STC "Mega-Talent" is the organizer of distance olympiads in literature at the international level. We specialize in holding all-Russian and international educational events. Participants of Olympiads in Literature, depending on the number of points scored, receive certificates or diplomas. We reward the teachers-organizers of the Olympiads with certificates and thanks.

Our achievements over the past year:

• Conducted 400 Olympiads in 47 disciplines;
• Helped 13,000 schoolchildren and students from 12 countries to reveal their abilities in olympiads and competitions in literature;
• We paid teachers more than 2.5 million rubles as compensation for organizational expenses;
• 98% of teachers continue to cooperate with us on an ongoing basis.

5 steps to meet the teacher

Our main priority is the most effective and fruitful cooperation with the teacher. This is served by 5 basic principles that we adhere to:

1. The teacher has access to assignments for all classes.
2. We are preparing testimonials and acknowledgments so that teachers can constantly update their portfolio with unique award materials.
3. All organizational expenses are compensated.
4. Organizational activity is encouraged by valuable prizes.
5. Any issues are quickly resolved by a responsive support team.

Distance Olympiads from STC "Mega-Talent"

The Literature Olympiads organized by MDG "Mega-Talent" are a great opportunity for schoolchildren and students to prove themselves. We do not put forward any requirements for the performance of participants and are open to everyone.

The tasks of the Olympiad are compiled in strict accordance with the school curriculum and the requirements of the Federal State Educational Standard. Any student who is versed in the material can show high results and take one of the prizes.

Tasks for each class consist of 15 questions of various types:

• Questions with one or more correct answers.
• Tasks for correlating two data series and comparison.
• Tasks requiring work with illustrative sources.
• Tasks for solving the problem with the initial data series.

How much does it cost to participate in the Literature Olympiad?

The amount of the registration fee for one participant is indicated on the page of each Olympiad. Good news in fact, you pay less, because we make sure that you do not have to print out sets of tasks and reward materials from your pocket. The more participants in the Olympiad, the higher the percentage of compensation.

Learn more about how compensation is calculated here. registration.

In addition, for the most active organizers, we have createdteacher rating , according to which once a month and once a half a year, the holders of the first three and first five positions, respectively, are awarded with valuable prizes.

How often do Literature Olympiads take place?

Literature Olympiads are held 7 times a year academic year. We hold 3 All-Russian Olympiads once a season (autumn, winter, spring), 3 international ones in between, and the final one at the end of the academic year.

Each Olympiad is a new set of tasks. This makes it possible to ensure that the tasks of the Olympiads fully correspond to what the students have already studied at the moment.

How do we evaluate the work of the participants of the Olympiad?

Test tasks are checked automatically. The teacher-organizer only needs to enter the answers of the participants in a special tablet in personal account. The system will automatically check them, calculate the points and publish the corresponding personalized award materials.

How to organize an Olympiad in Literature?

1. Register on the site by entering your real data
2. Apply for participation in the Literature Olympiad, indicating the number of participants
3. Confirm the application by paying the registration fee
4. Download the worksheets and guidelines to host the olympics
5. Enter the answers of the participants in a special table in your personal account.
6. You receive personalized award materials for yourself and your students on the day of summing up.

How to pay for participation in the Literature Olympiad?

You can pay the registration fee in one of the following ways:

• Payment by bank card (online);
• Payment by receipt, at the Russian Post office;
• Payment using electronic payment systems (online).

Can schoolchildren and students not from Russia take part in the Olympiad?

MDG "Mega-Talent" is the organizer of international level Olympiads. Our educational activities are available to anyone who is fluent in Russian. If you still have questions, then surely there is an answer .

“ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN IN LITERATURE. 2016–2017 academic year MUNICIPAL STAGE. Grade 9 Tasks, answers, assessment criteria 1. ...»

ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2016–2017 academic year G.

MUNICIPAL STAGE. 9 CLASS

Tasks, answers, evaluation criteria

1. POPULATION OF SPACE

Fragment in front of you artwork describing something

space. Imagine a person (people) living (living) in this

room. Write an essay about them. Give the characters names, describe their appearance and character. lean on artistic details in the given snippet.

It was a large room, but extremely low…. On the opposite side, in the wall on the right, there was another door, always tightly locked. ... The room looked like a barn, looked like a very irregular quadrangle, and this gave it something ugly. A wall with three windows overlooking a ditch [here, in the meaning of "channel"], cut the room somehow at an angle, which is why one corner, terribly sharp, ran somewhere deeper, so that in low light it could not even be seen it was good; the other corner was already too ugly obtuse. There was almost no furniture in this whole large room. In the corner, to the right, was a bed; beside her, closer to the door, a chair. On the same wall where the bed was, at the very door to someone else's apartment, stood a simple board table covered with a blue tablecloth; Near the table are two wicker chairs. Then, against the opposite wall, near the sharp corner, stood a small, simple tree chest of drawers, as if lost in the void. That's all that was in the room. The yellowish, shabby and worn wallpaper turned black in all corners; it must have been damp and sultry in the winter.

(F.M. Dostoevsky. “Crime and Punishment”) Schoolchildren are not required to recognize these fragments and restore the names of the characters. It is important that they can describe the possible characters that can inhabit this space, through the details of the interior or landscape to create an image of a person.

