Frost and sun; wonderful day! Frost and sun; wonderful day! You are still dozing, lovely friend You are still dozing, lovely friend It's time, beauty, wake up: It's time, beauty, wake up: Open your eyes closed with gentleness Open your eyes closed with gentleness Towards the northern Aurora, Towards the northern Aurora, Appear as the star of the north! Be the star of the north! In the evening, do you remember, the blizzard was angry, In the evening, do you remember, the blizzard was angry, There was darkness in the cloudy sky; There was darkness in the cloudy sky; The moon, like a pale spot, The moon, like a pale spot, Turned yellow through the dark clouds, Through the dark clouds turned yellow, And you sat sad And you sat sad And now... look out the window: And now... look out the window: Under the blue skies Under blue skies Magnificent carpets, Magnificent carpets, Glistening in the sun, the snow lies; Glistening in the sun, the snow lies; The transparent forest alone turns black, The transparent forest alone turns black, And the spruce turns green through the frost, And the spruce turns green through the frost, And the river glitters under the ice. And the river glitters under the ice. The whole room has an amber shine. The whole room has an amber shine. Illuminated. Illuminated with a cheerful crash. The flooded stove crackles with a cheerful sound. The flooded stove crackles. It's nice to think by the bed. It's nice to think by the bed. But you know: shouldn’t I order the brown filly to be locked in the sleigh? But you know: shouldn’t I be ordered to get into the sleigh? Ban the brown filly? Sliding through the morning snow, Sliding through the morning snow, Dear friend, let's indulge in running Dear friend, let's indulge in running The impatient horse The impatient horse And we'll visit the empty fields, And we'll visit the empty fields, Forests, recently so dense, Forests, recently so dense, And the shore, dear for me. And the shore, dear to me.
Lyrical sketch is a genre of fiction, characteristic features of which are: Lyrical sketch - a genre of fiction, the characteristic features of which are: 1. drawing from life - description of the subject; 1. drawing from life - description of the object; 2. feelings and emotions accompanying this description; 2. feelings and emotions accompanying this description; 3. emotional - evaluative vocabulary. 3. emotional - evaluative vocabulary.
What is being described Keywords Emotions 1. earth 2. Sky 3. Puddles 4. Streams 5. Foliage Crying Crying Lost outline Entangle the earth in a network of tears As if in tears The green is not the same Smudges on the face Crying child SadnessSadnessConfusionGriefMelancholyRegretCompassion
Establishing harmony between a boy and the world around him is difficult. Important role The scene of Peter's meeting with Evilina plays here. Here the landscape performs a psychological function. Korolenko shows how, under the influence of changes in nature, the state of the characters changes and the psychological parallelism is obvious. “Evelina conveys to Peter her vivid impressions of the surrounding nature. They are based on poetic folklore ideas. So in Peter’s mind nature enters personified.”
Korolenko sets himself other tasks when he introduces a description of nature in the essay “Wonderful”. The landscape here is quite brief, but no less expressive, and it is multifunctional: it is the background of the narrative and plays the role of an expressive detail, allowing one to convey the depth of the hero’s emotional experiences, and also conveys Siberian colitis and folklore motifs.
But, perhaps, Korolenko, a landscape painter, showed himself most clearly in the essays “At the Cossacks”. The writer often spiritualizes nature, it actively participates in the development of the plot, the author merges nature into one whole with the action being described. The landscape in Korolenko’s essays carries a great ideological load and performs a compositional function. Thus, for many essays, a landscape sketch is either the beginning or the ending.
Korolenko’s landscapes are never large in volume, but the master describes as accurately as possible, trying to keep his sketches simple while at the same time distinguished by depth and brightness.
Cossacks live in harmony with nature, this explains their attitude towards the river and its inhabitants as animal beings.
Sometimes Korolenko's landscapes perform a symbolic function. One of these symbolic images is the road, with the help of which the theme of time, the confrontation between old and new, is revealed.
The harmonious closeness of man and nature in Korolenko’s works is dear to the modern reader.
A recognized master of landscape in Russian literature is Konstantin Georgievich Paustovsky. It was in “The Meshcherskaya Side” that Paustovsky’s creative principles, which determined his style as a landscape writer, were fully revealed for the first time.
Nature in his works is not just a description of fields, copses, hills and rivers, sunrises and sunsets, and not the background against which the main events take place. For Paustovsky, the feeling of nature is equivalent to the feeling of the Motherland. He says that love for one's country is not possible without love for its nature.
For Paustovsky, the attitude towards nature is one of the most important criteria for assessing a person. In his opinion, one cannot be indifferent to the country, its forests, fields, its villages and people.
Paustovsky is a romantic. He, of course, starts from the specific landscape he saw, a fact, but then romantically exaggerates it. However, this does not prevent him from seeing a direct connection between the beauty of the Russian land and the talent of its people, the wealth and power of Russian art.
The theme of nature in Paustovsky’s books is revealed in many aspects. In "Kara-Bugaz" and in "Colchis" pictures of the transformation of nature were unfolded before the reader. In the “Black Sea” nature acted as an object of knowledge, a means of strong influence on a person’s personality.
In “The Meshcherskaya Side” nature is a source of lyrical inspiration; it has a great power of aesthetic influence on the reader. The author especially treasured these lyrical colors of his native nature. Glorifying nature in his works, Paustovsky acted as its defender. He argued: “A beautiful landscape is a matter of national importance. It must be protected by law. Because it is fruitful, ennobles a person, causes an upsurge of mental strength in him, calms him down and creates a cheerful state, without which a person of our time cannot imagine.”
The semantic and emotional load of landscape sketches is very high. For example, the story “Rainy Dawn,” saturated with them, acquires lyrical emotion; the nature in the story sensitively responds to Kuzmin’s experiences. But Paustovsky’s landscape plays not only background roles. The uniqueness of the writer’s works is that nature enters them as a hero, often the main one. This hero teaches the reader a poetic vision of the world, instills in him a sense of beauty and love for his homeland.
In comparison with the works of Turgenev and L. Tolstoy, Paustovsky avoids detailed descriptions of nature. His style is similar to that of Chekhov and Bunin, he knows how to find and enlarge artistic details, describing it extremely succinctly. “Paustovsky’s landscape miniatures also have their own individual characteristics. The writer introduces the reader to the perception of the Landscape. The special romantic elation and lyrical excitement of the narrative lead to the fact that all the reader’s senses are heightened: he peers more closely and seems to smell the smells that permeate the pages of the work.
Let's consider the features of the landscape of another singer of Russian nature - M.M. Prishvina. We have already said that each artist has his own vision of the world. If you put several already established artists next to each other and paint the same landscape, then everyone will have a different description, each artist will show his own characteristics. The point here is the artist’s attitude to what he sees, a unique vision of the world.
Descriptions of the nature of the world.
