Techniques and principles of analysis of a work of art. Principles of analysis of a work of art

Principles of organizing school analysis

artistic work.

The principles of analysis of a work of art are those general provisions that allow the teacher to methodically competently build an analysis of a particular text. They are based on the patterns of perception of literature as the art of the word by children of primary school age. The methodology includes the following principles of analysis:

The principle of purposefulness;

The principle of relying on a holistic, direct, emotional perception of what is read;

The principle of taking into account age and individual characteristics of perception;

The principle of taking into account the needs of the child;

The principle of careful attention to the text of the work;

The principle of unity of form and content;

The principle of selectivity;

The principle of integrity;

The principle of focusing the analysis on the literary development of the child, on the formation of special reading skills, on improving reading skills.

Consider these principles in relation to the organization of a reading lesson in primary school. In more detail, we will dwell only on the most complex principles, consider how the principles are implemented at various stages of the lesson.

Ι. The analysis must be targeted. The purpose of the analysis of the work is to deepen the perception of what is read, to comprehend the artistic idea. Two methodological conclusions follow from this position. First, when planning a lesson and considering what tasks should be solved in it, the teacher must remember that the main task of each reading lesson is mastering the artistic idea of ​​the studied work. It is this task that determines the choice of means for its solution, i.e., determines

• what literary knowledge and to what extent students will need,
• what observations of the specifics of this work should be made in the lesson,
• what methods of text analysis will be appropriate,
• what work is needed to develop speech, etc.

Thus, all the particular tasks of the lesson are determined by its general goal - the comprehension of the idea of ​​the work, as well as the specifics of the mode of existence of an artistic idea.

Secondly, the principle of purposefulness suggests that each of the teacher's questions has a specific goal, is a step towards mastering the idea, and the teacher understands what skills are formed when completing the task, what is the place of this task in the general chain of analysis.

ΙΙ. Text analysis is carried out only after holistic, direct, emotional perception of the work.

Let's talk more about this principle. Be prepared to answer questions.

- Before the initial reading of a work of art milestone lesson is preparation for the primary perception.

What is the purpose of this lesson?

(Preparation for primary perception aims to create the necessary emotional atmosphere in the classroom, to set children up for the perception of a particular work.)

- What methods can be used to achieve this goal?

. A conversation that revives the life impressions of children and gives them the information they need for the text. (A conversation about a thunderstorm, about the feelings that a thunderstorm causes in people, about the reflection of fear of this formidable natural phenomenon in mythology. Tyutchev “Spring Thunderstorm”.)

. Analysis of paintings related to the topic of a literary text. (Repin "Barge Haulers on the Volga", Nekrasov "On the Volga".)

Quiz by already famous works writer. (Stories by N. Nosov.)

- We should use these methodological techniques depending on the purpose of the lesson and the idea of ​​the work.

- Here is a teacher of one of the schools asks such a question to children before the initial perception: “I will read you a poem by S. A. Yesenin “Powder”, and you listen and think about what time of the year the poem is talking about.”

Yes, such tasks before reading keep the reader in suspense, do not give the opportunity to feel the pleasure of communicating with the text, do not contribute to the deepening of perception, because the answer to this question is obvious.

Next question:

- But how do different programs relate to who should carry out the primary reading of the work: a teacher or a student? How is the reason for the choice explained?

The traditional education system and the Harmony program claim that the younger the children, the more expedient it is for them to listen to the text performed by the teacher for the first time, since the poor reading technique of students in grades 1-2 does not allow them to treat the text they read on their own as a work of art. , get aesthetic pleasure from reading.

However, children should be gradually accustomed to independently reading an unfamiliar text to themselves. It is not advisable to instruct a child to read an unfamiliar text aloud to the whole class, since such reading can be fluent and correct, but cannot be expressive, which means that the main thing will be lost - the emotionality of the primary perception.

For example, the traditional system of education says that the analysis of any part of a work that the student has not read to the end cannot lead to success.

- What do other programs say about this? Is it possible to divide the initial reading of the text into several lessons?

In fact, the term "holistic perception" means that the text of the work should be perceived by the child as a whole.

The program "2100" allows the division of voluminous works into several lessons. The first part of the work is read, analyzed, in the next lesson the reading and analysis of the second part.

The programs "Harmony" and the traditional one say that the analysis of a work that has not been read to the end by schoolchildren cannot lead to success, since the natural reader's interest is violated, there is no way to correlate the part and the whole, which means that the idea of ​​the work remains inaccessible. Thus, during the initial perception, the text must be read in its entirety. If the volume of the work is large and the whole lesson is spent on reading, then the analysis is carried out at the next lesson. In this case, the next lesson begins with an exchange of impressions about what was read, with re-reading passages of the text in order to introduce students to the atmosphere of the work, recall the plot and prepare them for analysis.

Thus, the principle of a holistic, direct, emotional perception of what is read suggests that the work should evoke a response in the soul of the child. The efforts of the teacher should be aimed at ensuring that the emotional reaction of the child during the initial perception is consonant with the tone of the work.

These are the general provisions that allow the teacher to methodically competently build an analysis of a particular test. They are based on the patterns of perception of literature as the art of the word by children of primary school age. In the methodology, it is customary to single out the following principles of analysis:

1. The principle of purposefulness.

The purpose of the analysis of the work is to deepen the perception of what is read, to comprehend the artistic idea.

Two methodological conclusions follow from this position.

The main goal of each reading lesson is to master the artistic idea of ​​the work being studied. Based on this goal, the tasks of the lesson are determined and the means for solving it are selected (that is, it is determined what literary knowledge and to what extent students will need, what observations of the specifics of this work need to be done in the lesson, what methods of text analysis will be appropriate, what kind of work on the development of speech is necessary, etc.).

Each of the teacher's questions should have a specific goal. The teacher must clearly know what ZUNs are formed in the child when completing the task.

2. The principle of relying on integrity, direct, emotional, reading perception.

Before reading, it is necessary to create an appropriate emotional mood (story, conversation, analysis of a painting, music, quiz ...). The teacher's reading is exemplary, recording, reading to oneself. Reading aloud by children is not emotional enough.

During the initial perception, the text must be read in its entirety. If the volume of the work is large and the whole lesson is spent on reading, then the analysis is carried out at the next lesson.

The term "holistic perception" in this case means that the text of the work should be perceived by the child as a whole, without adaptation. An analysis of any part of a work that has not been read to the end by a student cannot lead to success, since the natural reader's interest is violated, there is no way to correlate the part and the whole, which means that the idea of ​​the work remains inaccessible. Thus, during the initial perception, the text must be read in its entirety. If the volume of the work is large and the whole lesson is spent on reading, then the analysis is carried out at the next lesson. It is also possible to pre-read the work at home. In this case, it is advisable to start the lesson with an exchange of impressions about what was read, with rereading passages of the text in order to introduce students to the atmosphere of the work, recall the plot and prepare them for analysis.

The immediacy of perception is also an important requirement associated with the organization of the primary perception of the text. You should not “interest” the child and direct his attention with such tasks as: “I will read you a poem by S. A. Yesenin “Powder”, and you listen and think about what time of the year the poem is about. Such tasks before reading keep the young reader in suspense, do not give him the opportunity to enjoy the music of the verse, feel the pleasure of communicating with the text, and at the same time do not contribute to the deepening of perception, because the answer to such a question is obvious. The efforts of the teacher should be aimed at ensuring that the emotional reaction of the child during the initial perception is consonant with the emotional tone of the work. Therefore, the first stage of the lesson - preparation for primary perception - aims to create the necessary emotional atmosphere in the classroom, to set children up for the perception of a particular work. This goal can be achieved by various methodological methods: this is the teacher’s story about the events associated with writing the work (for example, the story of A. S. Pushkin’s exile in Mikhailovskoye before reading the poem “Winter Evening”), and a conversation that revives the life impressions of children giving them the information they need to perceive the text (for example, a conversation about the feelings that a thunderstorm causes in people, and about the reflection of fear of this formidable natural phenomenon in mythology before reading F.I. Tyutchev’s poem “Spring Thunderstorm”), and analysis of paintings, related to the topic literary texts(for example, examining and discussing a reproduction of I. E. Repin’s painting “Barge Haulers on the Volga” before reading N. A. Nekrasov’s poem “On the Volga”), and a quiz on the writer’s works already known to children (for example, when reading humorous stories N. N. Nosova), etc.

The teacher should also think about who will read the text. The younger the children, the more expedient that for the first time they listen to the text performed by the teacher, since the poor reading technique of students in grades I-II does not allow them to treat the text they read on their own as a work of art, to get aesthetic pleasure from reading. However, children should be gradually accustomed to independently reading an unfamiliar text to themselves. It is not advisable to instruct a child to read an unfamiliar text aloud to the whole class, since such reading can be fluent and correct, but cannot be expressive, which means that the main thing will be lost - the emotionality of the primary perception.

Stages of text perception:

I. Primary emotional global (non-segmented) perception of the text - attitude to events at first impression.

Exchange of impressions.

Expression of emotional attitude to events, characters.

Finding out the actual understanding of the text. Techniques used for teaching:

Reading and primary commenting - interpretation of events in the minds of students;

· primary analysis;

observation of the text, identification of unfamiliar words-concepts, words-images;

primary emotional relationship.

II. Secondary perception of the work.

Beginning to comprehend events during repeated reading, identifying relationships, relationships of characters, their emotional experiences, motives for actions and personal assessments of the reader.

Text observation.

Explanation - interpretation of events.

Attention to emotions, empathy for the characters.

Character comparison.

Reader's judgment.

selective re-reading;

citation;

Comparative analysis of heroes; reader and author positions;

Attention to detail, features of the image of the characters.

III. Deep perception.

Creative comprehension of the text, vision of events (we present events, heroes).

The selection of material that allows a more complete presentation of the hero: his appearance, actions, environment, feelings, etc.

Material analysis.

Mental image of the hero (story "about himself"), and then the image aloud.

Analysis of language means.

Evaluation of the act, personal attitude to the character.

selective reading;

reasoning about the nature of the act;

supporting materials (illustrations, models, etc.);

Presentation of paintings, characters, events and creative storytelling.

IV. Analysis of the form of the work.

Consideration of the construction of the work, its genre features; observation of the linguistic means of depicting characters.

Observation of the form - the composition of the text (why such a structure was chosen), taking into account the features of the genre.

Comparison of content and form (what the chosen structure gives the author and readers).