Evaluation criteria Points Correspondence of the text to the artistic fragment: names, appearance, 0 - 12 character of the characters do not contradict the description of the place of points artistic text score details Consistency and coherence; unity of style 0–5 points Literacy (presence/absence of speech, grammatical, spelling, spelling, punctuation errors 0–5) (within the limits of the material studied according to the points of the Russian language) © GAOU DPO CPM. Publication on the Internet or print media without the written consent of GAOU DPO CPM is prohibited.

All-Russian Olympiad schoolchildren by letter

–  –  –

2. HOLISTIC TEXT ANALYSIS Choose for analytical work OR prose OR verse text. Write coherently, freely, clearly, convincingly and competently.

Option 1. Prose text.

Lev Nikolayevich Tolstoy (1828–1910)

THE POWER OF CHILDHOOD

“Kill!.. Shoot!.. Now shoot the scoundrel!.. Kill!.. Cut the killer’s throat! shouted the men female voices crowds.

A huge crowd of people led a bound man down the street. This man, tall, straight, walked with a firm step, raising his head high. On his handsome, courageous face was an expression of contempt and anger towards the people around him.

He was one of those people who, in the war of the people against the authorities, are fighting on the side of the authorities. He was now seized and led to execution.

"What to do! Power is not always on our side. What to do? Now their power. To die like this, apparently, it’s necessary, ”the man thought, and, shrugging his shoulders, smiled coldly at the cries that continued in the crowd.

- This is a policeman, he shot at us in the morning! shouted in the crowd.

- There is nothing to delay! Now here and shoot the villain, where else to take him? people shouted.

The prisoner frowned and only raised his head higher. He seemed to hate the crowd even more than the crowd hated him.

- Kill everyone! Spies! Kings! Popov! And those bastards! Kill, kill now! female voices screeched.

But the leaders of the crowd decided to bring him to the square and deal with him there.

It was not far to the square when, in a moment of calm, a weeping childish voice was heard in the back rows of the crowd.

- Dad! Dad! - sobbing, shouted a six-year-old boy, squeezing into the crowd to get to the prisoner. - Dad! What are they doing to you? Stop, stop, take me, take me!

The cries stopped on the side of the crowd with which the child was walking, and the crowd, parting before him, as before a force, let the child come closer and closer to his father.

- And what a nice little one! one woman said.

- Whom do you want? said the other, bending over to the boy.

- Dad! Let me go to dad! the boy squeaked.

© SAOU DPO CPM. Publication on the Internet or print media without the written consent of GAOU DPO CPM is prohibited.

municipal stage. Grade 9

- How old are you, boy?

What do you want to do with dad? the boy replied.

“Go home, boy, go to your mother,” one of the men told the boy.

He doesn't have a mother! - he shouted at the words of the one who sent the child to his mother.

Squeezing closer and closer in the crowd, the boy reached his father and climbed into his arms.

The crowd shouted the same thing: “Kill! Hang up! Shoot the bastard!"

- Why did you leave home? the father said to the boy.

What do they want to do with you? the boy said.

“You do this,” said the father.

Do you know Katyusha?

- Neighbor? How not to know.

So, go to her and stay there. And I... I'll come.

“I won’t go without you,” the boy said and began to cry.

- Why don't you go?

“They will kill you.

- No, they are nothing, they are.

And the prisoner let go of the boy and went up to the man who was in charge of the crowd.

“Listen,” he said, “kill me how and where you want, but not in front of him,” he pointed to the boy. - Untie me for two minutes and hold my hand, and I will tell him that we are walking with you, that you are my friend, and he will leave.

And then... then kill as you wish.

The leader agreed.

Then the prisoner again took the boy in his arms and said:

- Be smart, go to Katya.

– And what about you?

- And you see, I'm walking with this friend, we'll walk a little more, and you go, and I'll come. Go ahead, be smart.

The boy stared at his father, tilted his head to one side, then to the other, and thought.

- Go, honey, I'll come.

- Will you come?

And the child obeyed. One woman led him out of the crowd.

When the child disappeared, the prisoner said:

Now I'm ready, kill me.

And then something completely incomprehensible, unexpected happened.

Some one and the same spirit woke up in all these for a moment cruel, ruthless, hating people, and one woman said:

© SAOU DPO CPM. Publication on the Internet or print media without the written consent of GAOU DPO CPM is prohibited.

All-Russian Olympiad for Schoolchildren in Literature 2016–2017 G.

municipal stage. Grade 9

- You know what. Let him go.

“And then, God bless him,” said someone else. - Let go.

- Let go, let go! the crowd roared.

And the proud, ruthless man, who hated the crowd for a minute, sobbed, covered his face with his hands and, like a guilty man, ran out of the crowd, and no one stopped him.

(1908) Option 2. Poetic text.

Mikhail Valentinovich Kulchitsky (1919-1943) RAIN Rain. And vertical pillars rammed the bottom of the earth with water.

And it seemed that the blue columns above us would move forever.

We are at the bottom of the deep ocean.

Even if there were no rain, birds swim through the fogs, leading with black fins.

And the land lies like Atlantis, hidden by the sea grass of the forests, and inside the mound a Scythian idol can frighten sensitive dogs.

And my breath, like a white bowl, bubbled up to where the star, which has not yet been discovered, hangs and sees our land, to emerge to the surface, where it rushes towards us, to the bottom, throwing light, making the heart beat in rhythm with it, the ancient flotilla of planets.

–  –  –

For ease of assessment, we suggest focusing on the school four-point system. So, when assessing according to the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “four with a minus”).

