The examination paper in literature consists of two parts.
The first part of the work involves analyzing the text of a work of art located in the examination paper itself; in the second part, essay topics are proposed.
When assessing the performance of all types of tasks, the verbal format of the answers is taken into account.
First part consists of two alternative options (we need to choose one of them). The first option offers an analysis of a fragment of an epic, dramatic or lyric epic work, and the second - an analysis of a lyric poem or fable.
Each of first two tasks involves a written response in an approximate amount 3–5 sentences and is assessed with a maximum of 3 points.
Third task The first part involves not only thinking about the proposed text, but also comparing it with another work or fragment, the text of which is also given in the examination paper. Approximate volume 5–8 sentences.
It is recommended that the examinee take 120 minutes to complete the tasks of Part 1 of the work.
Second part The examination paper contains four essay topics that require extensive written argumentation.
The first topic refers to the work from which the fragment for the first version of the first part is taken, and the second - to the work of the poet, whose lyric poem or fable is included in the second version of the first part.
Tasks 2.3 and 2.4 are formulated based on the works of other writers whose works were not included in the versions of Part 1 (Old Russian literature; literature of the 18th, 19th and 20th centuries). Tasks 2.3, 2.4 are not related to the problems of the works given in the first part of the examination paper. The examinee chooses one of four topics offered to him.
In the lyric essay, the examinee must analyze at least two poems.
The student is asked to take 115 minutes to write the essay.
5 best aids (reference books, textbooks, etc.) for preparing for the OGE in literature
I . I will pass the OGE! Literature. Typical tasks. In two parts. Zinina E.A., Novikova L.V., Fedorov A.V. 2018
This book offers tasks for preparing for the OGE, presented in an accessible form. The manual can be downloaded from various Internet resources, including here: http://www.alleng.ru/d/rusl/rusl1199.htm . Typical tasks and recommendations for their implementation are presented in an accessible form. The book was printed on offset paper without illustrations.
Professional assessment
The typical tasks in this manual correspond to the OGE KIMs in literature; the teacher can use them in lessons for frontal, group or individual work with ninth-graders, and some tasks can be given to students in the 8th grade. Students can study this manual independently at home. The first part presents tasks related to the analysis of artistic (epic, lyric, lyric and dramatic) works. The second part contains tasks that require a detailed answer and tasks for preparing for an essay. Medium price benefit.
conclusions
This manual will be useful for literature teachers to prepare students in grades 8-9 for the OGE in literature, for students to prepare independently. Parents may have difficulty checking how their children are preparing for the exam. If you wince the manual, you can organize effective work on an essay in the OGE format, provided that the completion of assignments will be supervised by a language teacher. The manual contains a rich selection of literary texts, an algorithm for completing tasks for writing a creative work.
II . Literature/T.A. Kvartnik, - M.: Eksmo, 2014. -176 p. - (Universal reference book for schoolchildren. 100 important topics)
This reference book is distinguished by a large volume of materials necessary for successfully passing the exam. You can download it online at: https://multiurok.ru . Theoretical material for the basic and high school courses in literature is presented in an accessible form and can be used by students starting from the 8th grade and throughout their entire schooling.The paper used is offset, offset printing.
Professional assessment
The information presented in the reference book allows you to systematize and consolidate your knowledge of the literature. The manual can be used in literature lessons at the stage of summarizing the material and preparing for the OGE in literature, when students work independently at home and in the classroom. The reference book contains material on folklore, ancient Russian literature, Russian literature XVIII - XX centuries, theories of literature. The material presented in the manual is systematized and corresponds to CIMs in the literature. This guide is suitable for students from grades 8 to 11, and can also be used by college students.
conclusions
The reference book will be useful to literature teachers and students preparing to take the OGE and USE in literature. Parents can check their understanding of the material by asking about terms, etc. The background information in this book is necessary for successfully passing the OGE, but students also need to study using manuals with test tasks.
III . OGE 2018. Literature. Typical test tasks. 14 task options. Kuzanova O.A., Maryina O.B., - Publisher: Exam, 2018. - 64 p.
The manual is widely distributed in bookstores (average cost - 150-200 rubles), you can download it on the website: https://multiurok.ru .
Professional assessment
The manual offers fourteen options for standard test tasks, which help ninth-graders develop their skills for successfully passing the OGE in literature; tasks correspond to CMMs. This book can be recommended to teachers, tutors, and ninth-graders for independent work. The material is understandable and accessible to schoolchildren.
conclusions
Benefit O.B. Maryina, O.A. Kuzanova meets the requirements of the OGE in literature in 2018, it will be useful for ninth grade students for self-control, literature teachers for working in the classroom or individually.
IV . Fedorov, Novikova, Zinina: OGE-2018. Literature. Typical exam options. 30 options, - Publisher: National Education, 2018. - 192 p.The book is sold in all major bookstores and is available to order (about 400 rubles), on the website https://multiurok.ru it can be downloaded.
Professional assessment
The manual contains 30 variants of standard test tasks corresponding to the 2018 literature KIMs.The material is understandable and accessible to schoolchildren. Typical test tasks objectively assess the degree of preparedness of ninth-graders to pass the OGE in literature.
conclusions
The manual meets the requirements of the OGE in literature in 2018, allows you to practice skills for successfully passing the exam in grade 9, ninth graders can independently study these tasks, as well as under the supervision of a teacher - a language teacher.
V . All heroes of works of Russian literature. School curriculum: dictionary - reference book. - M.: LLC "Agency "KRPA "Olympus": LLC "AST Publishing House", 2003. - 443 p.
In bookstores you can find reprints of the dictionary - reference book. No safe download links found online.
Professional assessment
The dictionary-reference book contains the names of the characters and their “life” path throughout the work; the manual differs favorably from a summary of works of art, since the articles contain elements of character analysis, which allows schoolchildren to better prepare for the exam when working independently. The information is presented in an accessible form. This guide is suitable for students from grades 8 to 11, and can also be used by college students.
conclusions
This manual can be used to independently prepare for the OGE in 9th grade. By looking at the manual, you can systematize knowledge about each hero of Russian literature included in the school curriculum.
In 2018, the first part of the OGE in literature will remain unchanged. Graduates choose one of two options and write detailed answers to assignments based on the text. Volume – 5–8 sentences.
Below you have two options for a detailed answer for the three tasks of part one as an example of answers to the first three tasks of the OGE in literature. Topics concern Gogol’s “Dead Souls” and Tyutchev’s poem “There is in the primordial autumn...”.
Open the demo version of the OGE in Literature 2017 and read the tasks and text for it.
Let's look at option 1
Task 1.1.1
What properties of Chichikov’s nature manifested themselves in his internal monologue?