Comparison of works of the same or different writers in form (features of composition, language).

re-commented reading;

Expression of personal judgments;

· comparative analysis;

rereading and clarifying the reader's positions.

V. Personal attitude in expressive reading.

Expressive reading as a result of the emotional-figurative and conceptual understanding of the work, the practice of expressive reading.

Revealing subtext.

Taking into account the features of the genre.

A conscious choice of speech means of expression - intonation.

Evaluate your reading.

Correction of one's own reading in the process of preparing the text for expressive reading;

test of reading options, their comparison and argumentation of the choice;

· expressive reading based on meaningful perception of the text.

Pay attention to the trend that appeared in the 90s of the past century: reading in primary school becomes literary reading, reflecting the artistic and aesthetic principle of constructing and studying the material. There is a gradual transition from thematic, illustrative reading to the creative interaction of the reader, the work and the author, the study of a literary work as an intrinsically valuable, authorial, individual.

The authors of new concepts and educational books for reading (3.N. Novlyanskaya, G.N. Kudina, L.E. Streltsova and N.D. Tamarchenko, T.S. Troitskaya, O.V. Dzhezheley, M.I. Omorokova and L.A. Efrosinina , E.E. Kats, V.G. Goretsky) build them in different versions, but preserve for children samples of the best domestic and foreign literature, organizing their full-fledged aesthetic perception, forming a creative reader who shows interest in reading, literature as the art of the word.

In the works of many of these authors, there is a noticeable tendency towards a wider introduction of literary concepts and concepts necessary for the perception of literature as an art of the word; ideas about the genre diversity of literature are expanding (large works are introduced - novels, legends, ballads, plays, essays); works and the book are studied together, each object in its own specifics; at the same time, the speech and literary development of students is carried out; great attention is paid to creativity.

Teaching methods are also varied: creative reading, literary conversations, analytical reading, commentary and selective reading, expressive reading, etc.

All these provisions indicate that the method of reading as a science and practice is constantly developing and should be in the field of view of the teacher.

3. The principle of taking into account age and individual characteristics of perception.

The perception of a work of art by children of primary school age has its own specific features. In the book, they see, first of all, the object of the image, and not the image itself, identifying artistic reality and real life. The focus of younger schoolchildren is the event and the characters, and the event is perceived as genuine, which took place in reality, and the characters are perceived as living people, participants in the events described. Research by L.I. Belenkaya and O.I. Nikiforova show that 8-year-old children are attracted by the detailed development of the action. The omission in the description of the act of one of the components makes it difficult to determine the features of the depicted characters even for fifth-graders; younger students, and detailed description they do not always take into account the circumstances, motives, consequences of actions, which leads to a one-sided assessment of the characters. Usually the heroes are either completely accepted by the children, or cause a negative feeling - there are no halftones and shades. Children 8-9 years old are able to generalize what they read. When reading independently, they distinguish more or less significant connections and relationships in a work of art, but mostly external, sensual, visual. The child generalizes within a specific image, a specific situation. By the age of 10, he comes to an abstract understanding of the ideological meaning of the work, although he usually refers in response to a specific image.

Knowing the specifics of a younger student as a reader helps the teacher plan the course of the analysis, but does not relieve him of the need to check the student's primary perception of the work: what they saw in the text on their own, what they have difficulty in, what passed their attention, to make adjustments to the intended course of the lesson. Therefore, a special stage is allocated in the lesson - a test of primary perception. The methodology for identifying the primary perception of a work of art is described in detail above (see "Methodology for identifying the level of literary development of younger students"). It is only important to emphasize that children's answers should not be corrected at this stage. Target this stage lesson - to determine what the children saw in the text on their own, and what they have difficulty in, what passed their attention, and make adjustments to the planned course of the lesson.

4. The principle of taking into account the needs of the child.

One of the specific features of younger students as readers is that they do not need to reread and analyze the text. Children are sure that after the first acquaintance with the work, they understood everything, because they do not suspect the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source of literary development. Consequently, the teacher must necessarily awaken in the young reader the need to re-read and ponder the text, to captivate him with analytical work. This goal is served by the third stage of the lesson - the formulation of the learning task. It is very important that the child accepts the task set by the teacher, and in the future he himself learns to set it for himself. It is advisable to use various methods of setting a learning task. First-graders can be carried away by an activity that is interesting for them, for example, designing a children's picture book. To decide how to design a book, you need to determine how many pages the text should be divided into and why, what and how will be shown in each illustration, what the cover will be. In order to answer these questions, the child, together with the teacher, rereads and analyzes the text, discovers something new in it that was not noticed before, and becomes convinced that careful rereading is necessary and interesting. Older children can be offered as a learning task problematic issue. Often such a question arises when checking the primary perception, when it is found that children evaluate the characters of the work differently or they have different emotional perceptions of what they read. Analysis in this case serves as a means of confirming or refuting the points of view that have arisen. A good way to set an educational task is to compare different options for reading a poem, various melodies, illustrations different artists to one work, etc., since the material for comparison always awakens the child’s thoughts, causes the need to make a choice and justify one’s position.

It is advisable to use various methods of setting a learning task.

Grade 1 - captivate interesting views, activities, for example, the design of a children's picture book (for this you need to re-read and analyze the text).

2-3 grade problematic issue (for example, children evaluate the characters of the work differently), comparison various options reading a poem, various melodies, illustrations by different artists to analyze the work.

5. The principle of careful attention to the text of the work.

After setting the learning task, children should be given the opportunity to reread the text on their own. Secondary perception of the text, directed by the formulation of the educational task - the fourth stage of the lesson. With the secondary perception of a large work, it is quite acceptable to re-read and analyze it in parts, since the text is already familiar to students.

6. The principle of unity of form and content.

This principle is based on the literary position on the unity of form and content. G. A. Gukovsky emphasized: “It is impossible to study a work without interpreting it, without permeating the entire study without a trace with an ideological interpretation. It is impossible to think like this: first we establish the object of interpretation, and then we begin to interpret, or like this: before talking about the idea of ​​a work, one must know the work. This is not true, since to know a work means to understand what is reflected in it in reality, that is, to understand its idea ... The problem lies in how to correctly, fully and convincingly reveal the idea of ​​a work for the "audience" , reveal it in the work itself, and not attach it to the work, reveal it in a system of images, and not only in the direct judgments of the author ... "

Accounting for this principle requires the teacher to carefully consider the wording of questions and tasks (Appendix 1).

Of course, it is impossible to do without reproducing questions, but they should not form the basis of working with the text, their role is auxiliary - to recall a certain place in the text to reproduce the episode. Compare from this point of view three questions to the story N. A. Artyukhova "Coward":

What did the guys do when they heard that Lokhmach had broken the chain? And how did Valya act?

Why did Valya run out to meet the dog?

The first question is of a reproducing nature, it does not lead to a deepening of perception, but only sends the child to a certain fragment of the text. The second question requires reflection, evaluation, but the student's thought is not directed at a work of art, but at solving a moral problem. The question does not encourage children to turn to the text, they answer, based on knowledge of the situation, on their own. life experience. Consequently, the enrichment of the individual through a work of art does not occur. And only the third question is analytical in nature, directs the attention of students to the image of the character by the author. Thinking over the meaning of the word “shrieked” in this description, the children understand that Valya is very scared, she is afraid of the formidable dog no less than the others, but still runs towards him, cannot do otherwise. This does not mean that she suddenly became brave, it means that there is a force that makes even a timid person take trouble on their shoulders. This force is love, the desire to protect the younger, responsibility for him. By coming to this conclusion, children gain more than knowing one more life situation- they acquire moral experience.

7. The principle of selectivity.

The lesson does not discuss all the elements of the work, but those that most clearly express the idea in this work. Consequently, the choice of the path and methods of analysis depends on the characteristics of the work under study.

The lesson does not discuss all the elements of the work, but those that most clearly express the idea in this work. Consequently, the choice of the path and methods of analysis depends on the characteristics of the work under study. For example, the perception of works that reveal the process of becoming a character's character (N. N. Nosov "On the Hill", "Patch", Yu. Ya. Yakovlev "Flower of Bread", L. N. Tolstoy "Bird", etc.), will help analysis compositions. You can use such a technique as drawing up a plan. This will allow to identify cause-and-effect relationships between episodes, to trace the development of the image-character. When studying stories based on one event that clearly reveals the life positions of the characters, their characters (V.A. Oseeva "Sons", "Three Comrades", L.N. Tolstoy "Shark", "Jump", Yu.Ya. Yakovlev "Knight Vasya", etc.), it is not advisable to analyze the composition. It is better to use the technique of verbal drawing, which allows you to recreate in your imagination the picture of life described by the author, to penetrate the emotional tone of the work, or reading by roles, which helps to understand the position of each character, to share the hero’s point of view and the author’s point of view.

8. The principle of integrity.

The integrity of the analysis means that the literary text is considered as a whole, as a system, all the elements of which are interconnected, and only as a result of comprehending these connections can an artistic idea be mastered. Therefore, each element of the work is considered in its relation to the idea. An analysis of a landscape, a portrait, the actions of a character, etc., out of context, leads to a distortion of the artistic idea. So, for example, in modern readers for elementary school, A. K. Tolstoy’s poem “The last snow in the field is melting ...” is abbreviated, the last two stanzas are omitted, and the text breaks in the middle of the sentence. The compilers of the anthologies introduce children to the description of the arrival of spring, and A. K. Tolstoy's poem contains a sad question: “Why is it so gloomy in your soul and why is your heart heavy?” The composition of the poem is built on the contrast of the harmony of nature and the confusion of the human soul, it is natural that in the absence of the second part of the poem, its artistic idea is distorted, the landscape given in the first two stanzas loses its functional orientation.

The principle of holistic analysis does not contradict the principle of selectivity. Analysis of one of the elements - the title of the text, composition, portrait of a character, etc. - can lead the reader to mastering the idea of ​​a work, if it is considered as one of the means of existence of an artistic idea.

9. The principle of focusing the analysis on the literary development of the child, on the formation of special reading skills, on improving reading skills.

In the process of analysis, students observe the specifics of a literary work, on this basis they form initial literary ideas, reading skills.