Evaluation criteria Points K1 Presence/absence of errors in understanding the text; consistent and adequate disclosure of the meaning of the text in dynamics, in the “labyrinth of links”, through specific observations made in the text.

Rating scale: 0 – 5 – 10 – 15 K2 Composite harmony of the work, its general logic and stylistic homogeneity. Accuracy of wording, appropriateness of quotations and references to the text.

Grading scale: 0 - 3 - 7 - 10 K3 Possession of theoretical and literary conceptual apparatus and 5 ability to use terms correctly, accurately and only in cases where it is necessary, without artificially complicating the text of the work.

Rating scale: 0 – 2 – 3 – 5 К4 Presence/absence of factual errors, appropriateness of using background material from the field of culture and literature.

Rating scale: 0 – 2 – 3 – 5 K5 General literacy (presence/absence of speech, grammar, spelling and punctuation errors).

Grading scale: 0 - 2 - 3 - 5 Maximum score 40 The maximum number of points for all completed tasks is 70.

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MUNICIPAL STAGE

2016-2017 academic year

9-11 grades

"olimp_9-11"

ALL-RUSSIAN Olympiad for Schoolchildren in Literature

MUNICIPAL STAGE

2016-2017 academic year

9th-11th grades

Maximum time to complete tasks: 300 min.

The maximum number of points scored: 100.

You can use: paper, pen.

Analytical task ( to choose from: analysis of either prose or poetic text ).

1. Perform a holistic analysis of Yu.V. Trifonov (1925-1981), included in the cycle "Tilted House" (1980). Pay attention to the following features of its content and form/poetics: title, composition, themes of time and memory.

Yu.V. Trifonov.

Cats or hares?

I came to the city eighteen years after I was here for the first time. Then I was thirty-five, I ran, jumped, played tennis, smoked passionately, could work at night, now I'm fifty-three, I don't run, I don't jump, I don't play tennis, I don't smoke and I can't work at night. Then I came to Rome in a crowd of tourists, now I'm here alone. Then there were friends around, now they are surrounded by unfamiliar Italians who are busy with their own affairs, and I understand them. By the way, they are quite optional, often late for half an hour, or even an hour. I'm waiting in the hotel lobby. They are nice people. I'm used to being late. They cannot change themselves. Here, in Rome, millennia are mixed up, times are mixed up, and exact time difficult to determine. It is not needed here. After all, this The eternal City, and for eternity being late does not matter. You live in a 19th-century house, you go down the 17th-century staircase, you go out onto the 15th-century street, and you get into a 21st-century car. I studied all the illustrated magazines that lay on the round table in the lobby of the San Rafael Hotel, whose facade is flooded with a yellowish-gray, rustling waterfall of wild grapes, or maybe ivy, in the wind. In any case, there are thickets of some kind of creeping greenery withered from the hot summer.

So: then I was poor, stingy, walked around the city, regretting spending lira on a bus, in the evenings I fell down from fatigue, in the morning I jumped up cheerful, like a pioneer, to the shop windows bookstores looked with burning melancholy; now I can buy any book, walking is boring and tiring for me; besides, I'm always in a hurry somewhere and go by taxi. Then I lived in the former brothel"Cairo", the inhabitants of which were evicted for the time of the Olympics and settled us, tourists, in narrow rooms, not far from the station, next to the market and the "Lux" cinema, we climbed to the fifth floor on foot; now I live in "San Rafael", near Piazza Navona, and it is not at all like the boarding house "Cairo". Then everything stunned me, I wanted to remember everything, I was tormented by the desire to write something lyrical about all this, but now nothing stuns me and I don’t really want to write. There are many reasons. I won't expand on them. Let me just say: life is a gradual disappearance of the stunning.

On Sunday one of unfamiliar Italians, late forty minutes, a nice man named Jani, and offered to go somewhere out of town. For example, in Genzano. I laughed: Genzano was the only city in the vicinity of Rome where I visited eighteen years ago! I remember him well. I wrote a story about Genzano. Is it possible to go somewhere else? But Giani hesitated, obviously not wanting to go elsewhere, and soon it became clear: he lived in Genzano and he had to go home without fail on business matters. We went. On the way, I remembered: a small city that lives on the production of flowers. There are carnivals and fireworks. Then, in the company of half-drunk and stunned friends, I sat in the trattoria Pistamentuccia, drank chianti, ate fried hare (it was a special hunting trattoria, and all the decoration inside emphasized this feature: deer antlers, stuffed animals, weapons on the walls), sang songs, swaying on the bench and hugging neighbors; then the owner gave us photographs of his trattoria with a line of waiters and cooks in caps in front of the entrance, the mustachioed Mr. Pistamentuccia himself in the middle of the line, then we sat at tables in the square, stuffy, intoxicating smell of flowers and gunpowder, pyrotechnicians competed, something was spinning in the sky and sparkled, then a man named Rousseau was brought to us, who spent two years in our captivity, he had a glossy head, he depicted with his hand as if sawing firewood, and said: “Autumn karasho!”. I once wrote about all this. In the style of lyrical prose that was fashionable in the sixties. The story was called "Memories of Genzano". And it was really my dearest and best memory of that trip. There was some kind of freedom, youth, openness, all-humanity and hops, hops! I could not clearly explain what the nocturnal square in Genzano meant to me. And the hunting trattoria Pistamentuccia. But all this remained in me like the music of those years with all their joys, hopes, anticipations. And now Sunday empty Rome was burning with heat, the half-dried Tiber was turning yellow on the stones, Jani was going home on his business, and for some reason I got in touch with him, realizing that it was in vain, there could be no repetition. The music stopped. Two of those with whom I was then in Genzano have died, two others have gone far from me.