Answer to task 1.1.1
Internal monologue is one of the means that Gogol resorts to to characterize his character. In this fragment, such traits of Chichikov as prudence, attentiveness and coldness are revealed to the reader: “But our hero was already middle-aged and of a prudently cool character.” Emotional impulses and recklessness in behavior are alien to him. Chichikov is a typical cynic, subordinating his impulses to reason, which makes him think first and then act. The same traits of the hero can be found in chapter 4, where the hero’s nature is revealed through a conversation with Nozdryov.
Task 1.1.2
Answer to task 1.1.2
The mention of a twenty-year-old boy is given to indicate the contrast between the behavior of the young man and the behavior demonstrated by Chichikov. At twenty years old, young men are still a little naive, impressionable and ready for rash actions, “forgetting themselves, and service, and the world, and everything that is in the world.” Their behavior is guided by strong emotional impulses, and the mind always gives way to the heart. This behavior completely contradicts the prudence of the “middle-aged” Chichikov.
Task 1.1.3.
Compare fragments of the poem by N.V. Gogol's "Dead Souls" and the comedy of D.I. Fonvizin "Undergrowth". In what ways is Skotinin similar to Chichikov, who thought about the “young stranger”?
Excerpt of text from task 1.1.3
Skotinin. Why can't I see my bride? Where is she? There will be an agreement in the evening, so isn’t it time to tell her that they are marrying her off?
Mrs. Prostakova. We'll make it, brother. If we tell her this ahead of time, she may still think that we are reporting to her. Although by marriage, however, I am related to her; and I love that strangers listen to me.
Prostakov (to Skotinin). To tell the truth, we treated Sophia like an orphan. After her father she remained a baby. About six months ago, her mother, and my in-law, had a stroke...
Mrs. Prostakova (shows as if she is baptizing her heart). The power of the god is with us.
Prostakov. From which she went to the next world. Her uncle, Mr. Starodum, went to Siberia; and since there has been no rumor or news of him for several years now, we consider him dead. We, seeing that she was left alone, took her to our village and look after her estate as if it were our own.
Mrs. Prostakova. Why are you so spoiled today, my father? My brother might also think that we took her in for fun.
Prostakov. Well, mother, how should he think about this? After all, we can’t move Sofyushkino’s real estate to our place.
Skotinin. And although the movable has been put forward, I am not a petitioner. I don’t like to bother, and I’m afraid. No matter how much my neighbors offended me, no matter how much loss they caused, I did not attack anyone, and any loss, rather than going after it, I would rip off from my own peasants, and the ends would go to waste.
Prostakov. It’s true, brother: the whole neighborhood says that you are a master at collecting rent.
Mrs. Prostakova. If only you could teach us, brother father; but we just can’t do it. Since we took away everything the peasants had, we can’t take anything back. Such a disaster!
Skotinin. Please, sister, I will teach you, I will teach you, just marry me to Sophia.
Mrs. Prostakova. Did you really like this girl that much?
Skotinin. No, it's not the girl I like.
Prostakov. So next door to her village?
Skotinin. And not the villages, but the fact that it is found in the villages and what my mortal desire is.
Mrs. Prostakova. Until what, brother?
Skotinin. I love pigs, sister, and in our neighborhood there are such large pigs that there is not a single one of them that, standing on its hind legs, would not be taller than each of us by a whole head.
(D.I. Fonvizin. “Undergrowth”)
Answer to task 1.1.3
Chichikov and Skotinin have a number of common traits, such as prudence, selfishness, and lack of romantic impulse. Chichikov is a typical “acquirer”, in whom Gogol saw the new evil of Russia: quiet, diligent, but enterprising. He cares only about his own benefit, and only “two thousand two hundred dowries” can make a young girl a “tidbit” in his eyes. The landowner Skotinin's main characteristic is already contained in his last name. He is also concerned about his own benefit, but it does not even find expression in money. After all, the main passion of this hero is pigs. He wants to marry Sophia, but only because his favorites are found in her village. Both Chichikov’s cold prudence and Skotinin’s selfish ignorance are similar in their lack of interest in everything that does not directly lead to the satisfaction of their self-interest.
Let's look at option 2
Task 1.2.1
What mood is imbued with the poem “In the original autumn...”?
Answer to task 1.2.1
Tyutchev's poem creates a mood of peace and solemnity. To do this, the poet uses expressive epithets: “in the original autumn”, “wonderful time”, “pure and warm azure”, etc. The feeling of understatement and languor in the poem is given by frequently occurring ellipses, which symbolize that the time of violent emotions has ended with the summer. Autumn is a time of leisurely reflection and relaxation.
Task 1.2.2.
What role do epithets play in the poem “There is in the original autumn...”?
Answer to task 1.2.2.
Epithets are especially important when describing nature. After all, they allow not just to describe objects, but to convey the author’s attitude to what he writes about. Even the most ordinary words, used as epithets, can create vivid images. “A vigorous sickle”, “a web of thin hair”, “a short time”, “on an idle furrow”, “a crystal day” - all these combinations create the mood of the poem, conveying Tyutchev’s feelings caused by early autumn.
Task 1.2.3
How do the autumn pictures created in the poems of F.I. differ? Tyutchev “There is in the original autumn...” and N.A. Nekrasov "Before the Rain"?
Excerpt of a poem for task 1.2.3
BEFORE THE RAIN
The mournful wind drives
I'm flocking clouds to the edge of heaven,
The broken spruce groans,
The dark forest whispers dully.
To a stream, pockmarked and motley,
A leaf flies after a leaf,
And a dry and sharp stream
It's getting cold.
Twilight falls over everything;
Hitting from all sides,
Spinning in the air screaming
A flock of jackdaws and crows.
Over the passing tarataika
The top is down, the front is closed;
And went!" - standing up with a whip,
The gendarme shouts to the driver...
(N.A. Nekrasov. 1846)
Answer to task 1.2.3.
Tyutchev’s poem describes early autumn, which the author himself calls “a wonderful time.” The work is permeated with peace and admiration for the beauty of nature. This is the moment when both the earth and people rest: “Where the cheerful sickle walked and the ear fell // Now everything is empty - space is everywhere...” Autumn is represented as a beautiful, solemn time, when the cold weather is still far away and you can indulge in thoughts and gentle sadness. Nekrasov presents a completely different autumn: it is unfriendly and unmerciful to the traveler. “Clean and warm azure” gives way to “a mournful wind,” and “radiant evenings” to “a twilight falling over everything.” The autumn described by Nekrasov evokes a mood of anxiety and sadness. Two poems personify two opposing pictures of autumn, familiar to everyone.
Reference materials for preparing for the OGE in literature
9th grade
(Literary terms and concepts)
Literary types and genres.
There are three types of fiction: epic(from Greek Epos, narrative), lyrical(a lyre was a musical instrument, accompanied by chanting poems) and dramatic(from Greek Drama, action).