Description of nature by M.M. Prishvin's works are always bright, sometimes they are very bright, sometimes they are very detailed, but always reliable. The writer draws realistic picture peace. At the same time, his vision of nature is gradual; it is not for nothing that he sometimes jokingly said to himself that he was a poet crucified on the cross of prose, and jokingly called his short sketches of nature poems.” In Prishvin's landscapes, details come to the fore, but here photographic accuracy is combined with high poetry. He close-up shows the reader the details that interested him, and looks at them carefully, studying them.
For most writers, the landscape plays minor role: it helps to show the time and action of events, creates a mood, helps to understand the emotional state of the characters.
“For Prishvin, the description of nature has independent meaning, but not so much that he painted this or that picture just for the sake of this picture, a forest stump for the sake of a stump, a night violet for the sake of a night violet. No, they end up on the pages of Prishvin’s prose only if they give birth in the artist, firstly, to a movement of the soul, and secondly, to thought as fused together, as an alloy, as an act of art.”
Sometimes Prishvin was reproached for the lack of a large number characters, people, despite the fact that his heroes are associated with nature. But this is not true. The main goal of his work is the problem “Man and Nature”. How a person perceives nature, how they interact, influencing each other, how they respond human soul to various manifestations of nature - all this interests the writer. Mikhail Mikhailovich Prishvin wrote a lot: “In the land unafraid birds", "behind with a magic kolobok", "Adam and Eve", "Bright Lake", "Black Arab", "Ginseng" ... this is not all that was written by the writer. And everywhere he remained true to his main theme of Creativity “Man and Nature”.
Having examined the functions of landscape in the works of some Russian writers, we will compile the features of paintings of nature in the works of M. Prishvin, K. Paustovsky, V. Korolenko and in the works of L. Leonov.
All-Russian competition “I draw spring with words and pen!”
Spring charm (lyrical sketch)
Kamaletdinova Adelina Anasovna
420141 Kazan, Kul Gali st., 24, apt. 14,[email protected]
Magical time of year
Spring charm.
Spring is a magical time of year. In spring, nature awakens from winter sleep.
The earth rejoices, the sky rejoices.
Birds are the first to welcome spring. They build nests, start trilling, glorifying the spring sun.
During the day, the bright rays of the sun play on the glass of windows or tree branches, making them seem covered with gold.
The asphalt is already almost dry, like in summer. But there are still places where the snow has not yet melted. Not wanting to melt, he hides from the sun's rays behind houses and in ravines.
Small streams stretch along the ground in thin streams, as if entangling the earth with a network of tears. You look at all this, and you can’t believe that just recently fast rays made their way through the thickness of the snow, connecting with each other and hurrying towards one still sleeping river.
The naughty wind cheers the first leaves on the trees, blowing them from all sides. The leaves seem to whisper among themselves, rejoicing in spring.
The world of spring colors is wonderful! To your loved ones green spring has colored the young grass. She covered the forest with a green haze, and gave the birch tree green earrings.
In addition to green, spring has blue and White paint. Blue she painted the sky and the clouds with white. It’s like white swans – clouds – are swimming on a blue lake.
Spring has not forgotten yellow paint. She scattered yellow lights across the green field. These are the first spring flowers.
Every year, emerging from the darkness and cold, spring surrounds us with its bewitching dance. She gently wraps us in light and warmth, enveloping us with enchanting aromas. Spring revives our hopes!
Size: px
Start showing from the page:
Transcript
1 Research work The extraordinary in the ordinary. Features of the landscape in the story by K.G. Paustovsky “Meshcherskaya Side” DIRECTION “RUSSIAN LANGUAGE AND LITERATURE” Completed by: Anastasia Meshalkina, student of 9 “A” class MBOU “Secondary School 10 s” in-depth study individual items" of the city of Cherepovets Vologda region Head of work: Svetlana Vasilievna Savasina, teacher of Russian language and literature, MBOU “Secondary school 10 with in-depth study of individual subjects” in the city of Cherepovets, Vologda region Cherepovets, 2015
2 Contents Introduction...3 Chapter 1. The concept of “landscape” in literary criticism 1.1. Definition of the concept “landscape” Types and functions of landscape..6 Conclusions on the chapter Chapter 2. Narration or description? What is more important in a work of art for schoolchildren? 2.1. Determining the level of knowledge of students in grades 5-7 on the issue being studied. Identification of the reading interests of students in grades 5-7 based on the analysis of library forms 8 Conclusions on the chapter Chapter 3. Features of landscape sketches in a work of art 3.1. Analysis of the chapter “Ordinary Earth” Features artistic word in the chapters “Forests”, “Meadows” Selfless love to ordinary land.16 Conclusions on chapter 3.16 Conclusion.18 References 20 Appendices..21 Appendix 1. Questions to identify students’ attitudes towards landscape sketches V literary text Appendix 2. Answers of students in grades 5-7 to questions about identifying attitudes towards landscape sketches in a literary text Appendix 3. Analysis of reading forms for students in grades 5-7 Appendix 4. Fiction text of the chapter “Ordinary Land” Appendix 5. Excerpts of the text of the chapter “Forests” Appendix 6. Episodes of the text of the chapter “Meadows” Appendix 7. Literary text of the chapter “Unselfishness” Appendix 8. The diversity of flora and fauna presented in the chapters “Ordinary Earth”, “Forests”, “Meadows”
3 Introduction The life of society, the entire history of mankind, the history of science, technology and culture are reflected in words. K.G. Paustovsky, a famous Russian writer, said: “For everything that exists in nature - water, air, sky, clouds, sun, rain, forests, swamps, rivers and lakes, meadows and grasses - in the Russian language there is a great variety of good words and names." When getting acquainted with the work of K.G. Paustovsky, I was amazed at the author’s extraordinary ability to use linguistic means of expression, especially when describing landscape sketches, since I previously considered the narration of events, the actions of the characters, their relationships, speech and portrait characteristics to be paramount in a work of art. The purpose of our work is to study the features of the landscape using the material of the story by K.G. Paustovsky "Meshcherskaya Side". The object of our research is the language of the writer as a master of verbal painting. Subject of research: landscape sketches in the story by K.G. Paustovsky "Meshcherskaya Side". The objectives of our research: 1) to study the lexical meaning and etymology of the word “landscape”; 2) determine the place of the landscape in the structure of the work by K.G. Paustovsky “Meshcherskaya side”; 3) consider language features landscape creations inherent in such to a unique master words like K.G. Paustovsky; 4) determine the level of knowledge of students in grades 5-7 on the issue under study; 5) identify the reading interests of students in grades 5-7 based on the analysis of library forms. Research methods: analysis of scientific, educational, journalistic, linguistic literature, electronic materials
4 resources, student reading forms; generalization of material, comparison, systematization and analysis of the results obtained; survey method, method mathematical statistics. The theoretical significance of the work is determined by its purpose and the nature of the material being studied, since consideration of “landscape” as a literary concept makes it possible to study the structure of constructing landscape sketches in a work of art using the example of a story by K.G. Paustovsky "Meshcherskaya Side". The practical significance and relevance of the study lies in the possibility of using its results not only in the process of studying the Russian language and literature, fine arts, extracurricular activities, but also, above all, in preparation for the final essay (presentation) on literature in grade 11 on the topic “Man and nature in domestic and world culture.” And also in preparation for the Unified State Exam in the Russian language as arguments for an essay-reasoning. We assumed: 1) that students, when reading a work of art, do not pay attention to the beauty of landscape sketches or the writer’s language; 2) that in the context of a work of art by K.G. Paustovsky’s “Meshcherskaya Side” landscape sketches are not just a background against which the action takes place, but one of the most significant, key episodes the story, its compositional and semantic components.