Particular attention at the initial stage of literary education should be given to the formation of reading skills, taking into account such characteristics as correctness, fluency, awareness and expressiveness. Improving the reading skill occurs in the process of analyzing the work due to the repeated return to the text. It is important that the rereading be analytical, not reproducing, so that the teacher's questions cannot be answered without referring to the text. In this case, the motivation of the child's activity changes: he no longer reads for the sake of the reading process itself, as it was during the period of literacy, but in order to understand what was read, to experience aesthetic pleasure. In this case, the correctness and fluency of reading become a means of achieving a new goal that is exciting for the child, which leads to the automation of the reading process. Consciousness and expressiveness of reading are achieved through text analysis and involve the use of tempo, pauses, logical stress, tone of reading to convey the feelings and experiences of the characters, author's position, his perception of the work.

10. Text analysis ends with synthesis.

During the lesson, a generalization stage is necessarily provided. Forms of generalization: highlighting the main problems posed in the work, analysis of illustrations, expressive reading, etc.

Homework should encourage children to reread the text from a new angle, should be a new step in perception.

Literature

1. Lvov M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching the Russian language in primary school. - M .: "Academy", 2000. - p. 142-148.

2. Methodological foundations of language education and literary development of younger schoolchildren / Ed. T.G. Ramzaeva. - St. Petersburg, 1996, pp. 40-64.

3. Omorokova M.I. Improving the reading of younger students. - M., 1997.

4. Ramzaeva T.G., Lvov M.R. Methods of teaching the Russian language in elementary grades. - M., 1987.

Questions and tasks for self-examination

1. What are they psychological features perception of a work of art by younger students?

2. How do the levels of understanding of the text and the levels of literary development of students correlate?

3. What literary foundations determine the methodology for working on a work of art in primary school?

4. What should be understood as the form of a work of art?

5. What principles underlie the analysis of a work of art?

6. What conditions of work on a work of art must be met in order for students to achieve results in this activity?

7. Conduct a practical study in one of the primary school classes: identify the level of literary development of students in this class. To do this, select the appropriate tasks (see the book. Methodological foundations of language education and literary development of younger students / Edited by T.G. Ramzaeva. - St. Petersburg, 1996. P. 42-52).

8. Conduct a literary analysis of works of art from educational material any anthology for primary school(optional): short story, fairy tale, fable, lyric poem, artistic description.

9. Based on the literary analysis of the selected works, determine the educational opportunities of the lessons in which the reading and analysis of the works will take place.

10. Define a circle literary concepts, which can become a means of in-depth reflection (analysis) of the selected work.

11. Compose 3-4 questions for an express survey based on the lecture material.

TECHNIQUES AND PRINCIPLES OF ANALYSIS

ARTISTIC WORK.

Any literary work is intended for a conditional interlocutor. In this sense, it is nothing more than a “message” from the author to the reader with the aim of influencing him in a certain way.

The theory of art in characterizing the ideological content of a work in

first of all, it reveals the author's understanding (explanation) of life, expressed in the work, and the author's judgment (assessment) of it, without opposing the ideological and artistic sides. At the same time, the forms and methods of the author's "explanation" and "sentence" of life can be extremely diverse both at different stages of the development of literature, and within various literary trends and even in the work of one writer.

School teaching is based on specific interpretations of works of art, the conclusions of the scientific study of the literary process, general principles analysis: historicism in the consideration of literary phenomena, a socio-psychological and humanistic view of the nature of art, the disclosure of the connection between the worldview and the artistic method of the writer, the discovery of the unity of content and form.

The most important thing is that when analyzing a work of art, we do not translate the work into a plan alien to the author's thought.

In the middle school, the story of I.S. has been studied for a long time. Turgenev "Bezhin Meadow". A story about children, but in many ways not for children. Very often, adapting the meaning of this wise story for teenagers, teachers limit its “idea” to the fight against Turgenev’s superstitions and sympathy for peasant children, although there are works in the methodology where the literary text is considered subtly and poetically (V. Golubkov, T. Zvers and others .).

"Bezhin Meadow" is a work about the complex relationships between man and nature, which, according to the author, has not only a "welcomingly radiant", but also a formidably indifferent face.

The interest and erudition of a teacher of literature should extend beyond textbooks and even personal monographs. A constant source of arguments and facts, in addition to literary criticism, are letters and diaries of writers, memoirs of their contemporaries and other documentary evidence. As in particular in our case. In one of his letters of 1841, Turgenev wrote: “Nature is a single miracle and a whole world of miracles: every person should be the same that is what he is ... What would nature be without us, what would we be without nature? Both are unthinkable!.. How infinitely sweet and bitter and joyful and at the same time hard life!.. One has only to go out into the open field, into the forest and, despite all the joyful in its depths, there is some kind of constriction, inner constraint, which appears just at the moment when nature takes possession of a person.

We are talking about Turgenev's views on the omnipotent elemental laws of nature and on man as a grain of sand or an atom, "a half-crushed worm." This idea is even clearer and more understandable for middle school students in Turgenev’s story “A Trip to Polesie” (1857): “I don’t care about you,” nature says to man, “I reign, and you worry about how not to die” .

This conviction passed through Turgenev's entire life and culminated in the creation of the prose poem "Nature". And do not be confused by the fact that in the senior school, when studying Turgenev's programmatic novel "Fathers and Sons", students learn that its main character, "naturalist" Yevgeny Bazarov, protests against such unfair, in his opinion, laws of nature: there will be their own logic, its own argumentation, based on the views of the "realists" Bazarov-Pisarev, on the dual position of the creator of the famous novel.

In Bezhin Meadow, for Turgenev, nature is a two-faced Janus: it gives the joy of silence, enlightenment, purity, but it also makes a person feel infinitely small in front of the vastness, helpless in front of its mysterious forces. The death of Pavlusha Turgenev connects both with the social troubles of the Russian village, and with the harsh law of nature, recognizing only the “slow animation” of life, and not a decisive impulse.

It will be difficult for sixth graders to understand this idea. But it is important that the students become imbued with Turgenev's sense of nature and, even if they do not agree with the writer, they would not bypass the idea that in the senior classes will develop into a more integral idea of ​​Turgenev's philosophical views. Such an approach is natural for upbringing education, on the principles of which teaching in our school is built. The worldview does not consist of rules and teachings. It should be based on lived and considered own experience. (The example is borrowed from the lectures of Professor E.A. Maimin.)

School analysis is the ratio of a literary work and reader's perception.

PURPOSE: TO RAISE THE READER'S EXPERIENCE TO UNDERSTAND THE OBJECTIVE MEANING OF THE WORK.

Analysis at school should encourage the student not to copy literary experience, not to become like a hero, but to create life.

PURPOSE: TO EDUCATE IMAGINATION, EMOTIONAL SENSITIVITY, AESTHETIC FEELING IN ADOLESCENTS.

In school analysis, we must rely primarily on the language of images and emotions.

And an image is an image of something, because it exists only to express something.

And you have to be able to open it. Complexity is caused by works in which judgments are less directly expressed or public or at least moral maxims are less openly expressed, for example, in I. Bunin's brilliant story " Easy breath". The situation is simpler with Turgenev's story "Asya" - N. Chernyshevsky helped here, revealing, although not completely, the essential ideas of this story about love and without maxims. I mean famous article Chernyshevsky about the story of Turgenev, representing the view revolutionary democrat on the behavior of the hero, who must one day make a choice, make a decision. The view, of course, is severe, “sociological”, beyond which, as it may seem, the poetry of human feelings has remained. By the way, there are still supporters of this opinion (see the article by Valentin Nadzvetsky "Love cross home: "Asya" by I.S. Turgenev").

In such cases, it is best to turn to the text of a work of art to resolve the dispute. And it turns out that here the primary source does not in the least contradict Chernyshevsky's view, which, going from the images of N.N. and Asya, debunks the noble hero. More precisely, the "trend" in the article is obvious, but it is set by Turgenev's text. Moreover, "social" and "intimate-poetic" in Turgenev, as in a true master, are often inseparable. For example, N.N., already burned on Asina's love. admits: “Youth eats gilded gingerbread, and thinks that this is their daily bread; but the time will come and you will ask for bread. The antinomy of "gingerbread" - "bread" is very transparent. The whole psychology of relationships N.N. and Asya is implicated in “sociology”: “strangeness”, the angularity of Asya’s behavior and the indecision of the hero by 90 percent stem from the connection between the nobleman and the maid of his late wife (the mother of the heroine); we read: “Asya has a passion to get acquainted with people of the lower circle” (unlike N.N.); further: “Asya seemed to me (i.e. N.N.) a completely Russian girl, yes, a simple girl, almost a maid” (is it by chance that Turgenev uses this “social sign” for the second time - the profession of a maid?); Gagin sadly testifies to N.N.: “She wanted ... to make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and proud of her. You see that she knew and knows a lot that she should not have known at her age ... But is she to blame? Here you have the fusion of "social" and "poetic" (more precisely, psychological)! And is the paraphrase of Herzen's "Who is to blame?" here accidental?

Of course, Asya and N.N. Opposite natures, like Varya and the narrator in Andrey Kolosov, like Natalia Lasunskaya and Rudin, etc.: “she never has a single feeling in half”, “Ace needs a hero, extraordinary person or a picturesque shepherd in a mountain gorge”. Neither one nor the other N.N. did not turn out to be, i.e., in fact, this is an anti-hero, which N.G. writes about. Chernyshevsky. (Even to Asya’s question: “What do you like in women?” - N.N. Couldn’t answer anything, considering Asya’s curiosity ... “strange”, as if she should have asked a question ... about men.) Of course, with a reckless impulse of a sincere soul, you can name the poor girl's confession, which she addresses to N.N.: "I will do everything you tell me."

So sociologically (according to life experience), and psychologically, and morally, Asya rises above N.N. the anti-hero of the story, and Chernyshevsky made his impartial conclusions about this not at all tendentiously, but based on the text of Turgenev's work.

A work of art is a complex system of connections in which each element organically interacts with others, influences them, and in turn is influenced by them. This can be called the coupling effect.

A literary work requires a structural interpretation. Analysis is not just an analysis of a literary work in parts, but only one that leads to an in-depth reading of it, to a more accurate penetration into the author's thought. Analysis in practice can appear in a variety of forms and guises. But DEEP INTERNATIONALITY is the first and main requirement for analysis and its indispensable condition. Meaningfulness literary analysis most determined by PURPOSE. Purposefulness is constantly in the process of the analysis itself asking questions: why? for what? for what purpose?.. These questions will protect us from all scholasticism.

For example, in a literature lesson, students look for plot elements. Is it good or bad? It is good if the search will help the students to understand the INNER MEANING of the WORK. For example, they are looking for a plot in the drama of A.N. Ostrovsky "Thunderstorm". Difficulties immediately arise: one student considers the first events of the play (Kuligin's words about harsh morals in the city) to be the plot, another the scene of Tikhon's departure, etc.