The town has not changed in eighteen years. It was also small eternal city. In a restaurant on the veranda, where the air trembled with heat, where the shade of the plane trees lay, children ran in multitudes around the tables, on the stone slabs, huddled in a cooler corner, dozing wretched little dogs like those that Carpaccio liked to draw, imperceptibly sticking them into their huge mysterious canvases I asked Jani. Does that trattoria Pistamentuccia exist? I don't know why I asked. She didn't really interest me. It was only good as a memory. I didn't mean to look for her. Giani replied: the trattoria exists, but now there is a different owner. The previous owner was in big trouble two years ago. He had a process. He was accused of giving fried cats instead of fried hares.

I almost shouted, “They were delicious! I remember!" I also wanted to shout: “But what about the story “Reminiscence in Genzano”? So it's not true? So, not warm twilight, not a sea of ​​​​flowers, not songs in a swing with the neighbors, working people Italy, with their masculine, sunburned faces, not the wonderful Chianti, not the hunting smell of hare, but fried cats? And immediately another thought came: “This is how the story should end! Gotta write it down!" but I did not call out either one, or the other, or the third. I was silent, depressed. Because with all my skin and suffocated heart I suddenly felt the difference between us: that me and today. You don't need to add anything. It is impossible to edit what is not subject to editing, what is inaccessible to touch - what flows through us. Of course, there is little joy in knowing that what once amazed you and made you happy turned out to be fake and nonsense. My God, but there was a feeling of happiness! And forever remained singing, noise in the head, firecrackers, Rousseau. True, I did not feel behind all the beauty of fried cats. I have not seen the truth. Unhappy fried cats are everywhere. And the writer has no right to pretend that they do not exist, he is obliged to discover them, no matter how deeply and cunningly they are hidden. Everything is so, but I was then thirty-five, I ran, jumped, played tennis, smoked passionately, could work at night.

I asked Giani: what happened to Signor Pistamentuccia?

“He was acquitted,” Jani said. “But he did not want to live in Genzano and sold the trattoria. Now it is called "Real hares".

Perform a holistic analysis of N.M. Rubtsov (1936-1971) "Cranes". Pay attention to the following components of its content and form/poetics: the meaning of the central image-symbol, the originality of the embodiment of the image lyrical hero, emotional dominant of the poem, features of poetic meter.

N.M. Rubtsov.

Between the swamp trunks flaunted the east

fire-faced…
October will come - and they will suddenly appear

cranes!
And they will wake me up, the cranes will call
Above my attic, above the swamp, forgotten in the distance ...
Widely in Russia, the intended period of withering
They proclaim like the legend of ancient pages.
Everything that is in the soul expresses sobs to the end
And the high flight of these proud illustrious birds.

Widely in Russia consonant hands wave to birds.
And the forgetfulness of the swamps, and the loss of chilling fields -
It will express everything, like a legend, heavenly sounds,
The flying away cry of cranes will spread far away ...
Here they fly, here they fly ... Open the gates soon!
Come out quickly to look at your tall ones!
Here they fell silent - and again the soul and nature become orphans
Because - shut up! - so no one

express them...

Creative task

Write an essay on the topic "Foreigner in Russian Literature" (at least 200 words), using the relevant images you know in domestic literature any period.

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"answer_9-11"

All-Russian Olympiad for Schoolchildren in Literature municipal tap 2016-2017 academic year 9th-11th grades evaluation criteria
Task 1 or 2 (text analysis) Evaluation criteria analytical task apply as to the works in which the analysis prose work, and on works devoted to the analysis of poetry. In order to reduce subjectivity in evaluating works, it is proposed to focus on the rating scale that is attached to each criterion. It corresponds to the usual Russian teacher four-point system: the first assessment is a conditional "two", the second is a conditional "three", the third is a conditional "four", the fourth is a conditional "five". The scores between the ratings correspond to the conditional "pluses" and "minuses" in the traditional school system. An example of using the scale. When evaluating the work according to the first criterion, the student as a whole understands the text, interprets it adequately, makes correct observations, but misses some of the meanings, does not highlight all the bright points. The work on this criterion as a whole looks like a "four with a minus". In the grading system according to the criterion "four" corresponds to 20 points, "troika" - 15 points. Accordingly, the assessment is selected by the inspector on a scale of 16-19 points. Such a "narrowing" of the choice zone and the introduction of borderline assessments - "notches", oriented towards the usual assessment model, will help to avoid unnecessary discrepancies in such a subjective process as the assessment of written texts. The marks for the work are set first in the form of a sequence of numbers - marks for each criterion (the student must see how many points he scored for each criterion), and then in the form of a total score. This will allow at the stage of showing works and appeals to focus on discussing the real pros and cons of the work.
Must be evaluated:
1. Understanding a work as a “complexly constructed meaning” (Yu.M. Lotman), consistent and adequate disclosure of this meaning in dynamics, in a “labyrinth of links”, through specific observations made in the text. Maximum 25 points. Grading scale: 10-15-20-25 2. The compositional harmony of the work and its stylistic uniformity. Accuracy of wording, appropriateness of quotations and references to the text. Maximum 20 points. Grading scale: 5-10-15-20 3. Possession of theoretical and literary conceptual apparatus and the ability to use terms correctly, accurately only in cases where it is necessary, without artificially complicating the text of the work. 4. General language and speech literacy (lack of language, speech, grammatical errors).
Note 1: a complete check of the work according to the usual school literacy criteria with a full count of errors is not provided. Note 2: if there are speech, grammatical, as well as spelling and punctuation errors in the work that make it difficult to read and understand the text, attracting attention and distracting from reading (on average more than three errors per page of the text), the work on this criterion receives zero points. Maximum 5 points. Grading scale: 1-2-3-4-5

Additionally assessed:
5. The presence of original and at the same time reasonable observations, formulations, parallels, perhaps not obvious to the inspector.