5 Chapter 1. The concept of “landscape” in literary criticism 1.1. Definition of the concept “landscape” The concept of “landscape” was borrowed in the 18th century from French, translated literally meaning “rural picture”. S.I. Ozhegov explains the word “landscape” with the following meanings: 1. View of some area. 2. Drawing, painting depicting nature, view, as well as a description of nature in a literary work. In the dictionary V.I. Dahl gives the word “landscape” a lexical meaning: “Landscape, video, picture of the area, view of nature, rural view.” Having studied the dictionary of T.F. Efremova, we found the following definitions of the word “landscape”: 1. General form any area. 2. A painting or drawing depicting nature. // View of nature in genre works. 3. Genre of works in the field of painting, the theme of which is views of nature; landscape painting. 4. Description, depiction of nature in a literary or musical work. Having analyzed the definitions given in the studied “Explanatory Dictionaries of the Russian Language”, we found similarities in the highlighted lexical meanings. However, only S.I. Ozhegov and T.F. Efremov also point to the definition associated with literary work. IN literary dictionary The concept of “landscape” is defined as “a picture of nature that has different artistic value depending on the author's style, literary direction(appointment) with which he is associated.”
6 1.2. Functions of landscape in epic, prose, dramatic work The main subjects of depiction in literature are man and the world around him; images of nature in works are no less significant than images of people. In literature, landscapes can acquire several functions: in the images of the epic, with the help of landscape descriptions, they interrupt the narrative immediately before the plot turns or its climactic moments; in lyrics, landscapes can be used for hidden or explicit comparison of internal states lyrical hero with a fortune external environment. In the lyrical poems of poets of the 19th-20th centuries. landscape, as a rule, carries a noticeable psychological load, even if the pictures of nature are “objective”, full of various details, for example, “Winter Morning” by A.S. Pushkin, “There is in the original autumn” F.I. Tyutcheva. IN epic works nature is often an independent subject of the image. For an epic writer, the natural world is part of reality, the objective world that surrounds the heroes. Nature influences not only the actions of people, but also their psychological state. Epic works make extensive use of psychological landscape. Unlike the usual landscape, which recreates the setting of the action or reveals author's attitude to nature (in epic works), the psychological landscape is necessary in order to create an idea of the mental state of people. In a dramatic work, the landscape is used as a necessary element of the narrative or as a stage background, for example, in the tragedy of A.N. Ostrovsky “The Thunderstorm”, drama by A.P. Chekhov's "The Cherry Orchard".
7 Conclusions for Chapter 1 In the course of studying dictionary entries, we focus on the concept of “landscape” as a literary category, which in a work of art emphasizes or conveys the mental state of characters, while internal state man is likened to or contrasted with the life of nature. Depending on the subject of the image, style and artistic method, the landscape performs various functions in the work.
8 Chapter 2. Narration or description? What is more important in a work of art for schoolchildren? 2.1. Determining the level of knowledge of students in grades 5-7 on the issue under study To determine the practical significance of our work, we conducted a survey of 169 students (42 fifth-graders, 72 sixth-graders, 55 seventh-graders) in order to identify attitudes towards landscape sketches in a literary text. Appendix 1 presents the questions. When answering the first question, 88 people. (52%) define landscape as a description of nature, but at the same time 38 people. (23%) found it difficult to answer (see Table 1 in Appendix 2). Landscape as a medium artistic expression 109 people are identified in the work. (65%), with 30 people. (18%) could not answer this question (see Table 2 in Appendix 2). It can be noted that the majority of respondents 110 people. (65%) consider the story of events to be more important than the description of nature (see Table 3 in Appendix 2). When analyzing the answers to questions 4 and 5, we found that 93 students (55%) find reading landscape sketches uninteresting and 89 people (53%) omit descriptions of nature when reading, considering it boring (see Tables 4, 5 in Appendix 2). The survey data showed that the majority of middle school students consider the story of events to be paramount in the text, and the description of nature is less important. Identification of the reading interests of students aged 5-7 based on the analysis of library forms To ensure the objectivity of the survey results, we contacted school library for permission to analyze the forms in order to identify the reading preferences of schoolchildren.
9 We processed 223 forms from students in grades 5-7 from September 2013 to February 2015. It was found that 55 students (25%) do not visit the library. Analyzing the forms of students in grades 5-7, we counted the number of selected books and distributed them into groups depending on the category. We have determined that greatest number copies included stories (862) and periodicals (288) (see Table 1 in Appendix 3). We found that only 13 books about nature were taken during the period under study. This fully confirms that my peers do not single out works that contain landscape sketches. Conclusions for Chapter 2 Based on a survey of students in grades 5-7 and analysis of reading forms, we confirmed our assumption that students, when reading a work of art, do not pay attention to the beauty of landscape sketches and the writer’s language. In this regard, I decided to study the story by K.G. Paustovsky “Meshcherskaya Side” and attract the attention of schoolchildren to beauty author's word and the significance of landscape sketches in a work of art.
