can be included both in the examination materials of GVE-11 and in the Unified State Exam KIM.
In section 2 6 essay topics are offered. The essay is assessed with a maximum of 14 points in accordance with the criteria. The tasks proposed in Section 2 are used only in the Unified State Exam KIM in literature and are not included in the GVE-11.
SECTION 1
Instructions for completing task sets No. 1-4
The tasks in each set are related to the analysis of a literary text (a fragment of an epic, or lyric epic, or dramatic work, or a lyric poem, or a fable).
Read the literary texts below and complete the tasks for the given text. The answer to all tasks, except the last two, is a word, or a phrase, or a sequence of numbers.
When performing two latest assignments give a direct, coherent answer to the question (approximate length – 5–10 sentences). Rely on the author’s position and, if necessary, express your point of view. Justify your answer based on the text of the work.
When completing the last task, select two works of different authors for comparison (in one of the examples, it is acceptable to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in a given direction of analysis.
Set of tasks No. 1
But Chichikov simply said that such an enterprise, or negotiation, would in no way be inconsistent with civil regulations and further developments in Russia, and a minute later he added that the treasury would even receive benefits, since it would receive legal duties.
- So you think?..
- I suppose it will be good.
“And if it’s good, that’s a different matter: I have nothing against it,” Manilov said and completely calmed down.
- Now all that remains is to agree on the price.
- What's the price? - Manilov said again and stopped. “Do you really think that I would take money for souls that have, in some way, ended their existence?” If you have come up with such a, so to speak, fantastic desire, then for my part I hand them over to you without interest and take over the deed of sale.
It would be a great reproach to the historian of the proposed events if he failed to say that pleasure overcame the guest after such words uttered by Manilov. No matter how sedate and reasonable he was, he almost even made a leap like a goat, which, as we know, is done only in the strongest impulses of joy. He turned so hard in his chair that the woolen material that covered the pillow burst; Manilov himself looked at him in some bewilderment. Prompted by gratitude, he immediately said so many thanks that he became confused, blushed all over, made a negative gesture with his head, and finally expressed that this was nothing, that he really wanted to prove with something the attraction of the heart, the magnetism of the soul, and the dead souls are in some ways complete rubbish.
“It’s not rubbish at all,” said Chichikov, shaking his hand. A very deep sigh was taken here. He seemed to be in a mood for heartfelt outpourings; Not without feeling and expression, he finally uttered the following words: “If you only knew what service this apparently rubbish rendered to a man without a tribe and clan!” And really, what did I not suffer? like some kind of barge among the fierce waves... What persecutions, what persecutions have you not experienced, what grief have you not tasted, and for what? for the fact that he observed the truth, that he was clear in his conscience, that he gave his hand to both the helpless widow and the unfortunate orphan!.. - Here he even wiped away a tear that rolled out with a handkerchief.
Manilov was completely moved. Both friends shook each other's hands for a long time and looked silently into each other's eyes for a long time, in which welling up tears were visible. Manilov did not want to let go of our hero’s hand and continued to squeeze it so hotly that he no longer knew how to help her out. Finally, having pulled it out slowly, he said that it wouldn’t be a bad idea to complete the deed of sale as quickly as possible, and it would be nice 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 surnames 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 an artistic technique based on the comparison of phenomena and objects (“like some kind of barge among the fierce waves”)?
Answer: ____________
Why did Manilov’s intention to give away dead souls for free make such a strong impression on Chichikov?
Molchalin
What wedding? with whom?
Lisa
What about the young lady?
Molchalin
There is a lot of hope ahead,
We'll waste time without a wedding.
Lisa
What are you talking about, sir! who are we?
Other things as your husband?
Molchalin
Don't know. And I'm shaking so much,
And at one thought I’m afraid,
Someday he'll catch us
He will disperse, he will curse!.. So what? should I open my soul?
I don’t see anything in Sofya Pavlovna
Enviable. May God grant her a rich life,
I once loved Chatsky,
He will stop loving me like he did.
My little angel, I would like half
I feel the same for her as I feel for you;
No, no matter how much I tell myself,
I’m getting ready to be gentle, but if I’m dating, I’ll throw 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, please all people without exception -
The owner, where he will live,
The boss with whom I will serve,
To his servant who cleans dresses,
Doorman, janitor, to avoid evil,
To the janitor's dog, so that it is affectionate.
Lisa
Let me tell you, sir, you have great care!
Molchalin
And now I take the form of a lover
To please the daughter of such a man...
Lisa
Who feeds and gives water,
And sometimes he’ll give you a gift?
Let's go, we've talked enough.
Molchalin
Let's go share love with our deplorable theft.
Let me hug you from the fullness of my heart.