If for the teacher the definition of the plot of the plot of the play "Thunderstorm" is an end in itself, he will begin to weigh the correctness of the answer options. Formally, everything will be completed, but in essence this analysis will not lead to anything interesting. A conversation will turn out differently if distant goals are set before it. And then the difficulties caused by the contradictory answers turn into a natural and necessary stage in comprehending the inner secrets of a work of art.

In this case, the teacher immediately draws the students' attention to the very diversity of answers. Why was it difficult to find the tie? Obviously, because the plot in the drama "Thunderstorm" is not very clearly expressed. But this happens when the intrigue in the play is not sharpened, when the background of life, the real situation with secondary characters and conflicts, turns out to be no less important for the inner meaning of the play than its eventual side. A certain plot occurs where there is a clear line of action, where this action is the structurally organizing beginning of the work. This obviously does not apply to the drama "Thunderstorm". The action in this play is emphatically slowed down, it often goes sideways, bifurcates.

It also turns out that most of Ostrovsky's other plays are not dramatic events and not dramas of characters, but something else, fundamentally new in its genre. ON THE. Dobrolyubov already then came to the conclusion that Ostrovsky’s plays “are not comedies of intrigue, not comedies of characters in fact, but something new, to which we would give the name “plays of life”. This conclusion is consistent with our conversation. There is no definite beginning in drama, and there are many beginnings in it. It's just like in life. It is Ostrovsky's desire to be truthful that leads him to deviate from strict and traditional plot schemes.

So, we started our conversation with the beginning of the plot action, and ended it with the peculiarities of Ostrovsky's drama as a whole. For students, this is a real discovery, "eureka". To subordinate the analysis to the goal means through the analysis of the formal elements of the work to lead to an understanding of its content, meaning, and author's position.

Or, for example, the analysis of the actual language of the work. The teacher invites students to find in the text and underline epithets, metaphors and other means of poetic language. But this should not be an end in itself. The teacher must explain what the context is, because only in the context the figurative essence of these means is revealed. And then he will be able to justify why we so often pay attention to these epithets, metaphors, comparisons in the analysis, what role they play in a literary text, what are the features of the epithet in this writer and in this work, and finally, what features of the writer's talent, what aspects of his artistic predilections are evidenced by this or that means. (A good example of such a conversation about the epithet is the work of A.V. Chicherin “On the language and style of the epic novel“ War and Peace ”and“ The Power of the Poetic Word. ”The epithets of Pushkin and Tolstoy are compared there, and through them the author draws significant conclusions about worldviews both.)

Now for the metaphor. Finding a metaphor is half the battle. It is important to determine why. The main thing is to teach to reveal the inner content of the metaphor, that is, to reveal the image. Pushkin's poem "October 19, 1825" begins with the line: "The forest drops its crimson dress" Here, the metaphor in the context of the line contains hidden figurative meanings. “Drops” is not just leaves falling, but occasionally and as if involuntarily: this is a sign of late autumn. In autumn, nature is beautiful, solemn and majestic. Hence the metaphor "dress" - outfit. And next to it - the poetic, sublime "crimson". This is the context. In other words, the analysis of a metaphorical word teaches schoolchildren both to capture the poetic word separately and to determine its artistic and semantic meaning in a poetic context.

It is possible to make discoveries in literature lessons in both big and small things. Here the teacher is talking about the features of portraiture in "War and Peace" by L.N. Tolstoy. Tolstoy's portrait is not static: among the characteristic details, Tolstoy singles out one main constant "metonymic companion" (V.V. Vinogradov), but this "satellite detail" is different. The "massive, fat" figure of Pierre is "clumsy", "strong", "confused", "angry", "kind", "mad". Beautiful face Prince Andrei can be "bored", "excited", "arrogant", "affectionate". Dolokhov's light blue eyes are "clear", "arrogant", "courageously calm", "contemptuous", "gentle". All this conveys the "fluidity" of character. This is how a living image is born.

Discoveries in literature lessons can be different both in scale and in nature. L.N. Tolstoy wrote about the artistic word-detail: "Each artistic word, whether it belongs to Goethe or Fedka, differs from the non-artistic in some way, which causes countless thoughts, ideas and explanations."

The choice of a starting point for analysis is determined by many conditions: the general plan for studying literature, the level of the teacher's training and his literary interests, the level of the students' general and literary culture. For example, the grouping of images is analyzed when it is sharply expressed and when it determines the artistic solution of the problem (“Fathers and Sons” by Turgenev, “Thunderstorm” by Ostrovsky). Less justified is its identification in Saltykov-Shchedrin's fairy tale "How one man fed two generals." And it is completely meaningless in Pushkin's poem "I remember a wonderful moment ..." It is advisable to study the composition in Pushkin's novel "Eugene Onegin", because it characterizes the novelty of the "novel in verse" genre. The study of the plot is necessary in the analysis of Gogol's comedy "The Inspector General", since it is important, first of all, the system of events, already as a result of which the characters' characters are revealed.

Of course, the study of the image of a character is one of the main subjects of classes in literature (after all, its specificity is “human science” in images). However, trouble lurks here: Faust is almost Chatsky, Chatsky is similar to Onegin, Onegin is close to Pechorin, and they all resemble Hamlet; Bazarov is comparable to Lopukhov, and so on. One of the reasons for such unification is a certain automatism of talking about heroes. That is, the teacher can speak about Pechorin in the same sequence and in the same volume as about ... Rakhmetov.

But where does our acquaintance with a person in life begin? Usually from the very first, external impression. And our acquaintance with a literary hero most often occurs through a portrait, then through speech, then through his attitude to people, people to him, here the hero in his choice, actions and, finally, our “verdict” - what can we about him to say...

With all the variety of possible aspects of considering a literary work, it should be remembered that the beginning and end point of the study is the literary text itself, taken in the entire complex system of links, interconnections of its components that form a single whole. But any aspect of analysis chosen by the teacher can be justified only if it is purposeful, helps to enter into the inner essence of this work, enriches the idea of ​​it as an ideological and aesthetic integral phenomenon.

IMPORTANT TO REMEMBER: epic work can be analyzed from different points of view: to study the creative history, to consider the relationship between life material and artistic plot, to find out the meaning of the title and epigraph in connection with the general idea, to consider the system of images, the originality of the composition as a whole or the features of some compositional techniques, consider the originality of the plot.

The versatility of the epic gives us great opportunities to choose the angle of view in the analysis, taking into account the peculiarities of the writer's method.

Reflections on the author's position arise with the widest angle of view on the text, because, in the end, the personality of the author, his worldview is revealed to us in every detail of the artistic whole, no matter what aspect of the analysis we take.

The essential properties of drama largely determine the ways of analyzing dramatic works. Along with the general (for epic, drama and lyric) ways of analysis (figurative system, composition, originality of language, etc.), there are also ways, or rather, aspects of analysis, that are most suitable for dramatic genres. This, for example, is an analysis of the grouping of characters, because the grouping of characters often brings out the essence of the dramatic conflict most clearly; it is an analysis of the development of action, because in drama, action is the basis of plot and composition; action in a play expresses the pathos of the playwright.

But still, the most important substantive category in the drama is the conflict. The analysis of this aspect allows, based on the generic specifics of the drama, to reveal the depth of the artistic content of the work, to take into account the peculiarities of the author's worldview. It is the consideration of the conflict that can become the leading direction in the school analysis of a dramatic work, because. high school students are characterized by an interest in real clashes of beliefs and characters, through which the problems of the struggle between good and evil are revealed. Through conflict, schoolchildren can be led to comprehend the motives behind the words and actions of the characters, to reveal the originality of the author's intention.

The poet himself, his personality, his subjective attitude to reality, to society, to himself is always expressed in the lyrics. The personality of the poet, his worldview are of most interest to us in the analysis of lyrics. The present

Lyric analysis is difficult. The difficulty lies in the fact that, on the one hand, we must avoid an overly sociological approach to the poem, and, on the other hand, an overly formal analysis. One has to speak about poetry in prose and this is also difficult. Not translating poetry into prose requires skill, even art. Poetic speech is unusual: a simple thought expressed in verse becomes a significant, generalized fact. The tendency to generalize is one of the most essential properties of poetic speech.

Poetry speech has its own additional laws arising from the very nature of the verse and its features.

Lyrics as a direct response of the poet to the most secret, intimate facts of his biography this love lyric. Turning to her arouses interest not so much in the position of the poet, but in that woman. Therefore, it is so important in the process of analyzing lyrics to show students that a lyrical work is not limited to instant impressions. Between an external impulse and a lyrical work lies difficult process creativity, transfiguration of the momentary into the eternal.

“The lyrics have their own paradox. The most subjective kind of literature, it, like no other, strives for the general ”(L.Ya. Ginzburg“ On Lyrics ”).

A lyrical work is a kind of poetic result of the work of the poet's imagination and thoughts. Therefore, it is important to familiarize students with creative stories. lyrical works. A brilliant example is the book of the outstanding Pushkinist S.M. Bondi “Drafts of A.S. Pushkin.

When analyzing lyrics, the focus should be on the movement of poetic thought. This does not at all imply a retelling of the poetic text, but requires penetration into the complex system of links of all components of the work, in which there are not only neutral words and syntactic forms, but also neutral rhythms and sounds.

As a matter of fact, a work of art, including a literary one, is intended for perception, precisely for perception, and only for perception.

Artistic perception is largely determined by a work of art, which is not only the main source of artistic information, but also sets the way for its “reading”, “translation” into the emotional-figurative plane of the subject. In a literary text, in the system means of expression there is always a code that allows you to decipher the hidden meaning.

And finally, it should be borne in mind that artistic perception does not always appear in an expanded form. It may stop at a preliminary emotion or at the level of recognition of habitual images, but it may rise to high voltage(shocks), when the recipient experiences joy not only from the meaning and feelings revealed to him, but also from the very act of discovery.