When presenting this or that subject to the reader (meaning the subject of conversation), the author chooses different approaches to it:
First approach: in detail tell about the object, about the events associated with it, about the circumstances of the existence of this object, etc.; in this case, the author’s position will be more or less detached, the author will act as a kind of chronicler, narrator, or choose one of the characters as the narrator; the main thing in such a work will be the story, the narration about the subject, the leading type of speech will be precisely narration, this kind of literature is called epic;
The second approach: you can tell not so much about the events, but about the impression, which they produced on the author, about those feelings, which they called; image inner world, experiences, impressions and will relate to the lyrical genre of literature; exactly the experience was becoming the main event of the lyrics;
Third approach: you can depict item in action, show him on stage; introduce to the reader and viewer of it surrounded by other phenomena; this kind of literature is dramatic; In a drama, the author's voice will be heard least often - in stage directions, that is, the author's explanations of the actions and remarks of the characters.
Look at the table and try to remember its contents:
Types of fiction.
| EPOS | DRAMA | LYRICS |
| (Greek - narrative) a story about events, the fate of heroes, their actions and adventures; image of the external side of what is happening (even feelings are shown from their external manifestation). Author can directly express his attitude to what is happening. | (Greek - action) depiction of events and relationships between characters on stage (a special way of writing text). The direct expression of the author's point of view in the text is contained in the stage directions. | (from the name of a musical instrument) experiencing events; depiction of feelings, inner world, emotional state; feeling becomes the main thing event. |
Each type of literature in turn includes a number of genres.
GENRE- this is a historically established group of works united by common features of content and form; such groups include novels, stories, poems, elegies, short stories, feuilletons, comedies, etc. In literary studies, the concept of literary type is often introduced; this is a broader concept than genre. In this case, the novel will be considered a type of fiction, and genres will be various types of novels, for example, adventure, detective, psychological, parable novel, dystopian novel, etc.
Examples of genus-species relationships in the literature:
Genus: dramatic; view: comedy; genre: sitcom.
Genus: epic; V id: story; genre: fantastic story, etc.
historical era: ancient lyricists did not know the sonnet; in our time, the ode, born in antiquity and popular in the 17th-18th centuries, has become an archaic genre; Romanticism of the 19th century gave rise to detective literature, etc.
Main literary genres
| Lyrics |
|
| An enthusiastic poem in honor of some significant person or event. |
|
| Poem | A small work created according to the laws of poetic speech. |
| The poem is a philosophical reflection on life, love, nature, and the passage of time. |
|
| A poem meant to be sung. |
|
| Message | A lyrical work written in the form of an appeal to any person or persons. |
| Epigram | A short poem ridiculing a person. |
| Epic |
|
| A short work dedicated to a specific event in a person’s life. In such a brief episode from a person’s life, the author reveals the essential typical features of life. |
|
| Events that actually happened in life are depicted, the participants of which existed in reality. |
|
| It is distinguished by the clarity of the depiction of events, the unexpectedness of their development and outcome. |
|
| The story depicts a series of events that illuminate an entire period of a person’s life. In ancient Russian literature, a story was called any narrative about events in historical or private life. |
|
| Reflects a complex life process, a large range of life phenomena shown in development. The events depicted in the novel usually involve many characters, whose destinies and interests are intertwined. |
|
| Epic novel | A novel that covers particularly complex and rich life material, spanning an entire era. |
| Drama |
|
| Tragedy | In this work, the character of the hero is revealed in a hopeless situation, in an unequal, intense struggle that dooms him to death. |
| Any work written in the form of a conversation between the characters, without the author’s speech. A work that depicts a complex and serious conflict, an intense struggle between the characters. |
|
| A work that reflects the funny and incongruous in life, ridicules some unhealthy social or everyday phenomenon, or funny traits of human character. |
|
| Mystery | A medieval drama performed in Latin, initially in Catholic churches, and later as a folk spectacle. Its content consisted of dramatizations of some church legend with interludes. |
| Melodrama | A drama whose characters are sharply divided into virtuous heroes and notorious villains. They have an unusual destiny, are endowed with exceptional feelings, find themselves in implausible acute situations that end happily. According to the laws of the genre, virtuous heroes, after many vicissitudes of fate, always win. |
| A funny comedy with everyday content. |
|
| Vaudeville | A small humorous theatrical play with verses and dances, a one-act funny comedy. |
| Tragicomedy | Combines the features of tragedy and comedy. |
Correspondence of literary genres and muses-patrons of the arts
| Muses-patrons of the arts | Literary genres |
| Polygamy | Solemn chants - hymns. |
| Love poetry - elegy |
|
| Lyric poetry - messages |
|
| Calliope | Lyric-epic works - fable, story, story. |
| Melpomene | Tragedy. |
Genres of epic works
Genres of lyrical works
| (song of praise) | (glorification of a person or event) | Epitaph (gravestone inscription, sometimes comic) | (poems about a serene shepherd's life) | Epigram (satire on a person) | Dithyramb (liking one person) | Message (address to a person in the form of a letter) | Lyric poem | Madrigal (a poem of praise dedicated to a lady) | (poem of 14 lines) |
Literary directions
Literary direction (method) – the basic principles that guide the writer when selecting, summarizing, evaluating and depicting life facts in artistic images.
Signs of a literary movement:
unites writers of a certain historical era;
a general understanding of life values and aesthetic ideals;
general type of hero;
style of artistic speech;
characteristic plots;
favorite genres;
choice of artistic techniques for depicting life;
writers' way of thinking;
the personality of the writer;
worldview and worldview of writers.
Classification of literary movements
classicism sentimentalism romanticism realism
Classicism:
Classicism (from the Latin classicus first-class) is a movement that arose in the art and literature of Western Europe and Russia in the 17th-18th centuries as an expression of the ideology of absolute monarchy. It reflected the idea of rationalistic harmony, strict orderliness of the world, and faith in the human mind. It developed at the beginning of the 20th century as neoclassicism.
| Representatives | Western European literature | Russian literature |
| Corneille, Boileau, Moliere, Racine | A.P. Sumarokov, M.M. Kheraskov, M.V. Lomonosov, G.D. Derzhavin, D.I. Fonvizin, Ya.B. Knyazhnin |
|
| Distinctive features | Inherits the traditions of the art of antiquity |
|
| The actions and deeds of the heroes are determined from the point of view of reason |
||
| A work of art is a logically constructed whole |
||
| Strict division of heroes into positive and negative (character schematization). Heroes are idealized. |
||
| The plot and composition obey accepted rules (the rule of three unities) |
||
| The narrative must be objective |
||
| The importance of civil issues content |
||
Division of genres
| High | Low |
| Tragedy, poem, ode | Comedy, fable, satire |
| They feature characters, tell about social life, history | They feature ordinary people and talk about everyday life. |
Sentimentalism: representatives, distinctive features, literary forms.