(Lisa is not given.)
Why isn't she you!
(He wants to go, Sofia won’t let him.)
Sofia (almost in a whisper, the whole scene is in an undertone)
Horrible man! I'm ashamed of myself, the walls.
Molchalin
How! Sofya Pavlovna...
Sofia
Not a word, for God's sake,
Keep quiet, I’ll decide on anything.
Molchalin (throws himself on his knees, Sofia pushes him away)
Oh! remember! don't 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
Specify the genre of the work “Woe from Wit”?
Answer: ____________
Several characters are involved in the love conflict in Woe from Wit. Establish a correspondence between these characters and their actions, the events of their lives: for each position in the first column, select the corresponding position from the second column.
Write down the selected numbers in the table under the corresponding letters.
In the above fragment, Molchalin’s relaxed treatment of Lisa is contrasted with his willingness to humiliate himself and be a hypocrite in front of Sophia. What is the term for opposition in a work of art?
Answer: ____________
How does Molchalin appear in this fragment of the work?
FORTY
Forties, fatal,
Military and frontline,
Where are the funeral notices?
And echelon knocking.
Rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
They roam from west to east...
And this is me at the stop
In his dirty earflaps,
Where the asterisk is not statutory,
And cut from a can.
Yes, this is me in this world,
Thin, cheerful and perky.
And I have tobacco in my pouch,
And I have a stacked mouthpiece.
And I'm joking around with the girl,
And I limp more than necessary,
And I break the solder in two,
And I understand everything in the world.
How it was! How did it coincide -
War, trouble, dream and youth!
And it all sunk into me
And only then did it awaken within me!..
Forties, fatal,
Lead, gunpowder...
The war is sweeping across 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: ____________
From the list below, select three names of artistic means and techniques used by the poet in the second stanza of this poem. Write down the numbers under which they are indicated.
How does the poem “The Forties” reflect the fortitude and love of life of the military generation?
I like that you are not sick of me,
I like that it's not you that I'm sick of
That the globe is never heavy
It will not float away under our feet.
I like that you can be funny -
Loose - and not play with words,
And do not blush with a suffocating wave,
Sleeves touching slightly.
I also like that you are with me
Calmly hug the other one,
Don't read to me in hellfire
Burn because I don't kiss you.
What is my gentle name, my gentle, not
You mention it day or night - in vain...
That never in church silence
They will not sing over us: Hallelujah!
Thank you with my heart and hand
Because you are me - without knowing yourself! –
So love: for my night's peace,
For the rare meeting at sunset hours,
For our non-walks under the moon,
For the sun, not above our heads, -
Because you are sick - alas! - not by me,
Because I am sick - alas! - not by you!
(, 1915)
Assignments for the poem
Name a technique that involves using the same word repeatedly:
What's the name tender mine, mine gentle, Not
You mention it day or 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 contradictory nature of the heroine’s relationship with her lover?
In what works of Russian poets does the theme of unrequited love sound and in what ways are these works similar to the poem?
Answers to short answer tasks
Job No. | Set No. 1 | Set No. 2 | Set No. 3 | Set No. 4 |
lyroepic; lyroepic; epic; epic | lyrical hero | |||
psychologism | rhetorical | anaphora; unity of command | ||
dialogue; polylogue | cross |
|||
comparison | antithesis; contrast | |||
Evaluation of the completion 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 assessed according to the second criterion (0 points are given in the answer checking protocol).
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 theses; confirms your 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 are convincingly substantiated and/or makes one factual error |
The examinee understands the essence of the question, does not directly answer the question and/or unconvincingly substantiates his 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 analysis with a retelling of the text, and/or makes three or more factual errors | |
2. Following speech norms | |
No more than one speech error was made | |
More than one speech error was made | |
Maximum score | 4 |
Evaluation of the completion of the latest tasks of the kits,
requiring writing a detailed answer of 5–10 sentences
The indication of volume is conditional; assessment of the answer depends on its content (if there is deep knowledge the examinee can answer in a larger volume; with the ability to accurately formulate his thoughts, the examinee can answer quite fully in a smaller volume).