BIBLIOGRAPHY

1. Analysis of a work of art: A work of art in the context of the writer's work. M., 1987.
2. Bondi S.M. Chernoviki A.S. Pushkin. M., 1978.
3. Gachev G.D. Image in Russian artistic culture. M., 1981.
4. Ginzburg L. Literature in search of reality//Questions of Literature.1986.№2.
5. Golubkov V. artistic skill I.S. Turgenev. M., 1955.
6. Gukovsky G.A. The study of literature in school. M.; L., 1966.
7. Zvers T. Moral and aesthetic education of students in the study of the literary landscape in grades 5-6. L., 1967.
8. Marantsman V.G. Analysis of a literary work and reader's perception of schoolchildren. L., 1974.
9. Nedzvetsky V. Lyubov cross house: "Asya" I.S. Turgenev // Literature: Supplement to the newspaper "First of September". 1996. No. 7.
10. Text and reading // Questions of Literature. 1990. No. 5.6
11. Chicherin A.V. On the language and style of the epic novel "War and Peace". Lvov, 1956.
12. Chicherin A.V. The power of the poetic word: Articles. Memories. M., 1985.

1) The principle of purposefulness(41, 114, 179, etc.).

This principle, firstly, determines the ultimate goal of the analysis of a work - the development of an artistic idea by schoolchildren - and allows you to set the priority of the learning objectives of the lesson: the main goal of each literature lesson is the development of the artistic idea of ​​the work under study. Based on this goal, the teacher determines the choice of means to achieve it, that is, decides what literary knowledge and to what extent students will need, what observations of the specifics of this work should be done in the lesson, what methods of text analysis will be effective, what kind of work to develop speech and improve reading skills.

Secondly, the principle of expediency suggests that each question or task of the teacher is a step towards mastering the idea, a necessary link in the overall logical chain analysis, pursue a specific private goal: they activate knowledge, form a certain skill.

In the traditional method primary education the term "artistic idea" was replaced by the term "main idea", which was considered, probably, more understandable to students. In reality, however, there was not just a replacement of terms, but a substitution of concepts, which was clearly manifested in last years, when the "ban" from the word "idea" is lifted. So, for example, in the manual "Russian Language in Primary School" we read: "We must remember that the meaning of the work is not in individual images, but in the system, in their interaction." It is quite possible to agree with this judgment, but right there the author writes: “Awareness of the idea of ​​a work is an understanding of the main idea of ​​the author, for the sake of which he created his creation.” (175, p. 328). This definition is no longer addressed to the student, but to the teacher, who also forms a distorted idea of ​​the artistic idea of ​​the work, allegedly equal to the "main idea of ​​the author." On the same page we read: “Identification of the author's position does not need to be done when analyzing each text, but only when the teacher feels the need for a deeper understanding of the author's idea by the children” (175, p. 328). Consequently, according to the author, "a less profound understanding of the idea" is quite possible outside the author's position. Thus, even in the case when the list of lesson tasks contains a wording about understanding the idea of ​​a work, in most cases it turns out that the teacher leads the children to the same notorious allocation of the “main idea” arising from the analysis of the life situation depicted in the work.

The priority of the learning objectives of the reading lesson also does not always correspond to the principle under consideration. “When developing lesson plans, the main emphasis should be placed on understanding, awareness by children of what they are reading, because understanding and awareness are the main, leading sides in mastering children’s reading skills,” write the authors of educational books for reading “Our Russian Word” (36 , p. 3). As can be seen from the quote, mastering the artistic idea of ​​a work is replaced by reading comprehension, while comprehension is considered as one of the qualitative characteristics of the reading skill. Thus, as it was in traditional teaching, the formation of reading skills acts as the main goal of the lesson. Consequently, the principle of purposefulness is not respected in the practice of elementary school.

2) The principle of relying on a holistic, direct, emotional perception of what is read(14, 114, 117, 137, 177, etc.).

The interest of the child in the analysis of the work, the entire course of work in the lesson largely depends on how the work is perceived by the reader. The principle of direct, emotional, holistic perception of the work is associated with the organization of the primary perception of the text.

Psychologists have repeatedly emphasized that younger students overcome certain age-related shortcomings in the perception of a work of art due to increased emotionality (6), therefore, in elementary school it is especially important to create the necessary emotional atmosphere for the initial acquaintance with the work. Unlike high school, where students get acquainted with the text most often at home, on their own, in elementary school, the primary perception is almost always carried out in the classroom, and the teacher has the opportunity to create conditions for the most adequate perception of the work. The degree of understanding of the text by younger students depends on who and how the work was read (139,149,184). The easiest way is to understand the text if it is perceived from the voice (heard), the most difficult thing is when reading "to oneself". Of course, the level of perception depends on the degree of expressiveness of reading the text, on the interpretation of the work by the reader. Therefore, it is advisable that children hear the work performed by the teacher for the first time. The primary reading of the teacher is supported by many methodologists, but often a different meaning is put into this reading: “The teacher should not be embarrassed by the fact that texts that are rather difficult to read are placed in the textbook ... The teacher must certainly make their first reading, loading the children with the task of following him , teacher's reading, helping oneself with a finger or a pen, ... and echoing the teacher in an undertone or even a little ahead of him ”(36, p. 7). Actively promoted by modern guidelines and primary reading "chain" (36, p. 149). It is obvious that in both cases it is not only impossible to perceive the work as an aesthetic value, but it is generally difficult to understand the actual content of the text.

The aesthetic approach to literature and the principle of a holistic perception of a work require that the text be presented to the child in full, without adaptation, since the analysis is based on establishing links between the individual details of the text and the whole - the artistic idea, and it is impossible to master the idea of ​​the work when getting acquainted only with an excerpt from it. In recent years, the reading circle of children has changed and the volume of the studied works has significantly increased, which does not always allow reading the text in full in the lesson. But even in this case, it is advisable to start analyzing the text after the children have finished reading the work at home on their own.

Another methodological requirement arising from the principle under consideration is that reading should not be preceded by any tasks on the text of the work, so as not to interfere with the immediacy of children's perception, because any teacher's question will set a certain "focus" of consideration, reduce emotionality, narrow the possibilities of influence, embedded in the work itself. However, in a number of modern manuals, built on the principle of a conversation with a "young friend", "beginning reader", primary perception is systematically preceded by tasks. For example: “Reading the poem [“The Story of Vlas, the Lazy Man and the Lazybones” by V.V. Mayakovsky - M.V.], try to trace how Vlas went to school” (35, p. 187). In this case, the child's attention is directed to a layer of facts, beyond their comprehension and evaluation. Another example: "Read the poem by K.I. Chukovsky ["Joy" - M.V.], think about why the poet gave it such a name" (35, p. 224). Job activates thinking student, while the full perception of this poem is facilitated primarily by surprise caused by unexpected transformations, joyful empathy, a surge of imagination. The question of the textbook interferes with direct perception, reduces and simplifies the emotional reaction that Chukovsky's poem evokes, perceived by children without guiding tasks.

Sometimes the desire to prepare children for the perception of the work turns into the creation of an anti-aesthetic attitude. So, for example, before getting acquainted with A.P. Chekhov’s story “Vanka”, children are invited to read an excerpt (last paragraph) from Vanka Zhukov’s letter, and then a series of questions and a learning task follow: “What do you think, when and by whom this letter was written ? What can you learn about the boy from this part of the letter? How do you feel about what Vanka wrote? To get to know this boy better, read the whole story” (79, p. 159). As follows from the wording, the meaning of reading is acquaintance with boy, i.e. beautiful reading fiction story comes down to expanding the everyday experience of schoolchildren: they learn about the plight of one boy and sympathize with him. This has nothing to do with aesthetic perception, since the attention of children, even before reading, is directed to comprehending the actual details of the text outside of their depiction and the author's assessment. "Analysis" of the work after reading is also based on the selection and detailed reproduction of specific events. True, in the last - twelfth and thirteenth - questions of the anthology, the conversation suddenly turns to Chekhov: “Why did Chekhov call Vanka's letter “precious”? How does the author feel about his character? Support with words from the text. (79, p. 164). The appeal to the author at the end of the "work with the text" is of a formal nature and can no longer "reverse" the established attitude towards the everyday perception of the story.

3) The principle of taking into account age and individual characteristics of perception.(14, 41, 61, 114, 117).

In the works of V.G. Marantsman convincingly proved that the student's perception is the same important component of the analysis as the text of the work (117, 119, etc.). Specific age-related features of the perception of a literary work were discussed in detail earlier. Of course, knowing the specifics of younger students as readers helps to plan the course of the analysis, but does not relieve the teacher from the need to check how the work being studied is perceived by his students. Checking the primary perception at the beginning of the lesson allows you to correctly determine the direction of the analysis, create a setting for the secondary reading of the text, based on the impression of what you read. The principle of taking into account children's perception should be considered in line with the idea of ​​developmental education. It is advisable to analyze the work, based on the zone of proximal development of the child, pushing the limits of what is accessible. Analysis should be difficult for the child: only overcoming difficulties leads to development.

We meet a different position in one of the teaching aids: “If, for some reason, the teacher finds this or that text difficult, he may not subject it to analysis, analytical consideration, but make the main type of work multiple reading of the entire work, first the teacher’s, and then "alternate" student, when one student reads, while others follow his reading in their books ”(36, p. 7). One cannot agree with such a position, since the teacher leaves the student without help at the very moment when the young reader needs guidance. Following this advice will again lead to the use of a work of art only for training the technique of reading, to the formation of an attitude towards superficial perception.

4) The principle of creating a setting for the analysis of a work (41, 114, 117,179, 209).

Text analysis should meet the child's need to understand what they read, but one of the specific features of younger students as readers is that they do not need to analyze and reread the text. Children are sure that after the first acquaintance with the work they "understood everything", because they do not suspect the possibility of a deeper reading. But it is precisely the contradiction between the actual level of perception and the potential of the meaning of a work of art that is the source of literary development. Consequently, the teacher must necessarily awaken in the young reader the need to re-read and ponder the text, to captivate him with analytical work.

It is very important that the student accepts the learning task set by the teacher, and then he himself learns to set it for himself.

Despite the fact that the presence of a learning task is a general didactic requirement for a lesson, the corresponding stage of a reading lesson is by no means always singled out by methodologists. For example, in the manual for students "Russian Language in Primary School" when describing the structure of a reading lesson, the stage of setting a learning task is not singled out (175, p. 338.). In recent years, elementary educators have begun to recognize the possibility of using elements of problem analysis, but the emphasis is on the process of analysis rather than setting up. It is emphasized that, “taking into account the naive realism of readers, problem situation it is necessary to build based on the eventual basis of the work, on moral collisions” (175, p. 324). Thus, the focus of students will again be only a layer of facts, a real life case will be discussed, and not a work of art, which will lead to the strengthening of the naive-realistic position of the reader.