10 Chapter 3. Features of landscape sketches in a work of art 3.1. Analysis of the chapter “Ordinary Earth” Let’s consider how one of the leading themes of the story, a description of the beauty of nature in central Russia, is revealed through landscape sketches. The verbal connection to this topic begins in Chapter 1, “Ordinary Land” (see Appendix 4). The question immediately arises: why describe the land if it is “ordinary”? But the author himself, saying that “there are no special beauties and riches in the Meshchera region,” still highlights “except for forests, meadows and clear air.” K.G. Paustovsky compares their “great attractive power” with the modest paintings of the artist Levitan. And we can also talk about Paustovsky as a master of verbal painting, who “doesn’t write, but draws” with words. In this definition we will include the writer’s ability to create visual, sound, auditory images with the help of words, his amazing ability to evoke in the reader artistic perception pictures of nature. In the chapter “Ordinary Land”, in the description of the landscape, we can identify several micro-themes. The first begins with the question: “What can you see in the Meshchera region?” The reader is presented with meadows, forests, lakes, haystacks, clouds, swamps, sands, juniper, heather, schools of cranes, and the latitudes of the stars. Using specific nouns, precise epithets (“pine forests”, “flowering or mown meadows”, “forest lakes”, “stacks smelling of dry hay”, “vast swamps”), the author describes real picture peace. Even comparative phrases: “the grass at dawn is covered with frost, like salt,” “slept in a haystack, as if in a locked room” - create precise images. At first glance, in this micro-theme the landscape is characterized by internal staticity: nature is imbued with peace and quiet: “where it is so solemn and quiet that the bell-“babbler” of a lost cow can be heard
11 is far away, almost a kilometer away,” “there is such silence in the forests only on windless days.” In fact, this silence is deceptive: “In the wind, the forests rustle with a great ocean roar and the tops of the pine trees bend after the passing clouds.” Showing the power of the wind, the author uses not only a comparison with the ocean (“the forests are noisy with the great ocean roar”), but also hyperbole. The noise of the forest reaches incredible proportions. The epithet “great ocean roar” conveys the extreme degree of the symptom. And the tops of the pine trees bend to the height of the clouds. This is how the writer shows us the maximum intensity of the action. The observer's position is also noteworthy. He constantly moves in space: from a haystack in a field to a bird's eye view, from which we see with him pine forests, forest lakes with dark water, and lonely huts of foresters, and sands, and juniper, and heather. And again, flying clouds and schools of cranes in the sky. Finally, the picture of the world expands to a cosmic scale, to a description of the starry sky: “stars familiar to us under all latitudes.” This means that in the first micro-theme the landscape is given in perspective, which indicates the expansion of space. The second microtheme begins with the question: “What can you hear in the Meshchera region, except for the hum pine forests? This is how the sound line appears. The writer deliberately combines the sounds of the village (human habitation) and the forest: “the cries of quails and hawks, the whistling of orioles, the knocking of woodpeckers, the howl of wolves, the rustle of rain in red needles” and “the evening cry of a harmonica”, “the multi-voiced crowing of roosters”, “the beater of the village watchman " This method allows the author to show the commonality of man and nature in the Meshchera region. Therefore K.G. Paustovsky also draws our attention to the smell of hay, so dear and familiar to each of us. Speaking about the syntax of microthemes I and II, we can note rows of homogeneous members and parallel syntactic constructions “In
12 You can see in the Meshchersky region”, “You can see in the Meshchersky region”, “What can you see in the Meshchersky region?”, “What can you hear in the Meshchersky region?” With homogeneous members there are almost no unions (“flowering or mown meadows, pine forests, floodplains and forest lakes, haystacks smelling of dry and warm hay”, “forest lakes with dark water, vast swamps, sands, juniper, heather, schools of cranes... .”, “the cries of quails and hawks, the whistle of orioles, the knocking of woodpeckers, the howl of wolves, the rustle of rain in the red needles, the evening cry of the harmonica”). The technique of non-union is characteristic of a leisurely, reasoning manner of narration. Two keywords unify the theme of the entire chapter. “See” and “hear” - they become the basis of the story. In microtheme III, the author uses them, already putting them together: “see and hear.” It turns out that everything he talked about earlier can be “seen and heard” only in the first days. As you get to know Meshchera, this region every day “becomes richer, more diverse, dearer to my heart" And again the space narrows to one small image of a “willow tree over a dead river.” But it is this inconspicuous tree that will be dear to the heart of everyone who has discovered the inconspicuous beauty of the Meshchera region. Features of the literary word in the chapters “Forests”, “Meadows” by K.G. Paustovsky begins the chapter “Forests” with the mention that “Meshchera is the remnant of the forest ocean” (see Appendix 5). And this is no coincidence. In the early 30s of the 20th century, the writer was worried that the treasures of our country’s protected areas were disappearing, their pristineness and integrity were disappearing. Therefore, when describing Meshchera, the author wanted to show not only the virginity of the nature of the Meshchera region, but also to call for the preservation of these “remains of the forest ocean.” Already in the first sentence of the chapter “Forests” we seem to be plunging into the forest ocean. To create this image, the writer simultaneously uses both a comparison and an epithet: “Meshchera is like a forest ocean.” The presence of a huge
13 we feel the water space throughout the entire work. Using the epithets: “mast”, “ship scaffolding”, the author sends the reader on a voyage through the expanses of forest wealth. Sailing along it, we notice the scale and grandeur of the picturesque region. Comparing forests with cathedrals (“Meshchera forests are majestic, like cathedrals"), K.G. Paustovsky focuses our attention on the fact that they are the main characters of the Meshchera region. Epithets: “majestic forests”, “mighty pine forests”, “deep expensive carpet” - help us feel the value of every detail. Having written once about cathedrals, the author once again returns to this topic, developing it in the sentence: “The sunset glows heavily on the treetops, gilding them with ancient gilding.” Tree crowns are like church domes. The color of gold is the color of eternity. The writer emphasizes the perfection and infinity of nature. So, the basis of the landscape is philosophical theme greatness, the theme of conciliarity, associated with silence and tranquility, and a person experiences such a special state of soul when communicating with nature. The author, through the literary word, opens all channels of perception for the reader. Visual images appear before us: “dry pine forests”, “lilac bells”, “coastal water lilies”, “sticky butterbugs”, “strawberries”, “aspen leaves”, “fireflies”, “ the bats", "wolf berries". At the same time, sounds are heard: “the forests are rustling,” “the cranes and the pot on the fire are muttering,” “whistle and slight noise flocks of birds”, “shrill yapping”, “the cry of a bittern and the hoarse cries of a rooster”, “the sound of the evening”, “the tinny whistle of ducks”. At the same time, above all this there are “kilometers of silence” of boundless forest space: “bats fly silently”, “careful flitting of birds”, “deep forests”, “the birth of dawn in an extraordinary unheard of silence”, “birch foliage hangs without moving”, "owls fly slowly and silently, like clods white fluff" Nothing disturbs this calm, serenity in nature. AND