When completing the task, the examinee independently selects two works by different authors for contextual comparison (in one example, it is acceptable to refer to the work of the author who owns the source text). When indicating the author, initials are necessary only to distinguish 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 everything is convincing justifies everyone's choice earnestly compares indicates the names of two works and their authors, justifies earnestly compares both works with the proposed text in a given direction of analysis (when comparing, some minor shortcomings are allowed); indicates the names of two works and their authors, earnestly justifies selection of each work, allows for some shortcomings comparison two works with the proposed text in a given direction of analysis / or convincingly compares only one work with the proposed text (in the comparison, some minor shortcomings are allowed) AND/OR makes one factual error, without generally distorting the author’s position |
a) the examinee answers the question, indicates the names of two works and their authors, justifies selection of only one work (perhaps not entirely convincing) earnestly compares one work with the proposed text in a given direction of analysis (when comparing, some minor shortcomings are allowed); b) the examinee answers the question, indicates the names of two works and their authors, does not justify choice of both works (or gives an inconclusive justification) earnestly compares one or both works with the proposed text in a given direction of analysis (when comparing, some minor shortcomings are allowed); c) the examinee answers the question, indicates the names of two works and their authors, justifies choice of two works (perhaps not entirely convincing) / or convincingly justifies the choice of only one work, doesn't compare one or both works with text in a given direction of analysis; d) the examinee answers the question, indicates justifies choice of work (perhaps not entirely convincing), earnestly compares this is a work with the proposed text in a given direction of analysis (when comparing, some minor shortcomings are allowed) AND/OR makes two factual errors, generally without distorting the author’s position |
a) the examinee answers the question, indicates the names of two works and their authors, not everything is convincing justifies selection of one work / 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 examinee answers the question, indicates the title of only one work and its author, justifies choice of work (perhaps not entirely convincing) and unconvincing compares this is a work with a proposed text; V) indicates the title of only one work and its author, AND/OR makes three factual errors | |
a) the examinee does not answer the question; b) gives an answer that is not meaningfully related AND/OR indicates the title of one work and its author, but does not justify his choice (or gives incorrect justification), doesn't compare this is a work with the proposed text, AND/OR makes more than three factual errors | |
Maximum score | 4 |
SECTION 2
Instructions for completing tasks
The tasks require a detailed answer in the essay genre.
Write an essay of at least 200 words (if the essay is less than 150 words, it is scored 0 points).
Argument your theses based on literary works(in an essay on lyrics, it is necessary to analyze at least two poems).
Use literary theoretical concepts to analyze the work.
Think over the composition of your essay.
Essay topics
2. How is the theme of freedom reflected in poetry?
3. How did the meeting with Platon Karataev influence the worldview of Pierre Bezukhov? (Based on the novel "War and Peace")
4. What are the strengths and weaknesses of the generation of “sons”? (Based on the novel “Fathers and Sons”).
5. What is the meaning of the title of the story “The Fate of Man”?
6. What are the reasons for the difficult life of the Russian peasant woman Matryona? (Based on the story “Matryonin’s Dvor”)
Assessment of task completion,
requiring the writing of a detailed, reasoned response in the essay genre of at least 200 words
Among the five criteria by which an essay is assessed, the first criterion (content aspect) is the main one. If, when checking the work, the expert gives 0 points according to the first criterion, the task of part 2 is considered unfulfilled and not checked further. For four other criteria (2, 3, 4, 5) 0 points are given.
When assessing the completion of tasks in Part 2, you should take into account the volume of the written essay. Examinees are recommended to have a volume of at least
200 words. If the essay contains less than 150 words (all words, including function words, are included in the word count), then such work is considered uncompleted
and is scored 0 points.
When the essay is from 150 to 200 words, the maximum number of errors for each point level does not change.
Criteria | |
1. The depth of disclosure of the topic of the essay and the persuasiveness of judgments | |
The examinee reveals the topic of the essay, relying on the author’s position; formulates his point of view; convincingly substantiates his theses; There are no factual errors or inaccuracies | |
The examinee reveals the topic of the essay, relying on the author’s position; formulates 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 its theses, and/or makes three or four factual errors | |
The examinee does not disclose 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 theoretical and literary concepts or makes more than one mistake in their use | |
3. Validity of using the text of the work | |
The text of the work under consideration is used in a versatile and reasonable manner (quotes with comments on them; brief retelling content necessary to prove judgments; addressing micro-themes of the text and their interpretation; various kinds of references to what is depicted in the work, etc.) | |
The text is appealing in many ways, not always justified and/or there are individual cases of using text outside of direct connection with the thesis put forward | |
The text is used only as a retelling of what is depicted | |
The text is not used, judgments are not substantiated by the text | |
4. Compositional integrity and consistency of presentation | |
The work is characterized by compositional integrity, its parts are logically connected, there are no violations of consistency or unreasonable repetitions within the semantic parts | |
The work is characterized by compositional integrity, its parts are logically interconnected, within the semantic parts there are violations of the sequence and unreasonable repetitions | |
The compositional idea can be traced in the essay, there are violations of the compositional connection between semantic parts, and/or the thought is repeated and does not develop | |
There is no compositional intent in the work; There were gross violations of the sequence of parts of the statement, significantly complicating the understanding of the meaning of the essay |