In the practice of primary school, the educational task of a lesson is more often associated with the acquisition of literary knowledge and practical skills by the student, and the process of comprehending a work is interpreted as a means of solving such a task. For example, a lesson on the topic: “Accent reading of a lyrical text. A review of S.A. Yesenin's poem "The fields are compressed, the groves are bare ..." begins with the following learning task for the students: "Today we will again learn to write a review about the poem. What is the main thing in the poem that the reader should subtract in order to write a good review later? (83, p. 219). In a number of teaching aids, the educational task is not put before the children at all (36, 161).

Meanwhile, it was in the younger school age acceptance of the learning task is particularly important. Young children cannot engage in one type of activity for a long time, it is difficult for them to follow the development of thought throughout the lesson, they are often distracted, they do not know how to listen to each other. It is no coincidence that experienced primary school teachers always repeat the student's answer, not even always supplementing or reformulating it, because they know that children perceive the teacher's words, but not a fellow student. Observations of children in reading lessons show that they willingly raise their hands and answer the teacher's questions, but this activity is external: the very fact of the answer is important for the child, and not the content of what was said. If the teacher repeats his question, then the next students will repeat the answers of their comrades. If a learning task is not set for the students, then the reading lesson breaks up for them into separate, not bound friend with other questions and assignments. The child either connects to the general conversation, or is distracted from it, losing the core of reasoning. In this case, the purposefulness of the analysis exists only in the mind of the teacher.

It is very important to pay attention to the place of the learning task in the structure of the lesson. It is advisable to create a setting for analysis only after reading and identifying the primary perception of the work. The learning task set before reading can distort the perception of the text, as mentioned earlier. If the task is set immediately after reading, without revealing the perception of children, you can waste the lesson, working on what is already clear to everyone, and leaving unclaimed children's questions.

1) The principle of the need for a secondary independent reading of the work.

This principle is typical for the initial stage of literary education and is due to the fact that it is difficult for primary school students to navigate the text: their reading field is still small to find the right passage in an unfamiliar text, children are forced to reread it from the very beginning. Since in most cases the work is read aloud by the teacher, children must be given the opportunity to read it on their own, otherwise the analysis of the text will be replaced by a conversation about the layer of facts remembered by the children after the first perception of the work. Secondary reading leads to a deepening of perception: knowing the content of the text as a whole, the child will be able to pay attention to individual details, to notice what went unnoticed when listening. However, the time of the lesson is limited, and when studying a large work, it is possible to reread and analyze it in parts, since the text is already familiar to students.

6) The principle of unity of form and content (14, 38, 41, 60, 117. 177, etc.).

This principle has a general methodological significance, which was discussed above, and a particular one, associated with the formulation of tasks and questions addressed to children during the analysis.

M. M. Girshman wrote: “What methods and means does the writer use in his work? Often one has to read and hear such phrases when analyzing literary works and artistic forms. Yet such a question distorts the essence artistry, reduces the art form to materials and techniques. A graphomaniac can also use means and techniques, but a real writer is always driven by the desire to discover new things for people. life meaning, "enlightening the truth" (L. Tolstoy), into the only possible form of existence and embodiment of which all methods and means turn. And if we are talking about understanding a work in the unity of content and form, then we must ask not about what methods are used, but about what means a given element of the artistic form of the whole, what specific content it embodies. And it belongs real artistic value not to the element in itself, but to the work as a whole” (34, p. 57).

Each task of the teacher in the lesson should be a step towards comprehending the artistic idea of ​​the work. Students are required to comprehend the author's position, and not to reproduce the external content of what they read, not to clarify where, when, with whom and what happened. The analysis is subject to the image of the life situation by the author, the text of the work, and not the life depicted in it. However, in the methodology of elementary education, one often encounters not just a separation of form from content, but also a complete disregard for the artistic form. As a result, instead of analyzing the artistic works is coming a conversation about one of the possible life situations, a specific case is “understood”.

An example of the traditional "analysis" of V. Bianchi's story "The Musician" can be found in the manual for teachers (145). Immediately after reading, children are asked to answer a series of questions:

What was the old hunter's hobby? Was he good at playing the violin? How did the old hunter feel about music? Read about it in the text. What did the familiar collective farmer advise the hunter? What music did the hero of the story hear in the forest while hunting? What are bear hunters called? Why didn't the old bear cub shoot the bear?

From the story you can learn about the bear, that although he is a big beast, he is very careful. Find the lines that talk about it. Who noticed what the "musical" stump looked like? What kind of stump remains from a sawn tree? (Smooth, smooth.) And what is this one? How did he appear? Find words that talk about it.

The first series of questions involves the work of reproducing the text. Each of the questions in the story is given a direct and clear answer. It is enough for the child to find the right place and read it out, or simply remember the corresponding fragment of the text. Such work contributes to the improvement of reading skills, but does not lead to a deepening of the perception of the story, since the child only repeats what is written, but does not reflect on the text. Therefore, the last question, which requires generalization, will receive a specific answer - the last phrase of the story is read: "How can you shoot him when he is a musician like me." Such work cannot be called text analysis, since the idea of ​​the work remains undeveloped by the student.

The second series of questions requires the child to have some intelligence and attentiveness, but the conclusions are so far from the artistic idea of ​​the story, what can be called this work with the text of the analysis of the work is also impossible. The child will gain knowledge of what shape a stump can be if a tree is split by a thunderstorm, and the huge moral potential of the story will remain out of the student's field of vision.

When analyzing this work, the child's attention should be focused on what how the author describes the forest, why he does it, that is, on an art form. In order to comprehend the purpose of this or that element of the text, the child will definitely have to re-read the corresponding fragment, think about the answer, which is not as obvious as in the first case. Having realized the role of the figurative and expressive means of the language, the student will come to understand the idea of ​​the work, he will discover that layer of moral problems that he did not master at the first perception of the text. After all, it is known that children most often skip the description of nature, considering these fragments uninteresting, superfluous. AT this story the reader can experience the same feelings that an old hunter experiences only if he carefully reads the description of the forest, listens to the silence, to the gentle singing of the wood chips. And having survived what the hero went through, seeing the beauty revealed to the old man, the child will understand that it is impossible to kill a bear: it means shooting at the beauty of the world, killing a kindred soul.

This example cited from a manual published in 1987, but unfortunately, in the twenty-first century, ignoring the art form has not been eliminated by the methodology. So, for example, a poem by A.S. Pushkin's "Bird" becomes material for the study of "native customs of antiquity" (79, 168). Acquaintance with the poem is preceded by a conversation about the feast of the Annunciation, and not a story about the poet. The poem is interpreted as a poetic description of an old custom: “Pushkin writes that, even while in a foreign land, in other country(?! – M.V.), he observed this custom” (79, p. 261). “Work” with the text is limited to several questions: “What bright holiday and ancient custom does the poem say? ““I became available for consolation ...” How do you understand this expression? (168, p. 186). “How can you title a poem according to an event? And by main idea? (168, p. 137). “What does the poet feel when he sets the bird free?” (79, p. 262). As you can see, there is not a single task that addresses the art form, there is not even an attempt to move students beyond understanding the superficial layer of facts that served as an incentive to create a poem. One of the reading books invites children, following Pushkin's text, to get acquainted with the poem of the same name by Pushkin's contemporary F.A. Tumansky, which in itself is very successful. But, unfortunately, the texts are considered in isolation, all work with Tumansky's poem comes down to the interpretation of figurative expressions: “How do you understand the expression: “... I dissolved the dungeon of my air captive”? How can you say this in other words? How more expressive? . In order to decide “how more expressive”, you need to think about the meaning, the artistic idea of ​​the poem, but the reader does not contain such tasks. Meanwhile, a comparative analysis of the poems of the same name by contemporary poets turns out to be an effective way to awaken the thoughts of young readers, helps to see for yourself how rich and ambiguous a poetic word can be, what an “abyss of meaning” Pushkin’s lyrics carry.

Another variant of ignoring the form of a literary work is associated with a widely used method of work in elementary school, in which children are asked to look at an illustration before reading a work, guess what will be discussed, and then check their reader's assumptions by reading the text. Children perceive a visual image before a verbal one, it is believed that this contributes to a deeper perception of the work. However, L.A. Rybak’s research showed that “if an additional stimulus, visualization, stands in the way of figurative comprehension between a work of art and a student, then the activity of figurative thinking necessarily decreases.<...>And some students generally refuse the reader's recreation of the hero's appearance, because their own impressions are obscured by a vivid image-interpretation received from an additional source of clarity” (176, p. 112).

Thus, non-compliance with the principle of unity of content and form is manifested in the fact that a conversation about what has been read is aimed at reproducing a layer of facts, often it is built outside of referring to the text, while it inevitably comes down to a discussion of a life situation, extracting information, but does not lead to the development of spiritual the content of the work.

7) The principle of novelty (15, 41, 114, 117).

Analysis should carry an element of novelty, make the secret clear. And the point is not in the scale of the discovery, but in the fundamental necessity of it, and in the fact that novelty should come from the text, and not be introduced from outside (114).

In the practice of elementary school, novelty is associated primarily with additional information about the writer, about natural phenomena, about historical events reflected in the work, with an acquaintance with literary concepts, that is, it is something external in relation to the work. All this information is necessary and important, but not in itself, but as a means of comprehending the work being studied. But bringing a reproduction to a lesson, providing bibliographic information about a writer, or giving a definition of rhyme to a teacher is much easier than creating your own interpretation of a work. Teaching aids are of little help to the teacher. Most modern textbooks and methodological recommendations do not contain a holistic interpretation of the text, which, in our opinion, is both a necessary starting point in preparing a teacher for a lesson and the result of studying a work. This is not about imposing on the child a teacher's reading of the text, but about the purposefulness of the analysis. If the lesson is not based on any concept of the work, then the lesson turns into a set random tasks, which do not lead to the comprehension of an artistic idea, and do not give anything new to the student. Such tasks often draw the attention of children to individual elements of the form (epithets, rhymes, stanzas), but these elements are considered out of touch with a holistic artistic image. For example, in grade 3, children get acquainted with two poems by F.I. Tyutchev "There is in the original autumn ..." and "The Enchantress in Winter ...". The guidelines offer a comparative analysis that seems quite appropriate. But here is the plan of this analysis: “The structure of stanzas, the allocation of rhymes, titles, contents (feelings and thoughts of the poet)” (48, p. 42). This plan clearly demonstrates the anti-aesthetic approach to the work and the lack of elementary logic: these poems have no titles - they are called by the first line; to consider the structure of stanzas separately from the content, as well as to single out rhymes on their own, is meaningless. Comparison of "contents", i.e. The "feelings and thoughts" of the poet outside the form of their expression, at best, can lead children to a "deep" conclusion: Tyutchev loved both autumn and winter. Thus, children will not acquire a new vision of the text in such a lesson.