Sentimentalism (from the French sentimental - sensitive) is a literary movement that arose in the art and literature of Western Europe and Russia at the end of the 17th - beginning of the 19th century. Opposes the abstraction and rationality of classicism. It reflects the desire to depict human psychology.
| Representatives | Russian literature |
| N.M. Karamzin, A.N. Radishchev, V.V. Kapnist, N.A. Lviv |
|
| Distinctive features | Portrayal of human psychology |
| The actions and deeds of the heroes are determined from the point of view of feelings, the sensitivity of the heroes is exaggerated |
|
| Idealization of reality, subjective image of the world |
|
| In the center of the image are feelings, nature |
|
| Representatives of the lower classes are endowed with a rich spiritual world |
|
| The ideal is moral purity, innocence. |
Literary forms
| Epic | Lyrics | Drama |
| Sentimental story, message, travel notes | Elegy, folk songs | Philistine drama |
Romanticism: representatives, distinctive features, literary forms.
Romanticism is a movement in the art and literature of Western Europe and Russia of the 18th - 19th centuries, consisting in the desire of authors to contrast the unsatisfactory reality with unusual images and plots, suggested to them by life phenomena. A romantic artist strives to express in his images what he wants to see in life, what, in his opinion, should be the main, determining one. Arose as a reaction to rationalism.
| Representatives | Foreign literature | Russian literature |
| J.G. Byron, I. Goethe, I. Schiller, E. Hoffmann, P. Shelley, C. Nodier | V.A. Zhukovsky, K.N. Batyushkov, K.F. Ryleev, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol |
|
| Distinctive features | Unusual characters, exceptional circumstances |
|
| A tragic duel between personality and fate |
||
| Freedom, power, indomitability, eternal disagreement with others - these are the main characteristics of a romantic hero |
||
| Interest in everything exotic (landscape, events, people), strong, bright, sublime |
||
| A mixture of high and low, tragic and comic, ordinary and unusual |
||
| The cult of freedom: the individual’s desire for absolute freedom, for the ideal, for perfection |
||
Literary forms
| Epic | Lyrics | Drama |
| Novel, story, ballads and thoughts, poems | Elegiac lyrics, landscape lyrics, philosophical lyrics | Problem-historical drama |
Realism: representatives, distinctive features, literary forms.
Realism (from Latin realis) is a movement in art and literature, the main principle of which is the most complete and accurate reflection of reality through typification. Appeared in Russia in the 19th century.
| Representatives | Russian literature |
| A.S. Griboyedov, A.S. Pushkin, M.Yu. Lermontov, N.V. Gogol, I.S. Turgenev, L.N. Tolstoy, F.M. Dostoevsky and others |
|
| Distinctive features | Portrayal of characters interacting with the outside world |
| For a writer, details of the interior, portrait, landscape are important |
|
| Character typing |
|
| Portrayal of characters and events in development |
|
| Historically specific society, events, era |
|
| Focus on conflict: hero - society |
Literary forms
| Epic | Lyrics | Drama |
| Novel, story, poem, story | Song, elegy, satire | Tragedy, comedy, historical chronicles |
Piece of art- a literary work, the distinctive feature of which is the depiction of life, the creation of an artistic image using words.
| The course of events in the work is determined by: |
|||
| composition | conflict | plot | plot |
| The structure of the work, the arrangement of its components, the order of presentation of events. | A disagreement, a clash that underlies the struggle of the characters in a work of art. | A series of interconnected and sequentially developing life events that make up the direct content of an epic work. | A sequential account of events or incidents (in chronological order) depicted in a work of fiction. |
| One of the main means by which a writer characterizes characters. | The conflict can be both external (the hero and circumstances) and internal (the hero struggles with his shortcomings). | The plot reflects the clashes and contradictions characteristic of life, the relationships between people and the writer’s assessment and attitude towards them. | The plot may coincide with the plot, or may diverge from it. |
Basic Plot Elements
| Prologue | A unique introduction to the work emotionally and eventfully prepares the reader to perceive the content of the work. |
| Exposition | The introductory, initial part of the plot, the depiction of external conditions, living conditions, historical events. Does not affect the course of subsequent events in the work. |
| The beginning | An event from which an action begins, entailing all subsequent significant events in it. |
| Action Development | Description of everything that is happening, the course of events. |
| Climax | The moment of greatest tension in the development of the action of a work of art. |
| Denouement | The position of the characters that has developed in the work as a result of the development of the events depicted in it is the final scenes. |
| Epilogue | The final part of the work, in which the further fate of the heroes and the development of events can be determined. It can also be a short story about what happened after the completion of the main storyline. |
Extra-plot elements
| Introductory episodes | “Inserted” episodes that are not directly related to the plot of the work, but are given as memories in connection with the events described. |
| Lyrical digressions | They can be actually lyrical, philosophical and journalistic. With their help, the author conveys his feelings and thoughts about what is depicted. These can be the author’s assessments of heroes and events or general reasoning on any subject, an explanation of one’s goal and position. |
| Artistic framing | Scenes that begin and end an event or work, adding a special meaning to it. |
SUBJECT - Subject, main content of reasoning, presentation, creativity. (S. Ozhegov. Dictionary of the Russian language, 1990.)
SUBJECT (Greek Thema) - 1). Subject of presentation, image, research, discussion; 2). Statement of the problem, which predetermines the selection of life material and the nature of the artistic narrative; 3). The subject of a linguistic utterance (...). (Dictionary of Foreign Words, 1984.)
Already these two definitions can confuse the reader: in the first, the word “theme” is equated in meaning to the term “content,” while the content of a work of art is immeasurably broader than the topic, the topic is one of the aspects of the content; the second makes no distinction between the concepts of topic and problem, and although topic and problem are philosophically related, they are not the same thing, and you will soon understand the difference.
The following definition of the topic, accepted in literary criticism, is preferable:
SUBJECT - this is a life phenomenon that has become the subject of artistic consideration in a work. The range of such life phenomena is SUBJECT literary work. All phenomena of the world and human life constitute the artist’s sphere of interests: love, friendship, hatred, betrayal, beauty, ugliness, justice, lawlessness, home, family, happiness, deprivation, despair, loneliness, struggle with the world and oneself, solitude, talent and mediocrity, the joys of life, money, relationships in society, death and birth, secrets and mysteries of the world, etc. and so on. - these are the words that name life phenomena that become themes in art.
The artist’s task is to creatively study a life phenomenon from sides that are interesting to the author, that is express the topic artistically. Naturally, this can only be done posing a question(or several questions) to the phenomenon under consideration. This question that the artist asks, using the figurative means available to him, is problem literary work.