Note 1: in the absence of original observations in the work, the score is not set for this criterion. The criterion is called "additional" because it evaluates such an aspect of the work, the presence of which cannot be imputed as a duty, but which, nevertheless, is often present in the works and requires grounds for encouragement.
Note 2: when scoring for this criterion, a mini-review of the verifier or such a system of notation / underlining in the text is desirable, which would allow the student to immediately see those original observations that brought him points when viewing the work. It will be convenient to select these observations from the papers and publish them.
Maximum 10 points. Grading scale: 2-5-8-10
Total: the maximum score is 70.
2 task (30 points)
- knowledge of literary and general cultural material (from 0 to 5 points); - the depth and reasoning of reasoning, the ability to determine the role of the writer in the national literary process; - compositional integrity of the work, corresponds to the genre (from 0 to 5 points); - speech literacy (from 0 to 5 points); - originality, non-stereotyping, figurative thinking (from 0 to 5 points).
The total score is 100.

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"trebjvanya_7-11 literature"

REQUIREMENTS FOR THE ORGANIZATION AND HOLDING OF THE MUNICIPAL STAGE OF THE ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE IN THE KRASNOYARSK REGION

7 - 11 grades

2016-2017 academic year

1. Principles of compilation Olympiad tasks and the formation of sets of Olympiad tasks.

Tasks for grades 7-8

Pupils of grades 7-8 at the municipal stage complete their participation in the Olympiad. Tasks for them should be built taking into account school stage and be based on the same principles of feasibility, entertainment and focus on preparing for real Olympiad tests in the future. With this in mind, students in grades 7-8 are offered two writing assignments creative nature. For each task, students create response text based on the questions provided.

Lead time - no more than three astronomical clock .

The maximum total score for both tasks is 50.

Tasks for grades 9-11

The municipal stage is held in one round, consists of analytical tasks, the execution time is 3.5 astronomical hours, the maximum score is 70 and creative assignments (completion time - 1.5 astronomical hours, maximum score - 30)

Within the total time (5 astronomical hours), the student distributes the amount of time to work on the analytical and creative task himself. The maximum total score for the work is 100 points (analytical task - 70 points, creative task - 30 points).

Analytical task

As the first task, the participant of the Olympiad is invited to conduct a holistic analysis of the text - prose OR poetic. The choice of text type is the right of the student.

Analyzing the text, the student must show the degree of formation of analytical, philological skills - they will be the subject of assessment.

The student himself determines the methods and techniques of analysis, the structure and sequence of presentation of his thoughts. It is important that the analysis of the text leads the student-reader to the main thing - understanding the author, the meaning of his statement, his position, the ways in which he expressed this position. Text analysis is carried out by the student in order to clarify, deepen, develop primary understanding, see the work as an integral unity of elements that carries meaning in itself, and, based on this new vision and understanding, enter into a dialogue with the author of the work.

By "holistic text analysis" we mean an optional account and a rigorous description of all its structural levels - from the phonetic and rhythmic-metric side to the context and intertext: we recommend focusing on those aspects of the text that are updated in it and in most"work" to reveal the meanings inherent in it. We specifically stipulate: text analysis is not a reason to demonstrate knowledge of philological terminology; its purpose is not to create a scientific text about an artistic text. The abundance of terms in the work does not mean scientific. It is much more important to state your understanding clearly and precisely, and to use the terms appropriately and metered.

2. Logistics for the implementation of the Olympiad tasks.

When conducting municipal stage Olympiad, several audiences are allocated for each parallel of classes, the number of desks must correspond to the number of participants. For the work of the jury, a separate audience is required, the number of tables must correspond to the number of jury members.

In classrooms for students there should be a blackboard, chalk / markers, workplaces for teacher-observers.

Presence in the audience additional material(texts fiction, dictionaries different types, educational literature, funds mobile communications, computer, etc.) is excluded. In case of violation of these conditions, the student is excluded from the composition of the Olympiad participants.

3 . Scroll reference materials, means of communication and electronic computing equipment permitted for use during the Olympiad.

Regulations

The Olympiad is regulated by the "Procedure for holding the All-Russian Olympiad for schoolchildren", approved by the order of the Ministry of Education and Science of Russia dated December 18, 2013 No. 1252. The organizers of the Olympiad of any level need to focus on the provisions of the "Order ...".

In addition, when developing the Olympiad, one can focus on the Federal component of state educational standards for primary general, basic general, secondary (complete) general education (Order of the Ministry of Education of Russia dated March 5, 2004 No. 1089) and Sample Programs in literature, introduced to the school. At the same time, it is worth remembering that the texts for the Olympiad tasks may go beyond school curriculum(in this, in particular, its difference from the exam).