7) The principle of selectivity(13, 41, 114, 177, etc.).

Non-compliance with the principle of selectivity leads to "chewing" the work, to a constant return to what is already understood and mastered by the students. “... both the researcher and the teacher can and should indicate and analyze only such a number of elements that enough to demonstrate the ideological nature and composition of the work. This does not mean that they have the right to ignore this or that group of components. They owe take into account all of them - all groups, all categories of components. But they will select from all the groups of components they have taken into account for demonstrative analysis only those that implement specifically the general and unified principle inherent in the very creative method of the work, which are mostly consistent with it, follow from it, determine it, ”wrote G.A. . Gukovsky (41, p. 115). An artist's thought can be comprehended through an epithet, a portrait, features of plot construction, etc. provided that each element is considered as part of the whole. Therefore, the principle of selectivity is closely related to the principle of the integrity of the analysis.

9) The principle of accounting generic and genre specific works, its artistic originality(15, 41, 114, 117, 137, 177).

According to the traditional Soviet program, younger schoolchildren got acquainted with only some genres, and at the practical level, without highlighting and understanding the essential features of a particular genre and the principles of dividing literature into genera and genres. Recently, primary education specialists have made a significant step forward in developing a methodology for studying small folklore genres, fairy tales, and myths. But it is still too early to consider this problem solved.

Of particular difficulty is the study of lyrics. For a long time, elementary school was characterized by a "natural history" reading of landscape lyrics. Despite the fact that in theoretical works such an approach has long been recognized as unlawful (86, 163, etc.), relapses of "natural history" reading are found not only in practice, but also in modern methodological recommendations. For example, in the textbook "Our Russian Word" when studying the poems of A.A. Fet "Spring Rain" the following task is offered: "Have your memory retained at least one impression of the spring rain that you yourself observed? If you have forgotten your impressions of the spring rain, then remember what the poet draws so vividly” (35, p. 163). The question to the poem “This morning, this joy ...” sounds even more straightforward: “What signs of spring are reflected in the poem?” (35, p. 165). In the textbook "Russian Literature" after reading the poems of F.I. Tyutchev, A.K. Tolstoy, I.A. Bunin, S.D. Drozhzhin and V.Ya. Bryusov are given the task: “In the verses about spring, find those that speak of the earliest time of this season, then select those in which spring has already fully come into its own” (174, p. 234).

This principle should be taken into account both in the general direction of the analysis and in the choice of methods. The richness and uniqueness of works of art should correspond to a variety of methods of analysis.

10) The principle of focusing on improving reading skills

This principle is specific to the initial stage of literary education. The formation of reading skills, taking into account such characteristics as awareness, expressiveness, correctness and fluency, is one of the tasks of primary literary education. There are various approaches to its solution in the methodology. It is possible to develop skills through special exercises: repeated rereading, introductions of five minutes of buzzing reading, reading specially selected words, texts, etc. This approach is fruitfully developed by a number of scientists (V.N. Zaitsev, L.F. Klimanova and others). But it is possible to improve the reading skill in the process of rereading and analyzing the work (T.G. Ramzaeva, O.V. Chmel, N.A. Kuznetsova, etc.). Analysis requires repeated and careful reading of the text. It is important that the reading is analytical, not reproducing, so that the teacher's questions cannot be answered without referring to the text. In this case, the motivation of the child's activity changes: he no longer reads for the sake of the reading process itself, as it was during the period of literacy, but in order to understand the meaning of what was read, to experience aesthetic pleasure. The correctness and fluency of reading become a means of achieving a new, exciting goal for the child, which leads to the automation of the reading process. Consciousness and expressiveness of reading are achieved through text analysis, and involve the use of tempo, pauses, logical stress, tone of reading to convey the feelings and experiences of the characters, the author's position, and one's perception of the work. During the analysis, different types reading - reading aloud and to oneself, viewing and attentive, thoughtful reading.

11) The principle of focusing on the development of the child

The goal of school text analysis as a pedagogical phenomenon is not only mastering the idea of ​​the work under study, but also the development of the child as a person and as a reader. School analysis is designed to promote the literary development of the child, the formation of his initial literary ideas and the system of reading skills.

It is in the process of the reader's analytical activity that the assimilation of the initial literary concepts takes place. When studying each work, one observes how it is “made”, what means of language are used to create an image, what figurative and expressive possibilities different types of art have - literature, painting, music, etc. Knowledge about the specifics of literature as the art of the word is needed by the child as a tool that can be used in the analysis. The gradual accumulation of observations on a literary text contributes to the formation of reading skills.

Acquaintance with fiction forms a worldview, brings up humanity, gives rise to the ability to empathize, sympathize, understand another person. And the deeper the read work is perceived, the greater the impact it will have on the personality of the student.

So, the analysis of a work is, first of all, an analysis of its text, which requires the reader to work hard thinking, imagination, emotions, and involves co-creation with the author. Only if the analysis is based on the principles discussed above, will it lead to a deepening of the reader's perception, will it become a means of the child's literary development.

Speech development methods

Traditionally, reading lessons mainly use the reproductive method of speech development, which is implemented in teaching younger students various types of text retelling. With this approach, the natural communicative orientation of speech disappears, since the transfer of the content of the read work becomes an end in itself. Both methodologists and psychologists have repeatedly emphasized that “speaking for the sake of speaking is a psychologically illegal process” (140, p. 64), “ speech action, not connected to the activity of communication, closes in on itself, loses real life meaning, becomes artificial” (59, p. 12). The need to include motivation in the structure of speech activity is obvious, however, in practice, the communicative motive, which gives rise to the need for utterance, and the educational motive, and often the motive cognitive activity presented as a motive for speech activity.

This is exactly what happens when you use paraphrase. artistic text as the main method of speech development. The task is set before the child - to convey in his own words the content of the read work. Let us digress for a moment from the fact that this task was set unlawfully: the content conveyed in other words will be inadequate to the content of the initial text, since a change in form always leads to a change in content, and let's see what the goal of this task is, realized by the child. Junior schoolboy, as psychologists have repeatedly shown, does not feel the need to return to the text he has read, he is sure that "everything is clear" to him the first time. Consequently, he does not have the need for another reproduction of what he read, he perceives the teacher’s task precisely as an educational task, which means that the goal, realized by the student, comes down to the correct execution of the exercise and getting a good mark. The child does not have a speech motive, the need to speak out. The text that the child should reproduce is well known to both the teacher and the class - the possible addressees of the speech. The process of speaking in this case is carried out precisely for the sake of speaking itself, that is, psychologically this process is unjustified. That is why the situation is so typical for a reading lesson when the responding student falls silent helplessly, forgetting the right word, as he reproduces exactly the chain of words from memory, and does not express his reader's interpretation of events, characters in speech, does not recreate the image created by the writer. The class is inactive, because listening to a student's retelling of a perfect work of art is boring. Even if the student remembers the text well and the retelling is made close to the text, the child’s speech, as a rule, is a little emotional, devoid of expressiveness (note that expressiveness appears if you offer to read the same text from a book or by heart).

More K.D. Ushinsky wrote: “There is no doubt that children learn most of all by imitating, but it would be a mistake to think that out of imitation independent activity» (204, p. 538). Since the main goal of speech development is the development of the ability to adequately express one's own thoughts and feelings in a word, it is necessary to put the student in the position of the author, the creator of his own statement, and not a mechanical transmitter of someone else's speech. In this case, not only and not so much the motive of the teaching is created, but rather the motive of speech - the need to speak out in order to convey one's perception of the environment, one's thoughts, experiences, i.e. speech is included in the communicative activity.

Thus, although all known methods can be used in the learning process, the main place should be occupied by the method literary creativity(according to the classification of V.G. Marantsman, 131), or the partial search method (according to the classification of I.Ya. Lerner, 104).

In order to methodically justify proper organization work on the development of speech, we turn to the data of modern psycholinguistics and consider the process of generating speech.

The technique, as a rule, dealt with the already prepared statement of the child, everything that happens in the mind of the speaker until the moment the thought is verbalized in external speech was not the subject of pedagogical influence. Recently, the problems of the relationship between thinking and speech, the patterns of generating statements have received new coverage in the works of psycholinguists and can be mastered by the methodology.

Among the many psycholinguistic models of the process of generating speech, the model proposed by E.s. Kubryakova (200), seems to be the most valuable methodologically, since it allows us to correlate the traditional organization of work on the development of speech with the data of psycholinguistics, to see the shortcomings and prospects of the methodology.

Scheme 1

thought formation

selection of individual elements

in the stream of consciousness

the birth of personal meanings

and the search for corresponding

language forms

Creating an external speech statement

“Speech utterance is preceded not so much by a ready-made thought as by a “pre-thought”, a mental activity that generates meanings; speech is preceded by its intention, the very desire to say something, the impulse-intention. It acts as a trigger mechanism, activating linguistic consciousness and directing this latter to the solution of a certain pragmatic task” (200, p. 32). "Intention is the trigger mechanism of speech, combining the speaker's intention with his attitude" (81, p. 75).

“... The verbalization of thought is most often a creative process, during which the idea receives not just some kind of objectified linguistic form, but it is clarified, refined and concretized. Something new is born in the act of speech: the message that materialized the thought demonstrates a special unity of the found form and the content embodied in it, enriched precisely because it has finally acquired a “linguistic binding” and can become the property of another” (200, p. 33) .

As can be seen from the diagram, the starting point in the generation of an utterance is the presence of a motive and an intention. The motive of speech determines why and for what a person speaks, the concept of intent is associated with the subject content, theme and purpose of the statement. “You can interpret the idea as an anticipation of what needs to be said in order to achieve what was planned” (200, p. 49). The idea does not necessarily have a verbal form, and its deployment can take place in different ways: “The idea of ​​a born speech can be formed both in a subject-figurative and in a verbal form ...” (200, p. 77).

Using the concept of "personal meaning", E.S. Kubryakova has in mind the content of existing or forming in the human head images, ideas, “represented either completely on a non-verbal code, or in a mixture of non-verbal and verbal. However, as soon as such a mixture has come, personal meanings can be considered to have crossed the pure threshold of the brain, and got into the realm called inner speech” (81, p. 78).