So, PROBLEM is a question that does not have a clear solution or involves many equivalent solutions. The problem differs from the ambiguity of possible solutions tasks. The set of such questions is called PROBLEMATICS.
The more complex the phenomenon of interest to the author (that is, the more complex the chosen subject), the more questions (problems) it will raise, and the more difficult these questions will be to resolve, that is, the deeper and more serious it will be problems literary work.
The topic and problem are historically dependent phenomena. Different eras dictate different themes and problems to artists. For example, the author of the ancient Russian poem of the 12th century “The Tale of Igor’s Campaign” was worried about the topic of princely strife, and he asked the questions: how to force the Russian princes to stop caring only about personal gain and to be at enmity with each other, how to unite the disparate forces of the weakening Kyiv state? The 18th century invited Trediakovsky, Lomonosov and Derzhavin to think about scientific and cultural transformations in the state, about what an ideal state should be like.
ruler, raised in literature the problems of civic duty and equality of all
citizens without exception before the law. Romantic writers were interested in the mysteries of life and death, penetrated into the dark recesses of the human soul, solved the problems of human dependence on fate and the unsolved demonic forces of interaction between a talented and extraordinary person and a soulless and mundane society of ordinary people.
The 19th century, with its focus on the literature of critical realism, turned artists to new themes and forced them to think about new problems:
Through the efforts of Pushkin and Gogol, the “little” man entered literature, and the question arose about his place in society and relationships with “big” people;
The women's issue became the most important, and with it the so-called public "women's issue"; A. Ostrovsky and L. Tolstoy paid a lot of attention to this topic;
the theme of home and family acquired a new meaning, and L. Tolstoy studied the nature of the connection between upbringing and a person’s ability to be happy;
the unsuccessful peasant reform and further social upheavals aroused keen interest in the peasantry, and the theme of peasant life and fate, discovered by Nekrasov, became leading in literature, and with it the question: what will be the fate of the Russian peasantry and all of great Russia?
The tragic events of history and public sentiment brought to life the theme of nihilism and opened up new facets in the theme of individualism, which were further developed by Dostoevsky, Turgenev and Tolstoy in attempts to resolve the questions: how to warn the younger generation from the tragic mistakes of radicalism and aggressive hatred? How to reconcile generations of “fathers” and “sons” in a turbulent and bloody world? How do we understand the relationship between good and evil today and what is meant by both? How can you avoid losing yourself in your quest to be different from others? Chernyshevsky turns to the topic of public good and asks: “What should be done?” so that a person in Russian society can honestly earn a comfortable life and thereby increase public wealth? How to “equip” Russia for a prosperous life? Etc .
note! A problem is a question, and it should be formulated primarily in interrogative form, especially if formulating problems is the task of your essay or other work on literature.
Sometimes in art, a real breakthrough is precisely the question posed by the author - a new one, previously unknown to society, but now burning, vitally important. Many works are created to pose a problem.
So, IDEA (Greek Idea, concept, representation) - in literature: the main idea of a work of art, the method proposed by the author for solving the problems he poses. A set of ideas, a system of author’s thoughts about the world and man, embodied in artistic images is called IDEAL CONTENT a work of art.
Thus, the scheme of semantic relationships between the topic, problem and idea can be represented as follows:
| Life phenomenon → | A question that allows you to study a life phenomenon using figurative language → | |
| Subject → | Problem → |
| Fine and expressive means in a work of art |
||
| Concept | Definition | Examples |
| Trope is a figure of speech built on the use of words or expressions in a figurative meaning, meaning (from the Greek tropos-turn). |
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| Allegory | An allegorical image of an abstract concept or phenomenon of reality using a specific life image. Allegory is often used in fables. | Cunning allegorically depicted in the form of a fox, greed- in the guise of a wolf, deceit in the form of a snake. |
| Hyperbola | A figurative expression consisting of an exorbitant exaggeration of the strength, significance, size of the depicted phenomenon. | ...a rare bird will fly to the middle of the Dnieper. (N.V. Gogol, “Terrible Revenge”). |
| Irony | Subtle hidden mockery, one of the types of humor. Irony can be good-natured, sad, angry, caustic, angry, etc. | Did you sing everything? This is the case... (I.A. Krylov, “Dragonfly and Ant”). |
| Litotes | This is an understatement of the size, strength, and significance of the depicted object. | For example, in works of oral folk art - a little boy, a hut on chicken legs. Steel knife - steel nerves. Bee from cells wax Flies for field tribute. |
| Metonymy | Transfer of meaning (name) based on the contiguity of phenomena. | So eat some more plate, my dear! (I.A. Krylov, “Demyan’s Ear”) - in this example, we do not mean the plate itself as a piece of utensils, but its contents, i.e. ear. All flags will be visiting us. |
| Personification (prosopoeia) | One of the techniques of artistic depiction consists in the fact that animals, inanimate objects, and natural phenomena are endowed with human abilities and properties: the gift of speech, feelings and thoughts. | Will be consoled silent sadness And frisky will think about it joy… (A.S. Pushkin, “To the Portrait of Zhukovsky”). |
| Sarcasm | Evil and caustic mockery, the highest degree of irony, one of the most powerful means of satire. | Helps to detect the unseemly essence of a person’s behavior or motives, shows the contrast between subtext and external meaning. |
| Synecdoche | Replacing the name of a life phenomenon with the name of its part instead of the whole. | As a girl, she didn't stand out in any way in the crowd of browns. dresses (I.A. Bunin, “Easy Breathing”). |
| Comparison | Definition of a phenomenon or concept in artistic speech by comparing it with another phenomenon that has common characteristics with the first. A simile either simply indicates similarity (he was like...) or is expressed using similar words like, exactly, as if and so on. | He was looks like evening clear... (M.Yu. Lermontov, “Demon”). |
| Periphrase | Replacing the name of an object or phenomenon with a description of its essential features and characteristics that define it, creating a vivid picture of life in our minds. | It's a sad time! Ouch charm! (about autumn). (A.S. Pushkin, “Autumn”). |
| Epithet | A figurative definition characterizing the property or quality of a person, phenomenon, or object. | Cloud spent the night golden On the chest giant cliff. (M.Yu. Lermontov, “The Cliff”). |
| Antithesis | A stylistic figure of contrast in artistic or oratory speech, consisting in a sharp contrast of concepts, positions, images, states, interconnected by a common design or internal meaning. | They got along. Wave and stone Poetry and prose, ice and fire Not so different from each other. (A.S. Pushkin, “Eugene Onegin”). |