List of literature for schoolchildren and teachers

1. Analysis dramatic work/ Ed. V.M. Markovich. L., 1988.

2. Analysis of one poem / Ed. V. E. Kholshevnikova. L., 1985.

3. Belokurova S. P. Dictionary literary terms. SPb., 2006.

4. Gukovsky G.A.. The study literary work at school: Methodological essays on methodology. Tula, 2000.

5. Gasparov M. L."Again the clouds over me ...". Method of analysis. http://www.durov.com/literature2/gasparov-97b.htm

6. Korman B. O. The study of the text of a work of art. M., 1972.

7. Kozhinov V.V.. How poetry is written: On the laws of poetic creativity. M., 1970.

8. encyclopedic Dictionary for youth. Literary criticism. From A. to Z / Comp. IN AND. Novikov, E.A. Shklovsky. M., 2001.

9. Lotman Yu. M. About poets and poetry: Analysis of the poetic text. SPb., 1996.

10. Likhachev D.S.. Inner world literary work http://www.lihachev.ru/pic/site/files/fulltext/0398_Vnutrennij_mir_1968.pdf

11. The poetic structure of Russian lyrics / Answer. ed. G. M. Fridlender. L., 1973.

12. Russian short story: Problems of theory and history / Ed. V. M. Markovich and V. Schmid. SPb., 1993.

13. Skaftymov A.P. On the question of the relationship between theoretical and historical consideration in the history of literature (1923) // Skaftymov A.P. Poetics of a work of art. M., 2007. S. 21 - 40.

14. Etkind E.G. Talk about poetry. M., 1970.

Internet resources

1.http://lit. rusolymp.ru - Informational portal All-Russian Olympiad .

2. http://lit.1september.ru - "Literature" magazine and a site for the teacher "I'm going to a literature lesson."

3. www.slovesnik.org - website of the Guild of Language Writers.

4. http://www.feb-web.ru - Fundamental e-library"Russian Literature and Folklore" (here are links to personal websites of writers and other useful network resources).

4. Criteria and methods for evaluating Olympiad tasks.

For grades 7-8 (creative task)

Performance given task will help students prepare for a holistic analysis of a poetic text, the skills of which they do not yet possess, in high school. The suggested questions should help to focus on the special function of the word in lyrical work and show an understanding of the specifics of the lyrics in general. When checking the work, it is also necessary to evaluate the reader's outlook and erudition of the student, philological vigilance, accuracy and depth of observations, and the richness of the dictionary.

It is recommended to distribute points in accordance with the proposed questions: from 0 before 5 points for each position (total up to 20 points). 5 leave points to assess the richness of speech and philological culture of the student.

Maximum score - 25

Note

Due to the fact that eighth graders will perform an analytical task in a year, it is possible to include a holistic analysis of the text on questions in the tasks of the municipal stage.

For grades 9-11

Completing this task will help the student prepare for a holistic analysis of a poetic text in high school. Since students of the 8th grade, participating in the Olympiad, do not yet fully master the skills holistic analysis text, it is advisable to offer a task that will help them concentrate when answering specific questions, but at the same time show an understanding of the specifics lyric text generally. When checking the work, of course, it is necessary to evaluate the reader's outlook, and the student's erudition, and the richness of the dictionary, and the variety of syntactic constructions used.

When evaluating the work, we recommend distributing points in accordance with the proposed questions: up to 5 points for each position (total 20 points); 5 points leave to assess the richness of the student's speech and the originality of his work.

Maximum score– 25

5. The procedure for registration of participants in the Olympiad.

All participants of the Olympiad go through a mandatory registration procedure to confirm the eligibility of participation in the Olympiad.

List of documents required for registration:

a copy of the order to send the student to the municipal stage;

a certificate issued by an educational institution;

passport or birth certificate;

medical policy (original);

a medical certificate with a note from a doctor on admission to participate in the Olympiad;

epidemiological information.

6. Display olympiad works, consideration of appeals of the participants of the Olympiad.

The jury, together with the organizing committee of the Olympiad, displays works
and considers member appeals.

an appeal is held in cases of disagreement of the participant of the Olympiad
with the results of evaluation of his Olympiad work;

consideration of the appeal is carried out in a calm and friendly atmosphere;

the participant of the Olympiad who has filed an appeal is given the opportunity to make sure that his work is checked and evaluated in accordance with the criteria
and methodology developed by the Central Subject-Methodological Commission;

the appeal of the participant of the Olympiad is considered strictly on the day of the announcement of the results of the Olympiad task;

for an appeal, the participant of the Olympiad submits a written application;

application for appeal is accepted within 1 astronomical hour after the end of the analysis of tasks and the display of works addressed to the Chairman of the Jury

When considering the appeal, only the participant of the Olympiad who submitted the application, who has an identity document with him, is present.

Based on the results of the appeal, one of the following decisions is made:

on the rejection of the appeal and the preservation of the points awarded;

on the satisfaction of the appeal and the adjustment of points.

the criteria and methodology for evaluating olympiad tasks cannot be the subject of an appeal and are not subject to revision;

decisions on appeal are made by a simple majority vote.
In case of equality of votes, the Chairman of the Jury has the right to a casting vote;

the appeal decision is final and not subject to review;

the appeal is documented in protocols, which are signed by the members of the Jury and the Organizing Committee;

minutes of the appeal are transferred to the chairman of the Jury
to make appropriate changes to the protocol and reporting documentation;

Appeal documents are:

written statements on appeals of the participants of the Olympiad;

journal (sheets) of registration of appeals;

minutes of appeal

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ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN

ON LITERATURE. 2016–2017 SCHOOL STAGE.