If psycholinguists write of design as necessary element any statement, then literary critics emphasize the role of design in artistic creativity. V.G. Belinsky wrote: “... the content is not in the external form, not in the clutch of accidents, but in the artist’s intention, in those images, in those shadows and play of beauty that he imagined even before he took up the pen, in a word - in the creative concepts. artistic creation must be fully prepared in the soul of the artist before he takes up the pen. ... Events unfold from an idea like a plant from a seed” (8, p. 219).

In the methodology, the term "intention" is often used as a synonym for the term "main idea", although the concept of "intention" is not only much broader, but also qualitatively different from the concept of "the main idea of ​​the text". The main idea can be formulated in the form of a logical formula and offered to the student in finished form even before the creation of the essay, it is associated, as a rule, with the result, the conclusion that the author of the text should come to. The idea is personal in nature, it is not set from the outside, but is born in the mind of the student, it is not limited to the work of thinking, but includes emotions and imagination as the most important components. . Main thought carries with it common sense statements, abstracting from halftones, shades of meaning, ways of expressing them. The idea contains all the additional shades of meaning.

AT school essays, as a rule, there is no intention - that grain that is able to develop, clothed in verbal fabric, although in the student's text one can trace the main idea. The student often creates a text by joining one sentence to another, thinking about what else to say in order to reach the required length and confirm the conclusion known to him in advance. Yes, and preparation for an essay in a lesson usually begins not with a discussion of the idea as a starting point that determines the future statement as a whole, but with a discussion of the introduction. That is why children work so painfully at the beginning of the text: it is extremely difficult to write an introduction to something that does not yet exist. Speaking about the integrity of a work of art, M.M. Girshman wrote: “In a literary work, a ... three-stage system of relations is manifested: 1) the emergence of integrity as a primary element, as a starting point and at the same time a limiting principle of a work, a source of its subsequent development; 2) the formation of integrity in the system of correlated and interacting with each other constituent elements of the work; 3) the completion of integrity in the complete and integral unity of the work” (33, p. 13). The aesthetic value of the creation of art and student work, of course, are incomparable, but the process of a child’s literary creativity proceeds according to the same laws as that of a “real” writer, so the presence of an idea, its gradual development and finally the embodiment of an idea in a text are necessary conditions for the productivity of a child. literary creativity.

Scientists associate the emergence of the idea and motive of speech with emotions: in order for a personal meaning to arise, “the material to be assimilated must take the structural place of the goal ... This is possible only if the child is interested, if the solution to this problem is emotionally relevant for him” (140, p. 70 ). It is possible to arouse the student's emotions, to evoke the need for utterance in various ways, which will be discussed below, for now, we note the obligatory emotional experience for the emergence of the motive and intent of speech.

As can be seen from the speech generation scheme, the path from the idea to the externally formalized speech statement goes through the selection of individual elements in the stream of consciousness, or, in the language of methodology, through the planning of the future statement. Moreover, this plan is born not only in the form of clearly formulated and successive points, but often not in verbal form at all. Meanwhile, schoolchildren are required to have a clearly formulated verbal plan, which by no means always contributes to thinking about the structure and content of the future statement, to unfolding the idea. Consider the requirements for the plan contained in a number of methodological guidelines.

M.R. Lvov writes: “In elementary school, a plan is obligatory in the preparation of all stories and essays, with a few exceptions. Preliminary drawing up of plans is not necessary only when preparing stories-improvisations, sketches of pictures of nature, letters, as well as essays-miniatures, consisting of 3-4 sentences.<...>Children first learn to draw up a plan using the stories they read as an example and retell them according to the plan, then they make a presentation plan; the plan of the composition based on a series of paintings, i.e., in essence, they head these paintings and finally make up the plan of the composition, where it is easy to find a clear temporal sequence” (111, p. 135). As can be seen from the quote, drawing up a plan for a finished text and a plan for one’s own utterance are thought of as very similar actions, the criterion for dividing the text into parts and drawing up a plan is the temporal sequence of the events described, differences in the structure of texts of different types of speech are not taken into account. True, this technique was proposed at a time when the speech science concepts "text", "type of speech", "style", etc. were not studied in elementary school. However, in the practice of the school, this approach prevails at the present time. The work on drawing up an essay plan is based on the questions of the teacher: Where do we start? What will we write about next? What then? How will we finish? M.R. Lvov (111), M.S. Soloveichik (175) and others pointed out the possibility of individual adjustment of the plan in the process of working on an essay, but in practice, as a rule, the plan is written down by the teacher on the blackboard, it is unified and mandatory for all students.

As practice shows, students rarely make a plan for a future statement of their own free will, but do it only at the direction of the teacher, and even then they often write an essay first, and then, in order to fulfill the teacher’s requirement, make a plan for the already finished text. Perhaps this is due to the fact that the task of the teacher to draw up a clear plan and strictly follow it runs counter to the psychological laws of speech generation.

“The path from thought to word is a complex and step-by-step process of transition from vague images, associations, ideas, etc. that are born in a person’s head, from concepts and personal meanings activated at the moment of awakening of consciousness and the need to say something - to processing of these personal meanings, produced for the purpose of their further "confounding", for which some personal meanings are pulled together into one whole, some are eliminated, some are in the focus of consciousness, etc. From a linguistic point of view, this reworking turns into a transition from personal meanings to linguistic meanings fixed in the language system for certain linguistic forms. The linguistic form is chosen to designate personal meanings according to its linguistic meaning” (81, p. 139). E.S. Kubryakova believes that there is no equal sign between the internal code - the language of the brain - and the language code. “The language of the brain of each person is individual, because the entire experience of mankind, to the extent that it is mastered by this person, is passed through his own perception and understanding of the world. No matter how stereotyped the concepts in a person’s head or close to the canons of the generally accepted, they still constitute his individual property and therefore have a socially developed, but personally refracted character in his head. To acquaint with the personal meanings of another person, you need a category of linguistic meaning as enshrined in this language system beyond the circle of forms and then extracted from them as shared knowledge. ... The conditional nomination is replaced by an understandable one for another person ”(81, p. 143 - 145).

The methodology expressed the idea of ​​the possibility of a plan "for oneself", which does not have a clear speech design, and a plan "for others" (132, p. 204). An interesting methodological solution for teaching planning a future statement was proposed by Sh.A. Amonashvili, who wrote about the "clouds of thought" that arise in the mind of a student thinking about his future composition, about the possibility of "cloudiness thickening" and "clearing", about the need to keep in mind the thoughts, images, comparisons that have arisen. The children wrote down the plan in the form of "clouds of thoughts", those phrases, words, and, possibly, conventional signs, drawings that helped them fix the result of thinking about the topic (3, pp. 62-63). Of course, this is not a plan yet: such a recording is devoid of a clear verbal design, compositionally not organized, but this is a necessary stage in creative work, corresponding to the selection of individual elements in the stream of consciousness, the birth of personal meanings and the search for corresponding linguistic forms. Such a record is made by the student for himself, then it is corrected, refined by the child in the course of his work on the essay, it can take the form of an ordinary plan with clear wording and a certain sequence of points, but this plan should not be something unshakable, it is only a means to help line up the text.

In our opinion, the question of the need to write down a collectively drawn up plan is also debatable. On the one hand, such a plan will make it easier for the child to build the text, help to keep the necessary connections in mind, divide the text into parts when writing, etc. On the other hand, if before the eyes of the student there is a collectively drawn up, common plan for all, then this will lead to the "fading" of personal meanings, to the standardization of thinking and speech, and the rejection of the author's intention.

Thus, the following sequence of work on the essay is appropriate:

1. Statement of the speech problem. Awakening the need for expression.
2. Intention discussion. Fixing "clouds of thought". Making a plan for yourself.
3. Translation of the images that have arisen into a verbal series. Composition thinking. Making a plan for others.
4. Writing a draft essay.
5. Editing the text after the teacher's recommendations.
6. Making a clean version of the essay.

The speech production model helped to establish the sequence of work, but this model does not fully reflect the structure of communication, since it does not take into account the perception of the statement by the addressee of the speech. To determine the content of each of the stages, let us turn to the model of the communicative process proposed by B.N. Golovin (37, p. 30).

When analyzing a work of art, one should distinguish between ideological content and artistic form.

BUT. Idea content includes:

1) the theme of the work - the socio-historical characters chosen by the writer in their interaction;

2) problematics - the most essential for the author of the properties and aspects of the already reflected characters, singled out and strengthened by him in the artistic image;

3) the pathos of the work - the ideological and emotional attitude of the writer to the depicted social characters (heroism, tragedy, drama, satire, humor, romance and sentimentality).

Paphos is the highest form of ideological and emotional assessment of life by a writer, revealed in his work. The statement of the greatness of the feat of an individual hero or a whole team is an expression of heroic pathos, and the actions of a hero or a team are distinguished by free initiative and are aimed at the implementation of high humanistic principles.

The general aesthetic category of negation of negative tendencies is the category of the comic. The comic is a form of life that claims to be significant, but has historically outlived its positive content and therefore laughable. Comic contradictions as an objective source of laughter can be perceived satirically or humorously. An angry denial of socially dangerous comic phenomena determines the civic nature of the pathos of satire. A mockery of comic contradictions in the moral and domestic sphere of human relations causes a humorous attitude towards the depicted. Mocking can be both denying and affirming the contradiction depicted. Laughter in literature, as in life, is extremely diverse in its manifestations: smile, mockery, sarcasm, irony, sardonic grin, Homeric laughter.

B. Art form includes:

1) Details of subject depiction: portrait, actions of characters, their experiences and speech (monologues and dialogues), everyday environment, landscape, plot (sequence and interaction of external and internal actions of characters in time and space);

2) Compositional details: order, method and motivation, narratives and descriptions of the depicted life, author's reasoning, digressions, inserted episodes, framing (image composition - the ratio and location of subject details within a separate image);

3) Stylistic details: figurative and expressive details author's speech, intonation-syntactic and rhythmic-strophic features of poetic speech in general.

Scheme of analysis of a literary and artistic work.

1. History of creation.

2. Subject.

3. Issues.

4. The ideological orientation of the work and its emotional pathos.

5. Genre originality.

6. The main artistic images in their system and internal connections.

7. Central characters.

8. The plot and features of the structure of the conflict.

9. Landscape, portrait, dialogues and monologues of characters, interior, setting of the action.

11. The composition of the plot and individual images, as well as the general architectonics of the work.

12. The place of the work in the work of the writer.

13. Place of the work in the history of Russian and world literature.