14 even the people became silent against the background of this greatness: “For some reason we speak in a whisper, we are afraid of scaring away the dawn.” The writer introduces smells into context. We enjoy the smell of juniper, sea water, lingonberries and fire smoke. In addition, the reader feels the sticky oils, the softness of dry moss, the dampness that comes from the mosses, and the cold porcini mushrooms. The author skillfully creates the “effect of presence.” At the beginning of the chapter we do not see descriptions of people, but it is the person who is hidden behind these descriptions, because from the first lines the presence of a person is realized. It is he who senses dampness, smells, and “looking into the face of bats.” A person dissolves in this silence, admiring the colors of nature. It would seem an inconspicuous nature, but K.G. Paustovsky manages to color it as he describes it. The author creates color images: “solemn light”, “the sky turns green”, “ White sun " When describing the sunset, K.G. Paustovsky uses the same root words: gilds, gilding, and at dawn there is a different scale: “the sky turns green,” “Venus lights up with blue crystal.” The color of the water of each lake is beautiful in its own way: black, reminiscent of shiny mascara, purple. Using the suffixes ovat-, -evat-, the author emphasizes the shades of colors: yellowish, bluish. He even takes the relative adjective - tin and as the color of the water: “In Lake Urzhenskoe the water is purple, in Segden it is yellowish, in the Great Lake it is tin-colored, and in the lakes beyond Proy it is slightly bluish.” We can assume that this water is soft and silvery white in color. The writer skillfully includes metaphors in the comparison, which makes nature even more alive. Every natural phenomenon has its own color. K.G. Paustovsky uses color very skillfully. Describing the color of Venus in the predawn sky, the author uses the comparison “Venus lights up like crystal,” that is, with a special brilliance, strongly refracted light. At this moment, like a bright stroke against the background of the night sky, fresh greenery appears: “The sky in the east is turning green.” The author “plays” with color, using the contrast of yellow, red, white on black: “This color is especially good in the fall, when yellow and red leaves of birches and aspens fly onto the black water. They cover the water so thickly that the boat leaves behind a shiny black road.” And black is also a good color in summer: “when white lilies lie on the water, as if on extraordinary glass.” Color for K. Paustovsky is a means of depicting the world. It is important for the writer that the reader, presenting pictures of nature, becomes interested in them and admires them, seeing the unusual in the ordinary. Konstantin Paustovsky embodies nature in the image of a living creature with the help of personification: “the sunset is burning heavily,” “the night stands and looks into the dark water,” “the dawn is emerging,” “the water, water lilies, snags are sleeping,” “the pot is angry and mutters.” K. Paustovsky, as a master of words, uses inversion to attract our attention, changing the normative order of words in the sentence: “A night full of stars.” One of the means of creating a landscape is repetitions: “water sleeps, water lilies sleep, fish sleep with their noses buried in snags, birds sleep.” By enhancing the effect of silence and calm, repetition affects the reader. The author uses the effect of reflection in creating the landscape. The lake already appears before us “like an askew mirror,” into the dark water of which the night looks. In the black water of the lake: “it is difficult to distinguish real shores from reflected ones, real thickets from their reflection in the water.” And the writer calls this reflection the “great property” of water. In the chapter “Meadows”: “the high sky overturned as a pale green bowl,” reflected in a wide belt of flooded meadows. Konstantin Georgievich acts not just as a master of words, he is also a philosopher. He considers not only earthly nature, but he is also drawn to
16 Space. The author mentions the beautiful Venus. In the chapter “Meadows” (see Appendix 6) our gaze is directed to the night starry sky: we see the constellation Orion, which “you call Stozhars”, representing a group of stars visible to the naked eye; on cool autumn nights “every two hours you go out to look at the sky to find out if Sirius has risen." K. Paustovsky thereby emphasizes that man, the Earth is part of the Universe and our task is to understand the integrity of the picture of the world, to appreciate and preserve this INTEGRITY. K.G. Paustovsky agrees with the words of Sergei Aksakov, which he quotes in his work: “Nature will enter into its eternal rights. Together with the fragrant, free, refreshing air, you will breathe into yourself serenity of thought, meekness of feeling, condescension towards others and even towards yourself.” Unselfish love for ordinary land K. Paustovsky not by chance calls the last chapter of the story “Unselfishness” (see Appendix 7) . He reminds us that native lands are valuable not only for “abundant harvests and natural forces”, “forests and peat, hay and potatoes, milk and berries”, they can simply be loved because they are beautiful in themselves, although “ “all the charm is not revealed immediately, but very slowly and gradually.” One must learn to see and understand nature, to notice the beautiful and unusual in the ordinary, and this can be taught by “this piece of land,” once you love it, you will never forget it, “just as first love is never forgotten.” Conclusions on Chapter 3 Having analyzed the chapters of the story “Ordinary Earth”, “Forests”, “Meadows”, “Unselfishness”, we became acquainted with the amazing, artistic language of the author.
17 We came to the conclusion that a) Landscape becomes the main micro-theme in the chapter “Ordinary Land”. b) There are almost no metaphors in the description of nature. But skillful inclusion of them in comparison makes nature even more alive. The absence of bright colors, the uniformity of syntactic constructions, these exact epithets means of expression, characteristic of the essay style, are needed by the writer to show the simplicity and inconspicuousness of Russian nature. c) But, speaking about the “ordinariness” of the Meshchera land, the author proves the opposite: we're talking about about the extraordinary Russian nature. You just have to look closely and listen to it, and then all its charm and diversity will be revealed to you. d) Throughout the entire work, the writer creates an unforgettable artistic image of the Meshchera side. Immersed in landscape sketches, the reader “paints” pictures of discreet colors. The Meshchera region is “noisy”, “ringing”, “singing” in different voices, we smell the smells of forest and water. e) To describe objects, tinted epithets are used to a greater extent, which contributes to a slow, thoughtful contemplation of nature. f) The expressiveness of the essay is given by comparisons, with the help of which the reader can imagine what is depicted. More often there are comparative phrases with conjunctions like, as if, as if. Less often, the author uses the instrumental case form of the noun. g) Having analyzed the diversity of flora and fauna presented by the author, we are convinced that the nature of the Meshchera region is the nature of central Russia (see Appendix 8). h) The writer notes that the Meshchera region is a special world. The author teaches the reader a poetic vision of this world, instills in him a sense of beauty and love for the Motherland.
18 Conclusion The historian studies the past by looking into the future. A botanist studies the structure and life of plants, an ichthyologist studies fish and their habitat, and a linguist studies the structure and life of words. A person explores, observes and unravels the secrets of nature, the world around us, including the secrets of language, recognizes the connection between phenomena and patterns. The word is the most important unit of language, the most diverse and voluminous. It is the word that reflects all the changes taking place in the life of society. The better than deeper man knows the language, the richer, deeper and more accurate his own thoughts will be. Having studied scientific, educational, journalistic literature, we found out that the Meshchera period of creativity of K.G. Paustovsky is not only creatively connected with the region. Here he “felt like a Russian to the last vein,” here he felt his ancient homeland. He realized that there was nothing more beautiful in the world than the Russian land, which he did not want to exchange for any of the stunning beauties of the world. As a result of the analysis of the chapters of the story “Ordinary Land”, “Forests”, “Meadows” and “Unselfishness”, we discovered that the landscape is not only the background against which the story unfolds, but, most importantly, it is included in the structure of the story and plays a very important compositional and semantic role. From the point of view of composition, the landscape is the “center” of the story; it unites all the events that occur in the chapters. From the point of view of the semantic role, it can be argued that through the landscape it is realized main idea The story shows the pristine, untouched, unusual nature of the Meshchera region, and the author’s feelings are also revealed. In connection with the study of the features of the landscape, we had the opportunity to talk about the special manner of the writer, about the originality of the author's style. We have determined how K.G. perceives the world in his own way. Paustovsky, how he perceives natural phenomena and describes them in his work.