GRADE 10

Part I. CREATIVE TASK (30 points)

Read.

The owner, being himself a healthy and strong man, seemed to want

and his room was also decorated with strong and healthy people. Near Bobelina, at the very window, hung

a cage from which a dark-colored thrush with white specks looked out.<…>For almost whole

for five minutes everyone was silent; there was only a knock made by the nose of a thrush against a tree

a wooden cage, at the bottom of which he fished grains of bread.

2. Write the title of the work from which the passage is taken.

4. Write a monologue on behalf of a thrush (10-15 sentences). What could he

see? What kind of people and things could surround him?

Part II (7 0 points)

PART II HOLISTIC ANALYSIS OF THE PROSE TEXT

1.Read the story.

2.What is this story about?

3.Think about why the professor and student alternately feel awkward.

5.Why does Shukshin put both characters in an uncomfortable position? How do heroes change?

beginning to end and what do they understand when they run into each other on this strange

exam?

Vasily Shukshin (1929–1974)

– Why are you late? the professor asked sternly.

– You know… sorry, please… straight from work… there was an urgent order… – The student is tall

guy with a simple good face- stood at the door of the audience, not daring to go further. Eyes at

the guy is truthful and not stupid.

-Get a ticket. Number?

-Seventeen.

– What is there?

- "The Word about Igor's Campaign" - the first question. Second…

-Good ticket. The professor felt a little ashamed of his strictness. – Get ready. Student

bent over the paper, thinking.

For a while the professor watched him. Before his eyes for his long life passed not

one thousand of these guys; he used to think of them briefly - a student. And after all, one of this

an army of many thousands did not resemble another even remotely. Everyone is different. “Everything changes. ancient

professors could call themselves teachers because they had students. And today we are only professors,

thought the professor.

- Do you have any questions for me?

-Not. Nothing.

The professor went to the window. I lit up. I wanted to finish this thought about the ancient professors, but instead

The tram passed. On the other hand, red sparks rained down from its arc. Before the semaphore accumulated

many cars; the semaphore winked at them, and they all rushed at once

on the street. People were walking along the sidewalks. We were in a hurry. And the cars were in a hurry

and people were in a hurry.

“People will always be in a hurry. Will move at supersonic speed and still be

hurry. Where is all this heading?..”

“Hmm…” The student stirred.

-Ready? Let's. The professor turned away from the window. -I'm listening.

The student held in his thick, rough fingers a narrow strip of paper—a ticket; the ticket was trembling.

"Worried - understood the professor. - It's okay, get excited."

Looking at the guy, at his strong, strict face, the professor for some reason thought that the author

"Words" was a young man ... very, very young.

- ... The princes were divided, and ... In general, Russia was divided,

and when the Polovtsy attacked Russia... - The student bit his lip and frowned:

he himself must have realized that he was talking uninterestingly, badly. He is slightly

blushed.

"Do not read. The professor carefully and angrily looked into the eyes of the student. Yes, I haven't read it. One

I read the stupid preface. Devilstripes! Here are the berries of distance learning!” Professor

was an opponent of distance learning. At one time I tried to write an article in a newspaper - not

printed. They said: "What are you!" “Here you are!

Here you are - the princes are divided.

– Have you read?

-Looked ... huh ...

-Shame on you? the professor asked with deadly calmness and waited for an answer.

The student turned purple from neck to forehead.

- I didn't, Professor. The work is urgent… the order is urgent…

“I am least interested in your order. If you like, I'm interested in a person, a Russian person,

greatest national product. Very interested! -Professor

felt that he was beginning to hate the healthy student. - You yourself went

The student looked up at the professor with sad eyes.

- Himself, of course.

– How did you imagine it?

– Study. Did you want to go out to people? Yes?

For a while they looked at each other.

“No need,” the student said quietly and lowered his head.

-What is not needed?

-Do not do it this way…

- No, it's huge! exclaimed the professor, slapping himself on the

-Ashamed.

– Glory to you, Lord!

They were silent for a minute. The professor walked around the blackboard, snorted and shook

head. He even seemed to rejuvenate with anger.

The student sat motionless, staring at the ticket... The minute was stupid and hard.

-Ask for something else. I was getting ready.

-In what century was the "Word" created? - The professor, when he was angry, stubborn and capricious, as

-At the twelfth. In the end.

-Right. What happened to Prince Igor?

-Prince Igor was captured.

-Correctly! Prince Igor was captured. Ah, damn it! The professor folded his arms across his chest.

portrayed great annoyance on his face and because Prince Igor was captured, and because the main

in such a way that the conversation about it turned out to be very stupid. He doesn't have a mocking tone.

it turned out - he was really angry and annoyed that he had involved himself and the guy in this school

game. Strange thing, but he sympathized with the guy and therefore was angry with him even more

– Oh, what a shame! How did he get captured?

“Give me what you have to, and don’t suffer. The student said this in a sharp, determined tone. And

This tone had a calming effect on the professor. He sat down. The guy liked it.

Let's talk about Prince Igor. How did he feel there? sit down

in- first.

The student remained standing.

Give me a two.

How did Prince Igor feel in captivity? - the professor almost shouted, again experiencing a rush of

anger. How does a person in captivity feel? Don't you even understand this?