| Oxymoron | A stylistic figure or a stylistic error, a combination of words with the opposite meaning (that is, a combination of incompatible things). An oxymoron is characterized by the deliberate use of contradiction to create a stylistic effect. From a psychological point of view, an oxymoron is a way of resolving an inexplicable situation. Oxymoron is often found in poetry. | And the day has come. Gets up from his bed Mazepa, this frail sufferer, This corpse alive, just yesterday Moaning weakly over the grave. (A.S. Pushkin, “Poltava”). |
| Stylistic figures are syntactic structures built in a special way; they are necessary to create a certain artistic expressiveness. |
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| Anaphora (unity of principle) | A turn of poetic speech consisting of the repetition of consonances of individual words. Sound unity of command consists in the repetition of individual consonances. | The black-eyed girl Black-eyed horse!.. (M.Yu. Lermontov, “Desire”). |
| Antithesis | A turn of poetic speech in which, to enhance expressiveness, directly opposite concepts, thoughts, and character traits of the characters are sharply contrasted. | They got along. Water and stone. Poetry and prose, ice and fire Not so different from each other... (A.S. Pushkin, “Eugene Onegin”). |
| Gradation | Gradual strengthening or worsening - one of the stylistic figures consists of grouping definitions with increasing or decreasing meaning. | Don't think about running! It's me Called. I'll find it. I'll drive it. I'll finish it. I'll torture you! (V.V. Mayakovsky, “About This”). |
| Inversion | Violation of the direct order of words, rearrangement of parts of a phrase, giving it special expressiveness, unusual sequence of words in a sentence. | And the maiden's song is barely audible Valleys in deep silence. (A.S. Pushkin, “Ruslan and Lyudmila”). |
| Oxymoron | A phrase consisting of a combination of sharply contrasting, internally contradictory features in the definition of phenomena. | Sounding silence, sweet pain and so on. |
| Rhetorical appeal | (from the Greek rhetor - speaker) rhetorical appeals are very characteristic of poetic speech and are quite often used in texts of journalistic style. Their use makes the reader or listener an interlocutor, a participant in a conversation. |
Or is the Russian unaccustomed to victories? |
| Default | It consists in the fact that the thought remains not fully expressed, but the reader guesses what was left unsaid. Such a statement is also called interrupted. | |
| Ellipsis | Omission in speech of some easily implied word, part of a sentence, most often a predicate. | |
| Phonetic means of expression |
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| Euphony | It consists of beauty and naturalness of sound. | |
| Alliteration | Repetition of identical, consonant consonant sounds to enhance the expressiveness of artistic speech. | The Neva swelled and roared, A cauldron bubbling and swirling... (A.S. Pushkin, “The Bronze Horseman”). |
| Assonance | Repetition of homogeneous vowel sounds in a line, phrase, stanza. | It's time! It's time! The horns are blowing... (A.S. Pushkin, “Count Nulin”). |
| Sound recording | Using the sound composition of a word, its sound to enhance the expressiveness of poetic speech. | For example, onomatopoeia, which can be used to convey the singing of birds, the clatter of hooves, the noise of the forest and river, etc. |
| Visual means of syntax |
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| Syntactic parallelism(from Greek parallelos - walking next to) | One of the techniques of poetic speech. It consists of comparing two phenomena by depicting them in parallel in order to emphasize the similarities or differences between the phenomena. A characteristic feature of syntactic parallelism is the uniformity of phrase construction. | curly birch, There is no wind, but you make noise: My heart is zealous There is no grief, but you are in pain. (1) For ten years he selected option after option. (2) It’s not a matter of school hard work and patience - he knew how to invent new combinations, come up with new questions. (3) This is how Johann Bach constructed his fugues, extracting inexhaustible variations from one theme. In this example, syntactic parallelism and lexical repetition are used to connect sentences 2 and 3. |
| A rhetorical question | A turn of poetic speech consisting of expressing a statement in interrogative form. Their use makes the reader or listener an interlocutor, a participant in the conversation. | Or is it new for us to argue with Europe? Or is the Russian unaccustomed to victories? (A.S. Pushkin, “To the Slanders of Russia”). |
| Exclamation, exclamatory sentence. | This is a type of sentence that contains emotional relationships expressed in a syntactic way (particles what, for, how, which, like this, well and etc.). By these means, the statement is given the meaning of a positive or negative evaluation, feelings of joy, sadness, fear, surprise, etc. are conveyed. | Oh, how bitter you are, desperately, later, you need youth! (A. Tvardovsky, “Beyond the Distance”). Do you love me? Yes? Yes? Oh, what a night! Wonderful night! (A.P. Chekhov, “The Jumper”). |
| Appeal | A turn of poetic speech, consisting in an emphasized, sometimes repeated address of the writer to the hero of his work, to natural phenomena, to the reader, in the hero’s address to other characters. | Don't sing in front of me, beauty. (A.S. Pushkin, “Don’t Sing...”). And you, Arrogant descendants! (M.Yu. Lermontov, “The Death of a Poet”). |
| Non-union (asyndeton) | A turn of poetic speech that consists of the omission of connecting conjunctions between words and sentences. Their absence gives speech speed, expressiveness, and conveys rapid intonation. | Swede, Russian - stabs, chops, cuts. Drumming, clicks, grinding. The thunder of guns, stomping, neighing, groaning... (A.S. Pushkin, “Poltava”). |
| Polyunion (repeating alliances) | A turn of poetic speech consisting of repetition of the same conjunctions. | And the spruce turns green through the frost, And the river glitters under the ice... (A.S. Pushkin, “Winter Morning”). |
Basics of versification.
Rhythm.
Word rhythm in the Greek language from which it came to us, it means “harmony, proportionality.” How does this proportionality arise? What condition is necessary for rhythm to occur? What does the beating of our heart and the moving pendulum of a clock have in common? the measured noise of the surf and the sound of the wheels of a moving train?
Rhythm - is the repetition of something at regular intervals. It is this repetition that creates randomness and proportionality.
Rhyme.
The harmony of the verse is created by the coincidence of line endings and rhymes. The lines seem to echo like an echo, repeating each other, sometimes changing their sound slightly. Re-read A.A.’s poem out loud again. Feta “The summer evening is quiet and clear...”. Find lines that rhyme.
Rhyme- This is a repetition of sounds that connect the endings of two or more lines.
idle - varied
harsh - pine
Stanza.
Stanza- a group of poetic lines, combined lines, united by rhyme. A stanza can be three lines - tercet, out of four – quatrain.
Rhyme
| The following types of rhyme are distinguished: |
|
| Name | Definition |
| Depending on the place of emphasis |
|
| The stress falls on the last syllable |
|
| The last syllable is unstressed |
|
| Dactylic | The stress falls on the third syllable from the end of the line |
| Hyperdactylic | The stress falls on the fourth syllable from the end of the line |
| Depending on the order of rhyming lines |
|
| Adjacent, steam room | Lines that follow each other rhyme (AA) |
| Three consecutive lines rhyme (AAA) |
|
| Cross | Rhyming lines go one after another (ABAB) |
| Encircling, ring | Of the four lines, the 1st and 4th, 2nd and 3rd rhyme with each other (ABBA) |
| Ternary | Complex alternation in six lines (AABAAB) |
| Depending on the repetition of the ending sounds of rhyming lines |
|
| Frost roses |
|
| Assonance | Broom tables |
Underline the rhyming words in Fet's poem “Butterfly” and connect them. You see that the first line rhymes with the third, the second with the fourth. Arises cross rhyme.