19 We came to the conclusion that K.G. Paustovsky, by his example, shows us how to love nature, because it is in it that the sources of spiritual values are laid that make a person internally rich.
20 References 1. Geimbukh E.Yu. Grains of gold placer / E.Yu. Gamebook // Russian at school with Dal V.I. Dictionary living Great Russian language / V.I. Dal.- M.: Russian language, Efremova T.F. Modern explanatory dictionary of the Russian language / T.F. Efremova.- M.: AST: Astrel, Izmailov A. Where does the Limpopo flow? / A. Izmailov // Bonfire from Internet sources: Krementsov L. Singer of the Beautiful (K. Paustovsky-storyteller) / L. Krementsov // Literature at school from Literature. 7th grade: Textbook for general education. institutions/author-comp. T.F. Kurdyumova.- M.: Bustard, Literature: Applicant's Handbook / author-comp. V.E. Krasovsky.- M.: AST, Literary encyclopedic Dictionary/ under. total ed. V.M. Kozhevnikova, P.A. Nikolaev.- M.: Sov. Encyclopedia, Ozhegov S.I. Explanatory dictionary in Russian: 800 words. and phraseological expression - M.: Azbukovnik, Paustovsky K.G. Hare's paws. - M.: Astrel Publishing House LLC, Paustovsky K.G. Mikhailovsky Groves: Tales and Stories. - Yaroslavl: Verkh.-Volzh. book publishing house, Paustovsky K.G. Alone with autumn. - M.: Soviet writer, Timofeev L.I., Turaev S.V. Brief dictionary literary terms. A manual for middle school students. Schools. Edited by: L.I. Timofeev, S.V. Turaev.- M.: Education, Shansky N.M. Bobrova T.A. School etymological dictionary of the Russian language: Origin of words. - M.: Drofa, 2000.
21 Appendix 1 Questions to identify students’ attitudes towards landscape sketches in a literary text 1. Landscape in a literary text is. 2. Why does the author use a description of nature? 3. What do you think is more important: a description of nature or a story about events? Why? 4. Are you interested in reading a description of nature in a work? 5. When reading a work, do you miss the description of nature?
22 Answers of students in grades 5-7 to questions about identifying attitudes towards landscape sketches in a literary text Appendix 2 Grades Landscape is 5th 6th 7th Total Image in the painting Description of nature in the text No answer given Table 1. Definition of the concept “landscape” " in a work of art by students of grades 5-7 Grades 5th 6th 7th Total For expressiveness To understand the content To convey the mood To describe the weather Did not give an answer Table 2. The need for the author to use a description of the nature of a work of art according to students of grades 5-7 in Grades 5th 6th 7th Total Story about events Description of nature Both story about events and description of nature Did not give an answer Table 3. Determination of the significance of a description of nature or a story about events in a work of art according to students in grades 5-7
23 Grades 5th 6th 7th Total Interesting Not interesting Sometimes interesting Table 4. Determining the interest of nature students in a work of art in grades 5-7 in reading descriptions Grades 5th 6th 7th Total Yes No Sometimes Table 5. Determining the number of students in grades 5-7 who miss the description of nature in a work of art
24 Analysis of reading forms for students in grades 5-7 Appendix 3 Grades Categories 5th 6th 7th Total Works of the school curriculum References Tutorials Stories Books about nature Fables Do not read Table 1. Identification of reading interests of students in grades 5-7 based on library forms
25 Appendix 4 ORDINARY EARTH In the Meshchersky region there are no special beauties and riches, except for forests, meadows and clear air. But still this region has great attractive power. He is very modest - just like Levitan's paintings. But in it, as in these paintings, lies all the charm and all the diversity of Russian nature, imperceptible at first glance. What can you see in the Meshchersky region? Flowering or mown meadows, pine forests, floodplains and forest lakes overgrown with black brush, haystacks smelling of dry and warm hay. Hay in stacks keeps you warm all winter. I have had to spend the night in haystacks in October, when the grass at dawn is covered with frost, like salt. I dug a deep hole in the hay, climbed into it and slept all night in a haystack, as if in a locked room. And over the meadows there was cold rain and the wind came at oblique blows. In the Meshchersky region you can see pine forests, where it is so solemn and quiet that the bell-“chatterer” of a lost cow can be heard far away, almost a kilometer away. But such silence exists in the forests only on windless days. In the wind, the forests rustle with a great ocean roar and the tops of the pine trees bend after the passing clouds. In the Meshchersky region you can see forest lakes with dark water, vast swamps covered with alder and aspen, lonely foresters' huts charred from old age, sand, juniper, heather, schools of cranes and stars familiar to us at all latitudes. What can you hear in the Meshchera region except the hum of pine forests? The cries of quails and hawks, the whistle of orioles, the fussy knocking of woodpeckers, the howl of wolves, the rustling of rain in the red needles, the evening cry of an accordion in the village, and at night - the multi-voiced crowing of roosters and the clapper of the village watchman. But you can see and hear so little only in the first days. Then every day this region becomes richer, more diverse, dearer to the heart. And finally, the time comes when each willow above a dead river seems like its own, very familiar, when you can talk about it amazing stories. I broke the custom of geographers. Almost all geographical books begin with the same phrase: “This region lies between such and such degrees of eastern longitude and northern latitude and is bordered in the south by such and such a region, and in the north by such and such.” I will not name the latitudes and longitudes of the Meshchera region. Suffice it to say that it lies between Vladimir and Ryazan, not far from Moscow, and is one of the few surviving forest islands, a remnant of the “great belt of coniferous forests.” It once stretched from
26 Polesie to the Urals. It included forests: Chernigov, Bryansk, Kaluga, Meshchersky, Mordovian and Kerzhensky. Ancient Rus' hid in these forests from Tatar raids.