The student stood for some time incomprehensibly looking at the old man with clear gray eyes.

“I understand,” he said.

-So. What do you understand?

“I was a prisoner myself.

- So ... That is, how were they in captivity? Where?

- The Germans.

-Did you fight?

The professor carefully looked at the student, and again, for some reason, then thought that the author

"Words" was a young man with blue eyes. Evil is solid.

-Three months.

-So what?

The student looked at the professor, the professor looked at the student. Both were angry.

"Sit down, what are you worth," said the professor. -Escaped from captivity?

-Yes. - The student sat down. Again he took the ticket and began to look at it. He wanted to leave quickly.

-How did you run? Tell me.

-At night. From stage.

“More,” ordered the professor. “Learn to speak, young man!” After all, this is also necessary. How

fled? Actually, I'm not the technique of this

to be captured? - The professor even grimaced ... - How are you

hit something? Were they injured?

They were silent. A little longer than is required for a conversation on such a topic.

-But how?

- Were surrounded. It's a long story, professor.

Please tell me how busy he is!

- Yes, not busy, but ...

- Was it scary?

-Scary.

-Yes Yes. For some reason, the professor liked this answer very much. He lit up. -Smoke too. AT

the audience, however, is not allowed, but ... nothing ...

-I don't want. The student smiled, but then turned serious.

- I remembered my own village, of course, mother? .. How old were you?

-Eighteen.

Do you remember the village?

- I'm from the city.

-Well? Why me -then I thought - from the village. Yes…

They fell silent. The student kept looking at the ill-fated ticket; the professor played with an amber mouthpiece,

looked at the student.

What were you talking about there?

-Where? The student raised his head. This conversation was clearly becoming a burden for him.

-In captivity.

- About nothing. What to talk about?

-Hell! It's right! The professor got excited. Got up. shifted

mouthpiece from one hand to the other. I walked around the pulpit. -It's right.

What is your name?

– Nikolay.

– What is true? The student smiled politely. I put in a ticket. The conversation took a very strange

character - he did not know how to behave.

It's true that they were silent. What to talk about! The enemy is silent. This is the wisest. to you in Kyiv

had to be?

- There is a district there - Podil is called - you can stand and look from a great height. amazing

distance opens up. Whenever I stand

and I look, it seems to me that I have already been there once. Not in my life, even a long time ago.

Do you understand? - The professor's face showed a complex feeling - he seemed to inadvertently

talked about something very secret

and now, firstly, he was afraid that they would not understand him, and secondly, he was unhappy that he let it slip. He

looked at the student anxiously, demanding

and ingratiatingly.

The student shrugged his shoulders and admitted:

“It's kind of hard, you know.

- Well, how! What's so difficult? The professor again began to quickly walk around the audience. He got angry

on himself, but he could no longer be silent. He spoke clearly and loudly: - It seems to me that I went there

sometime. For a long time. In

times of Igor. If it seemed to me only now, in recent years,

The two people looked at each other and did not understand what they actually needed to find out now.

“I don’t understand a bit,” the student spoke carefully, “what does it have to do with

– Despite the fact that your remark about the fact that they were silent seemed to me very accurate. I am in captivity

never been, never even fought, but there, above

Podol, I somehow comprehended everything that relates to the war. I guessed that in captivity -

For example, I thought a lot about the question: how to silently shoot sentries? I think they need

The student looked at the professor in surprise.

-Yes. Creep up unnoticed and ask something very quietly.

For example: “What time is it now, please tell me?” He will go crazy in the first second, and then

throw yourself at him.

The student laughed, lowering his head.

-I'm talking nonsense? The professor looked into his eyes.

The student hastened to say:

– No, why… I think I understand you.

“Lie. He doesn’t want to offend,” the professor understood. And sour. But I felt it necessary to add:

people's grief. And even those who do not take a direct part in the war still live

For a long time after that they were silent - they departed. Should have come back

shamefully not read by a student. However, the professor could not resist and asked the last two more

Did one run?

No, there were seven of us.

– Probably, you think: here the old eccentric has become attached! So?

-Yes you! I don't think so at all. The student blushed as if

that's what he would have thought. “Really, professor. It is very interesting to me. Old professor's heart

faltered.

once. I will give you a book ... I have just

have with you ... - The professor took out a copy of "The Tale of Igor's Campaign" from his briefcase, thought.

He looked at the student and smiled. What - then quickly wrote on the cover of the book, handed it to the student. - Not

read now. Houses read. You noticed: I was fussing now, like an awkward groom. - Voice at

professors and facial expressions were sad. “After that, it gets hard.

The student had nothing to say to that. He shrugged vaguely.

Did you all seven make it out alive?

Are you writing to each other now?

- No, how - then you know...

– Well, of course I know. Of course. That's all, my dear, very Russian stuff. And you are not the "Word" yet

Rip; call Slavav Kiev; trumpets blow in Novegrad; stand banners in Putivl! BUT? -

The professor raised his finger, as if listening to the last the melting sound of a wondrous song. -

Let's take a note. - He rated closed the record book, returned it to the student. Dry said: Before

goodbye.

The student left the classroom. He wiped his sweaty forehead. some time standing staring into the empty

the corridor. He held the account in his hand - afraid to look into it, was afraid that there was “good” or that

even harder - "Great". He was ashamed. “Even if it’s ‘satisfactory’, that’s enough,” thought