You're right with one aerial outline
I'm so sweet
All the velvet is mine with its living blinking
Only two wings.
If adjacent lines rhyme, it is born steam room rhyme, as in Pushkin’s poem “The Prisoner”:
I'm sitting behind bars in a damp dungeon.
A young eagle raised in captivity,
My sad comrade, flapping his wing,
It's pecking at bloody food under the window...
Finally, the rhyme can be annular when the first line of the quatrain rhymes with the fourth, and the second with the third, as in Bunin’s poems:
The hops are already drying up on the mew.
Behind the farmsteads, on the melon fields,
In the cool rays of the sun
Bronze melons are turning red...
The rhyme in a stanza can be more complex.
Poetic dimensions
Poetic meters in Russian versification are disyllabic And trisyllabic.
Two-syllable sizes called a poetic meter with a line of two syllables.
In Russian versification there are two two-syllable meters: iambic And trochee.
Iambic– a two-syllable poetic meter with stress on the second syllable (_ _́).
Let's see how A.S. uses iambic. Pushkin.
Iambic trimeter :
Friend of the idle thought, _ _́ _ _́ _ _́ _
My inkwell... _ _́ _ _́ _ _́
Iambic tetrameter:
There is a green oak near Lukomorye; _ _́ _ _́ _ _́ _ _́ _
The golden chain on the oak tree... _ _́ _ _́ _ _́ _ _́
Iambic pentameter:
One more last legend - _ _́ _ _́ _ _́ _ _́ _ _́ _
And my chronicle is finished _ _́ _ _́ _ _́ _ _́ _ _́
Trochee– two-syllable meter with stress on the first syllable (_́ _).
The word “trochee” translated from Greek means “dancer” from the word “choir”, “dance”, “round dance”.
Trochee trimeter :
In the haze of invisibility _́ _ _́ _ _́ _
The month of spring has come... _́ _ _́ _ _́ _
Trochee tetrameter:
Through the wavy fogs _́ _ _́ _ _́ _ _́ _
The moon is making its way... _́ _ _́ _ _́ _ _́
(A.S. Pushkin)
Trochee pentameter:
I go out alone on the road _́ _ _́ _ _́ _ _́ _ _́ _
Through the fog the flinty path shines... _́ _ _́ _ _́ _ _́ _ _́
(M.Yu. Lermontov)
Iambic and trochee are the most popular meters in Russian poetry; for example, 80-85% of poems are written in iambic tetrameter.
Trisyllabic verse meters
Consider the lines of the poem “Railroad”:
Glorious autumn! Healthy, vigorous
The air invigorates tired forces...
Let’s place the emphasis and build a verse outline:
_́ _ _ _́ _ _ _́ _ _ _́ _
_́ _ _ _́ _ _ _́ _ _ _́
You noticed that groups of three syllables are repeated: the first is stressed, the second and third are unstressed. It is a three-syllable meter with the accent on the first syllable. It is called dactyl: _́ _ _ .
Let’s take other lines - from Nekrasov’s poem “Peasant Children”, place the emphasis and build a diagram of the verse.
Once upon a time in the cold winter time
I came out of the forest; it was bitterly cold.
_ _́ _ _ _́ _ _ _́ _ _ _́ _
_ _́ _ _ _́ _ _ _́ _ _ _́
Here groups of three syllables are repeated: the first is unstressed, the second is stressed, the third is unstressed. It is a three-syllable meter with stress on the second syllable. It is called amphibrachium: _ _́ _
Algorithm for determining poetic meter.
Place the emphasis.
Identify unstressed vowels.
Write down the resulting diagram.
Determine the size.
I those be nothing GO Not ska andat .
I those bI Not meet VO zhu neither hat t.
AND O TO m,What I mO lcha you LOLat ,
Not re wat syaneither on ThuO name bookat t.
A. Fet.
- trimeter anapest
Now let’s place emphasis in the lines from Nekrasov’s poem “Troika” and build a diagram of the verse.
Why are you looking greedily at the road?
Away from your cheerful friends?
_ _ _́ _ _ _́ _ _ _́ _
_ _ _́ _ _ _́ _ _ _́
Groups of three syllables are repeated: the first and second are unstressed, the third is stressed. It is a three-syllable meter with the accent on the third syllable. It is called anapaest: _ _ _́.
So, there are three three-syllable meters of verse: dactyl ( _́ _ _ ), amphibrachium
(_ _́ _ ), and anapest (_ _ _́ )
| Verse sizes |
||
| Disyllabic |
||
| The storm covers the sky with darkness... |
||
| My first friend, my priceless friend! |
||
| Trisyllabic |
||
| Heavenly clouds, eternal wanderers! |
||
| Amphibrachium | In the sandy steppes of Arabian land Three proud palm trees grew high. |
|
| Don't be sad, dear neighbor... |
||
Clue: To remember the rhythm of three-syllable meters, Nikolai Gumilyov offered young poets the following hint:
Ann A A Khmatova – dactyl; M A rin A Color e that e V A– amphibrachium; N And To O Lai G at m And lion - anapest.
Themes and motives in the lyrics
Subject
From Greek theme (the basis of the plot of the work).
Intimate lyrics
M.Yu. Lermontov “She is not proud of her beauty...”
B.L. Parsnip “Winter Evening”.
Landscape lyrics
A.A. Fet “Wonderful picture...”
S.A. Yesenin “behind the dark strand of woods...”.
Friendship lyrics
B.Sh. Okudzhava "Ancient student song".
Theme of the poet and poetry
M.I. Tsvetaeva "Rolandov Horn".
Patriotic and civil lyrics
ON THE. Nekrasov "Motherland"
A.A. Akhmatova “I am not with those who abandoned the earth...”
Philosophical lyrics
F.I. Tyutchev "The Last Cataclysm"
I.A. Bunin "Evening".
The most important character in the lyrics is lyrical hero: It is his inner world that is shown in the lyrical work, on his behalf the lyricist speaks to the reader, and the external world is depicted in terms of the impressions it makes on the lyrical hero. Note! Do not confuse the lyrical hero with the epic one. Pushkin reproduced the inner world of Eugene Onegin in great detail, but this is an epic hero, a participant in the main events of the novel. The lyrical hero of Pushkin's novel is the Narrator, the one who is familiar with Onegin and tells his story, deeply experiencing it. Onegin becomes a lyrical hero only once in the novel - when he writes a letter to Tatyana, just as she becomes a lyrical heroine when she writes a letter to Onegin.