27 Appendix 5 FORESTS Meshchera is the remnant of the forest ocean. Meshchera forests are as majestic as cathedrals. Even an old professor, not at all inclined to poetry, wrote the following words in a study about the Meshchera region: “Here in the mighty pine forests it is so light that a bird flying hundreds of steps into the depths can be seen.” By dry pine forests you walk as if on a deep, expensive carpet; for kilometers the ground is covered with dry, soft moss. In the gaps between the pines lies oblique cuts sunlight. Flocks of birds scatter to the sides whistling and making light noise. The forests rustle in the wind. The hum passes through the tops of the pines like waves. A lone plane, floating at a dizzying height, seems like a destroyer observed from the bottom of the sea. With a simple eye powerful air currents are visible. They rise from the ground to the sky. The clouds melt while standing still. The dry breath of the forests and the smell of juniper must also reach the planes. In addition to pine forests, mast and ship forests, there are forests of spruce, birch and rare patches of broad-leaved linden, elm and oak. There are no roads in oak copses. They are impassable and dangerous because of ants. On a hot day, it is almost impossible to pass through an oak thicket: in a minute the whole body, from the heels to the head, will be covered with red evil ants with strong jaws. Harmless bear and ant birds roam in the oak thickets. They pick up old stumps and lick ant eggs. The forests in Meshchera are robber-like and deaf. There is no greater relaxation and pleasure than walking all day through these forests, along unfamiliar roads to some distant lake. The path in the forests is kilometers of silence and windlessness. This is a mushroom prel, the careful flitting of birds. These are sticky butternuts covered with pine needles, coarse grass, cold porcini mushrooms, strawberries, purple bells in the meadows, trembling aspen leaves, solemn light and, finally, forest twilight, when dampness emanates from the mosses and fireflies burn in the grass. The sunset glows heavily on the treetops, gilding them with ancient gilding. Below, at the foot of the pines, it is already dark and dull. Bats fly silently and seem to look into your face. Some incomprehensible ringing is heard in the forests - the sound of the evening, the end of the day. And in the evening the lake will finally sparkle, like a black, askew mirror. The night is already standing over it and looking into its dark water - a night full of stars. The dawn is still smoldering in the west,
28 In the thickets of wolfberries, a bittern cries, and cranes mutter and fuss on the moss, disturbed by the smoke of the fire. All night long the fire flares up and then goes out. The foliage of the birch trees hangs motionless. Dew flows down the white trunks. And you can hear how somewhere very far away - it seems, beyond the edge of the earth - an old rooster crows hoarsely in the forester's hut. In an extraordinary, never-heard-of silence, dawn arises. The sky in the east is turning green. Venus lights up like blue crystal at dawn. This best time days. Still asleep. The water is sleeping, the water lilies are sleeping, the fish are sleeping with their noses buried in snags, the birds are sleeping, and only the owls are flying around the fire slowly and silently, like clumps of white fluff. The pot is angry and mutters on the fire. For some reason we speak in a whisper - we are afraid to scare away the dawn. Heavy ducks rush by with a tin whistle. The fog begins to swirl over the water. We pile mountains of branches into the fire and watch the huge white sun rise - the sun of the endless summer day. So we live in a tent on forest lakes for several days. Our hands smell of smoke and lingonberries - this smell does not disappear for weeks. Black Lake is named after the color of the water. The water there is black and clear. In Meshchera, almost all lakes have water different color. Most lakes have black water. In other lakes (for example, in Chernenkoe) the water resembles shiny mascara. It is difficult to imagine this rich, dense color without seeing it. And at the same time, the water in this lake, as well as in Chernoe, is completely transparent. This color is especially beautiful in the fall, when yellow and red leaves of birch and aspens fly to the black water. They cover the water so thickly that the boat rustles through the leaves and leaves behind a shiny black road. But this color is also good in summer, when white lilies lie on the water, as if on extraordinary glass. Black water has an excellent reflection property: it is difficult to distinguish real shores from reflected ones, real thickets from their reflection in the water. In Lake Urzhenskoe the water is purple, in Segden it is yellowish, in the Great Lake it is pewter in color, and in the lakes beyond Proy it is slightly bluish. In meadow lakes the water is clear in summer and turns greenish in autumn. sea color and even the smell of sea water. But most lakes are still black. Old people say that the blackness is caused by the fact that the bottom of the lakes is covered with a thick layer of fallen leaves. Brown foliage produces a dark infusion. But this is not entirely true. The color is explained by the peat bottom of the lakes - the older the peat, the darker the water.
29 Appendix 6 MEADOWS on Prorva there is too much interference: either a crake will start screaming behind a neighboring bush, then a pound of fish will strike with a cannon roar, then a willow twig will shoot deafeningly in the fire and scatter sparks, then a crimson glow will begin to flare up over the thickets and the gloomy moon will rise over the open spaces evening earth. And immediately the corncrakes will subside and the bittern will stop buzzing in the swamps - the moon rises in wary silence. She appears as the owner of these dark waters, hundred-year-old willows, mysterious long nights. Tents of black willows hang overhead. Looking at them, you begin to understand the meaning of old words. Obviously, such tents in former times were called “canopy”. Under the shadow of the willows... And for some reason on such nights you call the constellation Orion Stozhari, and the word “midnight”, which in the city sounds, perhaps, like a literary concept, takes on a real meaning here. This darkness under the willows, and the shine of the September stars, and the bitterness of the air, and the distant fire in the meadows, where the boys guard the horses driven into the night - all this is midnight. Somewhere far away, a watchman is chiming the clock on a village bell tower. He hits for a long time, measuredly - twelve blows. Then again dark silence. Only occasionally on the Oka will a tugboat scream in a sleepy voice. The night drags on slowly; there seems to be no end to it. The sleep in the tent on autumn nights is sound and fresh, despite the fact that you wake up every two hours and go out to look at the sky - to find out if Sirius has risen, if the streak of dawn is visible in the east. The words of Aksakov entirely refer to these days spent on Prorva: “On the green flowering bank, above the dark depths of a river or lake, in the shade of bushes, under the tent of a gigantic sedge or curly alder, quietly fluttering its leaves in the bright mirror of the water, imaginary passions will subside , imaginary storms will subside, selfish dreams will crumble, unrealistic hopes will scatter. Nature will assume its eternal rights. Together with the fragrant, free, refreshing air, you will breathe into yourself serenity of thought, meekness of feeling, condescension towards others and even towards yourself.”
30 Appendix 7 UNLESSLY You can write a lot more about the Meshchera region. You can write that this region is very rich in forests and peat, hay and potatoes, milk and berries. But I don't write about it on purpose. Should we really love our land just because it is rich, that it produces abundant harvests and that its natural powers can be used for our well-being! This is not the only reason we love our native places. We also love them because, even if they are not rich, they are beautiful to us. I love the Meshchersky region because it is beautiful, although all its charm is not revealed immediately, but very slowly, gradually. At first glance, this is a quiet and unwise land under a dim sky. But the more you get to know it, the more, almost to the point of pain in your heart, you begin to love this ordinary land. And if I have to defend my country, then somewhere in the depths of my heart I will know that I am also defending this piece of land, which taught me to see and understand beauty, no matter how inconspicuous in appearance it may be - this thoughtful forest land, love for who will never be forgotten, just as first love is never forgotten.
31 Diversity of flora and fauna Appendix 8 animals cranes quail hawk oriole woodpecker wolves fireflies red ants antbirds bats owls ducks pike worms corncrake bittern bream perch plants pine alder aspen juniper heather spruce willow strawberries bells wolf berries water lilies Nika linden elm oak spruce birch white lilies willow rose hips blackberries burdock lungwort sorrel snares sedge alder Mushrooms: boletus, porcini, puffballs
Korkina Yulia Nilovna Khabibullina Raushaniya Marselevna Municipal Autonomous educational institution"Average comprehensive school 5" Bavlinsky municipal district of the Republic of Tatarstan CONSPECT
Summary of a literature lesson in 5th grade Valentina Alekseevna Gorbunova, teacher of Russian language and literature Topic. “Native all places...” (comprehensive repetition of sections “Word Formation” and “Syntax” according to
Kalabina Irina Vasilievna Lesson seminar on literature in the 9th grade “The theme of nature in the lyrics of A.S. Pushkin” Purpose of the lesson: creating conditions for the formation of subject and supra-subject competencies in students;
LOVE FOR THE “SMALL” MOTHERLAND IN N. M. RUBTSOV’S POEM “AT THE ROTTED FOREST HUT” Afanasyeva Yu.S., Kozhushkova N.V. FSBEI HPE "Magnitogorsk State Technical University them. G. I. Nosova" Magnitogorsk,
Rylov Arkady Alexandrovich " field ash"Landscape is not an add-on to prose and not a decoration. You need to immerse yourself in it, as if you plunged your face into a pile of rain-wet leaves and felt their luxurious
How to write an essay-argument for the GIA in the Russian language on a linguistic topic (15.1) Introduction (introduction) An introduction is necessary to prepare the reader for the perception of the text you have written. When writing
Karimova Albina Mansurovna Municipal budgetary educational institution gymnasium with. Raevsky municipal district Alsheevsky district of the Republic of Bashkortostan Lesson objectives: LITERATURE LESSON IN 6TH GRADE
INTEGRATED LESSON: LITERATURE AND FINE ARTS 5th grade TOPIC: “Spring, spring! How clean the air is!” (depiction of spring in poems by Russian poets of the 19th century and in landscape painting I. Levitan).
Requirements for the level of student preparation Students must know and be able to: understand the main problems public life and the patterns of the historical and literary process of a particular period; know the basics
For 6th grade students 1 Match the painting with the artist’s name and the title of the work A Isaac Ilyich Levitan Vladimirka. 1 B Ivan Ivanovich Shishkin Rye. 2 B Alexey Kondratievich Savrasov Rasputitsa.
Routing lesson. Teacher of Russian language and literature MKOU KGO “Gymnasium 4 named after. M.A. Khabicheva" Dzhukaeva S.M. Subject: Russian language. Topic: “Beeches o-a at the root of gar- / -gor-.” Tasks. Subject: know
DEPARTMENT OF EDUCATION OF THE CITY OF MOSCOW STATE BUDGETARY EDUCATIONAL INSTITUTION OF THE CITY OF MOSCOW “Engineering and Technical School named after twice Hero of the Soviet Union P.R. Popovich" Order 03/70
MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION OF THE CITY DISTRICT OF TOGLIATTI "SCHOOL 11" Order 130 dated June 14, 2016 The program was adopted on the basis of the decision of the methodological association of Russian teachers
RUSSIAN LANGUAGE Speech development lesson in 5th grade Conducted by Ivanova L.V., teacher of Russian language and literature Topic: “Beauty native land. Autumn" Epigraph: "Since childhood I grew up in this fabulous landscape" 1.Organizational
Summary of the series of lessons on visual arts“Autumn” - drawing with wool Elena Ilyinichna Travkina, teacher additional education, preschool department 4, GBOU School 1265, Moscow Purpose:
MUNICIPAL BUDGETARY EDUCATIONAL INSTITUTION "Prelestnenskaya secondary school" Master class "Methods and means of disclosure artistic image in literature lessons" Developed by:
Municipal preschool educational institution kindergarten combined type 44 Lipetsk Abstract open class on speech development in senior group on the topic: “Children’s compilation of descriptive
Notes on artistic and aesthetic development in the senior group “Russian beauty birch” Integration educational areas: “Artistic and aesthetic development”, “Cognitive development”, “Social and communicative
Municipal budgetary preschool educational institution of a general developmental type in the city district of Samara, kindergarten 309 Plan of notes on cognitive development in the senior group “Bell”
S. Rud WORK ON LYRICAL WORKS IN PRIMARY SCHOOL One of the principles of organization school analysis text - accounting for generic and genre specificity works - requires the teacher to know the basic
Artistic and aesthetic development. Drawing lesson in a preparatory school group. Theme: "Autumn". Program content: Teach children to convey impressions of autumn in drawings; on one's own
MUNICIPAL AUTONOMOUS PRESCHOOL EDUCATIONAL INSTITUTION OF BELOYARSKY DISTRICT "CHILD DEVELOPMENT CENTER KINDERGARTEN "FAIRY TALE OF BELOYARSKY" Consultation for parents Topic: "The art that is called
Topic: “Traveling around home country" 2nd grade Purpose of the lesson: Personal development in the process of training and education. Objectives: 1) Contribute to: - the development of children’s spatial understanding; - education of love
Perceiving poetic images, children receive aesthetic pleasure. V. G. Belinsky, addressing teachers, wrote: “Read poetry to children, let their ears become accustomed to the harmony of the Russian word, let their hearts be filled
How the world is changing! And how I myself change. N.A. Zabolotsky The poetic world of Nikolai Zabolotsky The work was carried out by gymnasium students of the 6th “B” class of the Salakhov Laboratory gymnasium Vasilyuk Andrey Lagiga Sergey Boldyrev
Methodology for forming the spiritual and moral basis of students’ personality in the learning process academic discipline“Plein Air” Spiritual and moral education is inextricably linked with civic and patriotic education,
The theme of the Motherland in the poems of Nikolai Rubtsov. Goals and objectives: 1. To introduce students to biographical information and the creativity of N. Rubtsov. 2. Continue learning expressive reading, commenting,
An essay based on the text by Paustovsky, the middle zone of Russia. This is the middle zone of Russia. The region is called Meshchera. Paustovsky has a work about this region. Called group 6, they draw conclusions from the entire text.
Topic: "Trees". Goal: to promote the development of the lexico-grammatical system of the language, the formation of independent, detailed statements in preschool children with speech and (or) cognitive pathology (general
The figurative and poetic language of smell in the lyrics of K. Balmont Completed by: 10th grade student Julia Borovinskaya Supervisor: teacher of Russian language and literature Galina Viktorovna Minaeva Relevance of this work
LESSON PLAN for fine arts topic: “Landscape native land» Vodyakova N.A. Lesson topic: Landscape of the native land. Goals and objectives: To educate children to love and careful attitude To native nature, understanding
Explanatory note This working programm developed on the basis of R.I. Albetkova’s program “Russian Literature. From words to literature" grades 5-9 - // Programs for educational institutions.
“Russian Museum” Children’s impressions Gr.Vitaminki Prepared by teacher: Ponomarenko A.N. Goal: Develop cognitive interest Objectives: Formation of children's knowledge about the work of Russian artists. Formation
Drawing lesson in the preparatory school group “Evening Sunsets of Ugra” Fine Arts Teacher: Cherepanova E.V. Drawing lesson in a preparatory school group. Topic: “Evening sunsets of Ugra.” Software