By creating the image of a lyrical hero, a poet can make him personally very close to himself (poems by Lermontov, Fet, Nekrasov, Mayakovsky, Tsvetaeva, Akhmatova, etc.). But sometimes the poet seems to be “hiding” behind the mask of a lyrical hero, completely far from the personality of the poet himself; for example, A Blok makes Ophelia a lyrical heroine (two poems called “Ophelia’s Song”) or the street actor Harlequin (“I was covered in colorful rags...”), M. Tsvetaev - Hamlet (“At the bottom is she, where il..."), V. Bryusov - Cleopatra ("Cleopatra"), S. Yesenin - a peasant boy from a folk song or fairy tale ("Mother walked through the forest in a bathing suit..."). So, when discussing a lyrical work, it is more competent to talk about the expression in it of the feelings not of the author, but of the lyrical hero.
Like other types of literature, lyrics include a number of genres. Some of them arose in ancient times, others - in the Middle Ages, some - quite recently, one and a half to two centuries ago, or even in the last century.
Motive
From French motif - lit. movement.
A stable formal and content component of a work. Unlike the topic, it has a direct verbal fixation in the text. Identifying the motive helps to understand the subtext of the work.
The motifs of struggle, flight, retribution, suffering, disappointment, melancholy, and loneliness are traditional in the lyrics.
Leitmotif
A leading motif in one or many works.
The motive of exile in the poem by M.Yu. Lermontov "Clouds".
The motive of loneliness in the early lyrics of V.V. Mayakovsky.
Literature in tables and diagrams. Theory. Story. Dictionary. M.I.Meshcheryakova. M.: Iris-press, 2005.
A brief dictionary of literary terms. Timofeev L.I. and Turaev S.V. M.: Education, 1978.
Internet resources:
- know the biographies of writers and poets;
- thoroughly study the works included in the school curriculum;
- be able to analyze and compare texts, draw up portraits of heroes, evaluate their actions;
- express your own opinion beautifully, concisely and competently.
- in the process of writing an essay, it is allowed to use the full text of the work of art;
- The length of the essay must be 200 words (works of less than 150 words are not assessed);
- your judgments must be argued using fragments from the text;
- When analyzing a work, it is important not to distort the author’s position.
- The assessments agreed - everything was excellent, the score was determined and it was entered into the documentation.
- In the assessments of two experts there is a difference not exceeding 2 points - the arithmetic average is given.
- Expert assessments differ by more than 2 points - a third specialist is involved, whose opinion will be decisive.
http://russlovesnost.
http://shkola. lv
http://4ege. ru
http:// thff (Creative Freedom forum).
http://www. liceum 1. net
In the 2018-2019 academic year, 9th grade graduates in all regions of the Russian Federation will be examined in 5 subjects, of which two will be compulsory (Russian language and mathematics), and the choice of the remaining three will be given to the students themselves and their parents.
In 2018, literature was in last place among the optional subjects of the OGE, because only 3% of ninth-graders decided to take this subject. Today, as the moment of choosing subjects for graduates of 2019 approaches, many children and parents have a question: is it worth taking the OGE in literature in 9th grade and, if so, is it difficult to prepare for it? Let's try to understand the intricacies of the subject, the features of CMMs and the secrets of preparing for this exam.
the date of the
Students who will graduate from 9th grade in 2019 will take the OGE at the end of the school year. But, as in previous seasons, students will be given the opportunity to take the test early, or try again if they fail to pass the minimum threshold the first time.
The following days are reserved for the literature exam in 9th grade:
Early period |
|
Main day | Reserve day |
Main period |
|
Main day | Reserve days 28.06.19 / 02.07.19 / 03.07.19 |
Autumn retake |
|
1 retake | 2 retake 19.09.19 / 21.09.19 |
Format and features of the literature exam
Literature will be chosen as one of the 2019 OGE exams by students who want to continue their studies in philological classes, because to successfully pass the test it is necessary:
The main feature of the OGE in literature from other exams taken by ninth-graders in 2019 is the fact that the ticket contains no tests with answers. The 2019 exam paper will consist of 2 parts:
Ninth-graders undergo final certification at their school.
Examinees are given 235 minutes (3 hours 55 minutes) to complete the work.
Part 1 (text analysis)
Before you begin completing the tasks of Part 1, you need to familiarize yourself with the two proposed options and choose for analysis only one, the closest and most understandable.
Important! You cannot do both options at once.
The length of the detailed answer should be approximately:
Do not use overly complex speech structures. Let the text be concise, but at the same time readable and filled with deep meaning.
Part 2 (essay)
Most of all, graduates, accustomed to simply answering tests during tests in various subjects, are afraid of the essay, which is an integral part of the 2019 OGE in literature.
In fact, the majority of graduates completing 9th grade pass the second part of the OGE in literature without any problems, and in 2019, examinees also have nothing to fear. It is also worth knowing that:
Work evaluation
The OGE 2019 works on literature do not contain a test part, and therefore are fully assessed by independent experts. To determine the final score, each work will be checked by two teachers. As a result, the following scenarios are possible:
The grade received by a ninth-grader on the OGE in literature in 2019 will affect the certificate score. When converting test scores for a given subject into grades, a special correspondence table is used:
Thus, if preparation for the OGE in literature in 2019 was weak, and the graduate’s goal was to overcome the minimum passing threshold, then it will be enough for him to get only 7 test points. If the subject was chosen for the purpose of entering a specialized class or college, you will need to score at least 15 test points, which already corresponds to a grade of “4”.
Since the OGE in literature has its own special specifics, graduates of 2019 need to start preparing for the exam as early as possible, because they will need to read a fairly large amount of literature (the list of works is given below) and work on the main topics of the essays.
Where to begin?
Step 1. Familiarize yourself with the requirements for the examination paper by familiarizing yourself with the codifier and specifications.
Step 2. We read the works given in the list. Naturally, it is better to read the full text in the original, but if there is no time for this, then it is worth reading the abridged version and criticism, which can be found in special collections or on the Internet.
We bring to your attention a complete list of literature for the 2019 OGE in literature with questions that need to be answered while reading the work.
Step 3. Taking notes. You should not rely on the capabilities of human memory; unfortunately, they are not limitless. While reading, take the time to write down in your notebook the basic information you will need to answer questions and write essays.
Step 4. Let's practice completing the tasks of the first part. The demo version of the OGE in literature 2019 will help with this, as well as the tickets that were offered at the exams to graduates of the 2018-2018 academic year.
Step 5. We practice writing an essay, observing the basic requirements for the text.
It would be a good idea to listen to the advice of experienced teachers, read the analysis of the demo version and recommendations for writing an essay. We invite you to watch one of these video tutorials right now: