How to do an analysis of the Russian language test. How to do a comprehensive analysis of the Forex market? The main points of a comprehensive analysis of a literary work

Determine the topic, the main idea of the text.
Title the text. Explain the meaning of the title.
Determine the style of the text, justify your opinion.
Indicate the means of artistic representation (if a literary text is being analyzed).
Determine what type of speech (narration, description, reasoning) the text belongs to.
Determine what kind of connection between sentences the author uses (chain, parallel, their combination).
Find in the text synonyms, antonyms, polysemantic words; words used in a figurative sense. Explain their meaning.
Find stylistically colored words. What is their role in the text?
Find borrowed words, dialectisms, professionalisms, archaisms, phraseological units in the text. Explain their meaning.
Make different types of parsing on the text material.
Check the spelling and punctuation of the text.
Highlight key words (phrases), make a plan.

An example of literary text analysis.

Text.

- Take care! - someone yelled in a desperate voice throughout the forest.

"Ah, take care!" - an intoxicating thought flashed through my head.

You will yell at the horse and, as if off the chain, you will rush through the forest, not understanding anything along the way. Only the trees flash before my eyes and sculpt in the face with mud from under the hooves of the horse. You will jump out of the forest, you will see on the greens a motley dog stretched out over the earth, and you will push the “Kirghiz” even harder to cut off the beast - over the greens, uplifts and stubbles, until, finally, you will cross into another island and the flock will disappear from the eyes along with its furious barking and moan. Then, all wet and trembling with exertion, you rein in the foamy, wheezing horse and greedily swallow the icy dampness of the forest valley. In the distance, the screams of hunters and the barking of dogs fade away, and around you - dead silence. The half-opened timber stands motionless, and it seems that you have fallen into some reserved halls. There is a strong smell from the ravines of mushroom dampness, rotten leaves and wet tree bark. And the dampness from the ravines is becoming more and more noticeable, it is getting colder and darker in the forest ... it's time for an overnight stay. But it is difficult to collect the dogs after the hunt. Long and hopelessly-dreary horns ring in the forest, screams, scolding and squealing of dogs are heard for a long time .... Finally, already completely in the dark, a gang of hunters tumbles into the estate of some almost unknown bachelor landowner.

(I. Bunin. "Antonov apples".)

Text analysis.

An excerpt from I. Bunin's story tells about the brightest moment of the hunt - the race of the beast. The main idea of the author is to show, on the one hand, the feelings of the hunting participant ( excitement, excitement, tension etc.), on the other hand, his admiration, surprise at the pristine nature of majestic nature. You can offer several options for the title of the text: “On the hunt”, “Race of the beast”, etc. In terms of style and type of speech, the passage is an artistic narrative with elements of description. The relationship between sentences is parallel. Means of communication: lexical repetition, single-topic vocabulary, synonyms, antonyms, conjunctions(and but), adverbs (then, away, firmly, long), aspect-temporal correlation of verbs etc. Compositionally, the text is “divided” into three parts: the first tells about hunting, the second about the “reserved chambers” of the forest, and the third about preparations for spending the night. The main artistic technique - antithesis. It can be seen especially clearly when comparing the first two parts of the text, in which the author uses antonym verbs (rush, push, flash, jump out. You will cross, you will besiege(I)- freezes, stands(II); definitions-antonyms(desperate, intoxicating, broken, mad, trembling, wheezing(I)- dead(II); circumstances-antonyms (without disassembling, stronger, greedily, across(I)- motionless, hopelessly sad(II). To convey the feelings of the hero, the author includes in the story synonyms (yelled, whooped- I), epithets (half-open, reserved-II), metaphors (trees flicker-I, the screams fade away- II); words used in figurative meaning(in the text "Kyrgyz" - horse breed; direct meaning - person of Kyrgyz nationality); reception gradations (screaming, scolding, squealing of dogs); polysemantic words(in the text the word horns means plain musical instrument, used to signal; another meaning of the word horns - ossified processes on the head of an animal). In the passage there are words with different stylistic coloring : colloquial (on greens, uplifts); colloquial(yell, across), professional (take care - a hunting term calling for caution and attentiveness when chasing an animal); expression derived from phraseological unit A "Like I got off the chain" and so on.

The text uses words like primordially Russian (ravine, hopeless) and Old Slavonic (woody, barn).

Speaking about the syntactic features of the text, it should be noted that it consists of 14 sentences (2 - with direct speech, 7 - simple, 5 - complex), complicated by homogeneous members, common definitions and circumstances. Both simple sentences proper and simple ones that are part of complex ones are often one-part (impersonal and definitely personal).

Analyzing the spelling features of the text, you can group spellings, for example: н and н in denominative and verbal adjectives (icy, desperate, mad); unstressed vowels in the root (flashes, hooves, intoxicating, tension, valley, sprawling), alternating vowels in the root (dismantling, freeze, jump out); ь to denote verbs in the form of the 2nd person singular. numbers (you hoot, you rush, you jump out, you see, you swallow), prefix pen- (across, cross over, rotten) and so on.

We can suggest the following plan text:

The thrill of hunting.
In the "reserved halls" of the forest.
"Time for a sleepover."

Text analysis is not the easiest thing. In order to comprehensively study and understand a complex literary text or a philosophical treatise (we omit scientific, sectoral texts), even the most careful reading is not always enough. You need the right tools. Such tools are hermeneutics and semiotics. Hermeneutics is the art of interpreting texts, both ancient manuscripts and complex philosophical treatises. What can we borrow from this science on a simple, philistine level, forgive us Gadamer and Ricoeur, - the method of "getting used to", try to identify yourself with the characters, transfer yourself to the situation. Let it be difficult, it requires some preparation, but it is very effective method. Find information about the author, about the era, make a brief of historical events, political map of the world - this will help you count the correct meanings.

Semiotics is the science of signs. From the point of view of semiotics, culture is the world of sign systems. How can this help? At the most primitive level, the phrase encountered and very typical for an American detective: "he showed his thumb or middle finger" - without understanding the interpretation of signs, can mislead the reader. A deeper level of semantic analysis, Yu.M. Lotman, - understanding the relationship between signs, the culture of interpretation, characteristic of a particular era, country, environment. In other words, we need to understand "who" tells us - the position of the author in society, the obligations that he had to society, for example, often in modern texts, refer to Aristotle as the founder of the ideas of democracy, herald of freedom and equality, that's all partly true, but when we read this, we should always remember that he was also one of the ardent apologists for slavery, when he spoke about a man, it should be understood that this is only an adult Hellenic man, all the rest were not even people according to the great Aristotle. Yaroslav the Wise, who many years later became acquainted with the works of Aristotle, laying the foundations for our understanding of truth and justice, in the eyes of his teacher would be nothing more than a barbarian, an animal.

The second illustrative example of semantic relationships is an old experiment with which culturologists often surprise their audiences in Russia. If you ask the audience to shout the first noun that comes to their mind after what you said, and say "cat", most people will shout "mouse" - in Russia this clear relationship can always be traced, as well as the fact that the fox is cunning, and the bear is stupid, but armed with this semantic apparatus, trying to understand the tales of the Ancient East, America, you will most likely encounter misunderstanding.

Let's summarize the above. To understand the text, you need to: have information about the author, historical era, culture, language (especially if you are reading a work in translation and can only guess about the true nature of the original meaning), try to let it all through yourself, get used to the resulting image, so you may get a little closer to the original meaning or idea.

But there is another approach, which says that the text is created by the reader. There are as many versions of each piece as there are insatiable pairs of eyes that have skimmed over it. If you follow this approach, then it does not matter at all what the author was trying to say, what is important is what you heard. The interpreter spawns new text, new meanings, a new sign system, perhaps this is the reason for evolution))

It all depends on who is analyzing. On this stage of its development, the science of literary criticism has already accumulated vast experience, which cannot be forgotten when analyzing works. For example, let's take a philologist who gave 20 years of his life to this field. He will never be able to just do a complex analysis, as you put it, because, in his opinion, a complex analysis must necessarily include the search for hidden meanings, allusions, associations, and so on. Secondly, it all depends on the author and the work you are analyzing. If this is Dostoevsky or Bulgakov, then it is simply stupid to refuse to search for "hidden meanings", because the authors themselves wanted the readers to look for these hidden meanings. But if it comes to your mind to analyze Daria Dontsova, then the search for hidden meanings and associations clearly speaks of paranoia :)

Text is a very complex phenomenon. There is no single, final, correct analysis of a literary work. You can do analysis all your life, from very different points of view, getting more and more new results. In addition, the main keys to understanding a work lie not inside it, but outside it - in the context of its creation, in culture, historical era, social processes, the personal fate of the author, etc. It is these two facts that are not visible in the approach to literature with which many of us are familiar thanks to the Soviet high school where literary criticism to a large extent served ideological and political goals. From there, with a high probability, the very formulation of the question of "complex analysis" comes.

In science, there are concepts "object", "subject" and "subject" of research, without the definition of which any analysis will float in a boundless (literally) space. Without going into details and definitions, I will give several possible options.

For the object of study (what we are considering), we can take the original text of the work, but with no less success (albeit with a different set of possibilities for analysis), we could use its oral forms, or the totality of the material incarnations of this text from the moment it appeared, or a set of different forms of presenting a given text in a certain era, or reflecting and reproducing a given text in various forms culture over a certain period.

For the subject (what we study) - the psychology of the author or era; some psychological aspects in a historical perspective; the structure of the work; variants of messages that it conveys to various recipients of different eras without involving a special analysis and ways of interpreting from different positions; some ideological, historical, historiographic, linguistic, literary, psychological, social, semiotic, aesthetic, cultural aspects in various contexts, etc.

And finally, the subject is the person who conducts the analysis. The most obvious is from the standpoint of what science he approaches the study of the text. Is he a philologist within the framework of this analysis? Historian? Historiographer? Semiotic? Culturologist? Psychologist? Costume designer? Playwright? etc. What specific questions from his field does he study in this analysis? In addition, his own culture, language, history of his people and state, life experience, level of training in various issues, interests, motives. All of these can lead to very different conclusions when analyzed. For example, some works, even those belonging to one's own culture, are very difficult to understand without going through certain events, choices, situations in one's own life. Well, or, I suppose, a phenomenon familiar to you, when, after 10 years, you return to reading the same book, you suddenly perceive it in a completely different way.

Now another example to illustrate the infinity of the concept of "analysis of a literary work." Take a text about human life in the ancient Near East, written by a Dutch author in the 16th century, translated in the 19th century. into Russian by a Russian translator, and read by you in the 21st century. These are four very differently organized cultural positions in interaction! Each of which has everything great amount aspects, examples of which are listed above! And if from the standpoint of modern anthropology or paleontology this text may not be of interest, then, for example, from the point of view of historiography or cultural studies, it is a real treasure trove! The humanities are myriads of mirror-spotlights directed at each other and repeatedly reflecting each other.

If you do not take highly specialized views and dwell on some everyday understanding of the work (which can also be very complex, diverse, change over time: this is just another point of view, not diminished in the least), then it is worth briefly familiarizing yourself with the era in which the author lived , way of life, structure of society, social processes at this time, the author's personal history; as well as to know your language and history well, to have more of your own acquaintances with different people and accomplishments in your life.

Every time you pick up a book, ask yourself, “What for? For what purpose am I taking this book? In this way, the approach to analysis will form itself properly, that is, correspond to very specific goals and objectives, and will not become a formal “analysis in general”. After all, the analytical approach depends on many circumstances: goals, properties of the material, properties of the recipient (reader).

In general, it is interesting to read, it is fascinating to read. Reading is generally helpful. After all, what is reading? Receiving the information. Just like observing the pictures of the world around us. Just like listening to the sound of the world around us. Receiving and processing information is directly related to the ability to survive. The overwhelming majority of the population of "developed" countries, living, as they themselves think, in comfortable conditions, have long forgotten about this.

We are dealing with a text if the sentences are united by a single theme and are related to each other grammatically and in content. Compositional unity and relative completeness make it possible to give a general title and highlight semantic parts. The lessons of literature require a comprehensive analysis of the text, the compilation of which is the subject of the proposed article. As an example, the parable "About a tired traveler" will be considered.

concept

The purpose of the analysis is to develop the ability to understand the ideological and aesthetic value of works and explain the origins of their expressiveness. Thanks to them, students will be able to write essays, reflections and other texts, replenishing vocabulary and using different styles of speech. What is text analysis, how to do it correctly?

M. Gasparov identifies three levels that need to be mastered in the study of the work:

Ideological and figurative (impressions and emotions, author's ideas and motives for writing, main characters and the writer's attitude towards them).
Stylistic (analysis of syntax and vocabulary).
Phonic (stanza, rhythm, metrics), used for lyrical works.

Comprehensive text analysis requires certain preparation and knowledge, which we will discuss in more detail in the next subheading.

Action algorithm

Most often, literature deals with works of art - the smallest units of literary creativity, where the author's word about his understanding of life is refracted through the reader's perception. The analysis of a literary text requires the following actions:

careful reading with the allocation of individual parts (chapters, subheadings, paragraphs);
reflections on the title, which carries the main idea of the essay;
drafting a text plan;
studying vocabulary and finding out the meaning of unfamiliar words in the dictionary;
collecting information about the author and his worldview, historical era and features of the creation of the work;
knowledge of the theory of literature, revealing what a genre, composition, chronotrope is;
possession of the skills of highlighting artistic means of expression (epithets, metaphors, hyperbole).

Analysis plan

In order to consider the work in the unity of form and content, the plan must include literary and linguistic aspects. Its scheme should precede the analysis of the text. How do you research a work of art? The following plan is proposed:

Theme, main problem and meaning of the title.
Author's position.
Microthemes.
Parts of the text and means of communication between them.
Speech, style, genre of the work.
The means of expression used, their role.
Text composition.
Reader's attitude to the problem of the work, emotional perception.

The analysis of the text, an example of which will be considered in the article, is based on the content of a literary work. A small parable "About a weary traveler" tells about a group of people climbing a mountain. Everyone walked cheerfully and easily, and only one lagged behind the rest and complained of fatigue. At first, heavy luggage interfered with him, and his friends decided to free him from the burden. After some time, the traveler again began to delay the walkers and grumble that his legs hurt. The comrades decided to carry the friend in their arms, but they heard groans that he was getting tired even when they carried him. The traveler was carefully lowered to the ground, but the dissatisfied one again told how hard it was for him to lie down.

The Lord heard the groans and sent the young man eternal rest. Death from laziness frightened the companions, who considered such an end of life despicable. For them, to die with honor is to die from work, raising their soul to the Mountain of Life.

Text analysis: how to do it on the example of a specific work

The theme of the parable is the attitude to life as an act and constant work, which is the essence of human life. The author is interested in the problem of the relationship between man and society, life and death, work and inaction. His conclusion: only labor leads a person to self-improvement and spiritual beauty. And that means to God.

Four stanzas are distinguished in the text, expanding microthemes: a tired person and travelers, people and God, moral aspect, author's conclusion. The first two stanzas are connected by a chain, and the subsequent ones by a parallel connection. This helps to reflect the sequence and logic of events and the formation of the author's thought.

Analysis of the text, an example of which is considered in the article, allows us to define the work as a parable - a story containing a lesson. This is a small form of epic work, in which there is a didactic idea. The action is not tied to a specific place, but it could take place in any era and in any place.

The style of the work is artistic. Colloquial speech is intertwined with bookish, solemn vocabulary.

Completion of the analysis

A rich synonymic row for the central character, which makes his image more voluminous ( tired - alone - traveler - dissatisfied - unfortunate traveler - tired of the road).
Repetitions of words that help emphasize the annoyingness of the protagonist.
Paired antonyms that turn the work into a continuous antithesis: all - one, fun - grumbling, work - laziness, life - death.
Variety of vocabulary: from pathos words ( despicable, dust) to negative-evaluative ( grumbled), which allows to convey the author's irony in relation to the traveler.

When analyzing the text, how to make the transition to the composition? First you need to determine how the plot develops. In this example, it is linear. There is a plot - the lag of a tired traveler and his dialogue with his comrades. The climax is a remark addressed to God, that “he is also tired of lying down.” The denouement is the attainment of eternal rest.

The system of images is built in the form of a triangle: travelers - tired - God. The Almighty is not in a state of interaction with the characters, he is above them, fulfilling, in fact, the dream of the afflicted.

The phraseological units used and the author's final reflections on the death of a tired traveler contribute to the fact that instead of a negative attitude towards the hero, the reader feels sympathy. So unreasonably and absurdly he disposed of his life. God stays with those who continue their difficult ascent to the Mountain of Life.

An analysis of a text in literature cannot do without a personal relationship to what is read, because any work of art is designed to influence a person's emotions.

Comprehensive text analysis plan

Prepared by: teacher of the Russian language and literature, MBOU "Secondary School No. 12", Noyabrsk, Tyumen Region, YaNAO Fialkovskaya Veronika Petrovna

Read the text

Text is a combination of sentences that are related in meaning and grammatically.

Remember what you know about its author.

What functional style of speech does the text belong to? Prove it.

Artistic, official business, journalistic, scientific, colloquial.

(scientific - the meaning is to give an accurate and clear idea of scientific concepts (for example, terminological vocabulary); official business - official correspondence, government acts, speeches; vocabulary is used that reflects official business relations (plenum, session, decision, decree, resolution); journalistic - abstract words with a socio-political meaning are characteristic (humanity, progress, nationality, publicity, peace-loving); colloquial - it is distinguished by a large semantic capacity and colorfulness, gives speech liveliness and expressiveness; artistic - used in fiction).

What type of speech is this text?

Description - this is an image of any phenomenon of reality, an object, a person by listing and disclosing its main features. For example, when describing a portrait, we will point to such features as height, posture, gait, hair color, eyes, age, smile, etc.; the description of the room will contain such features as size, wall decoration, furniture features, number of windows, etc.; when describing a landscape, these features will be trees, a river, grass, a sky or a lake, etc. Common to all types of description is the simultaneity of the manifestation of features. The purpose of the description is for the reader to see the subject of the description, to present it in his mind. Description can be used in any style of speech, but in scientific characterization the subject should be extremely complete, and in the artistic emphasis is placed only on the brightest details. Therefore, linguistic means in the scientific and artistic style are more diverse than in the scientific one: there are not only adjectives and nouns, but also verbs, adverbs, comparisons are very common, various figurative uses of wordsNarration - this is a story, a message about an event in its temporal sequence. The peculiarity of the narrative is that it talks about actions following one after another. For all narrative texts, the beginning of the event (outset), the development of the event, the end of the event (denouement) are common. The story can be told in a third person. This is the author's story. It can also come from the first person: the narrator is named or indicated by the personal pronoun I. In such texts, verbs in the form of the past tense of the perfect form are often used. But, in order to give expressiveness to the text, others are used simultaneously with them: the verb in the form of the past tense of the imperfect form makes it possible to single out one of the actions, denoting its duration; present tense verbs make it possible to present actions as if taking place before the eyes of the reader or listener; forms of the future tense with a particle like (how to jump), as well as forms like clap, jump help to convey the swiftness, surprise of this or that action. Narration as a type of speech is very common in such genres as memoirs, letters.

reasoning - this is a verbal presentation, explanation, confirmation of any thought.

The composition of the reasoning is as follows: the first part is a thesis, that is, a thought that must be logically proved, substantiated or refuted; the second part is the rationale for the expressed thought, evidence, arguments, supported by examples; the third part is the conclusion, the conclusion.

The thesis must be clearly provable, clearly articulated, the arguments are convincing and in sufficient quantity to confirm the thesis put forward. Between the thesis and arguments (as well as between individual arguments) there must be a logical and grammatical connection. For a grammatical connection between the thesis and arguments, introductory words are often used: firstly, secondly, finally, so, therefore, in this way. In the reasoning text, sentences with conjunctions however, although, despite the fact that, because, are widely used.

5. Define the genre of the text.

6. Determine the topic of the text.

9. How are the parts of the text connected? Pay attention to lexical and syntactic means of communication. Repetitive words, syntactic parallels or, on the contrary, a sharp change in syntactic constructions and intonation.

The main means of grammatical connection of sentences in the text is the order of sentences: the order of words in sentences; intonation, etc.

Parallel communication sentences in the text - sentences, starting with the second, are both semantically and grammatically related to the first.

chain link proposals in sentence text connected in meaning, sequentially, as if along a chain: the second - with the first, the third - with the second, etc. Such sentences can be linked using repeated or cognate words, pronouns, etc.

10. How do the beginning and end of the text relate?

11. What method(s) is the text based on?

12. Mark the main images in the text. Don't forget about the image of the author.

Pay attention to the stylistic affiliation of the vocabulary (the use of archaisms, historicisms, neologisms, emotionally evaluative words, colloquial or, conversely, words of an elevated style (why are they used by the author);

Highlight phraseological units and set their meaning according to the dictionary, pay attention to the spelling of these words;

Find key words in each part of the text;

Find contextual synonyms or antonyms in the text;

Find polysemantic words and words used in a figurative sense;

Pay attention to the means of artistic expression, if they are used by the author:

Epithet - a word that defines an object or phenomenon and emphasizes its properties, qualities, signs. Epithets can be expressed in different parts of speech (red girl, good fellow, bright eyes, mother Volga, wind-bordyaga, cheese earth).

Metaphor - the figurative meaning of the word, when one phenomenon is likened to another, and both similarity and difference can be used (red rowan bonfire, door handle, mountain foot, queue tail).

special kind metaphors -personification - likening an inanimate object to a living being (winds howl, a blizzard is angry, trees whisper).

Comparison - the definition of one object or phenomenon by comparing it with another (the moon is like a turnip; the sky is like a bell; the month is a language).

Repetition of certain consonant sounds -alliteration , repetition of vowel sounds -assonance )

17. Formulate the idea of the text (main idea)

18. What is your impression of the text?

Schematic table "Complex text analysis".

Main questions

1. Read the text

2. Recall what you know about its author.

3. What functional style of speech does the text belong to? Prove it.

Art,

journalistic, scientific

4. What type of speech is this text?

Description, narrative, reasoning.

5. Define the genre of the text.

An episode of a work of art, an essay, a memory, a parable, a legend, a prose poem, etc.

6. Determine the topic of the text:

its main idea

What is this piece about? what or who is it talking about

This is what he calls for, what he teaches, for what he writes; it can be expressed in the title or in one of the sentences of the text. But more often it needs to be found and formulated.

7. If the text does not have a title, think about how it can be titled and why the author gave it such a title.

8. Divide the text into semantic parts (micro-topics) and make a plan for yourself.

9. How are the parts of the text connected? Pay attention to lexical and syntactic means of communication.

Repetitive words, syntactic parallels or, on the contrary, a sharp change in syntactic constructions and intonation.

10 What is the relationship between the beginning and the end of the text?

11. What technique(s) is the text based on?

Comparison, opposition, gradual intensification of feelings, gradual development of thoughts, rapid change of actions, events, dynamism; leisurely contemplation).

12. Mark the main images in the text

13. Watch the vocabulary of the text:

Find unfamiliar words and set their meaning in the dictionary, pay attention to the spelling of these words;

Find key words in each part of the text;

Find contextual synonyms or antonyms in the text;

Find polysemantic words and words used in a figurative sense;

Pay attention to the style of the vocabulary;

Highlight phraseological units

Why are they used?

Epithets, metaphors, comparisons, personifications.

14. Observe the phonetic means of the language.

15. What morphological means does the author use.

An abundance of verbs and participles to convey an action or a dynamic description of something changing, moving; an abundance of adjectives when describing an object or landscape; the use of particles - restrictive, excretory, intensifying, emphasizing the unexpectedness of what is happening, conveying surprise, admiration, etc.)

16. Observe the syntax of the text.

The use of sentences of a certain structure: short, concise or lengthy; simple or complex; nominative, impersonal, generalized-personal - the use of inversions, exclamatory and interrogative sentences, dots, direct speech, dialogue, etc.

17. Formulate the idea of the text

18. What is your impression of the text

13. Watch the vocabulary of the text:

Find unfamiliar words and set their meaning in the dictionary, pay attention to the spelling of these words;

Find key words in each part of the text;

Find contextual synonyms or antonyms in the text;

Find polysemantic words and words used in a figurative sense;

Pay attention to the style of the vocabulary;

Highlight phraseological units

Pay attention to the means of artistic expression, if they are used by the author;

The use of archaisms, historicisms, neologisms, for emotionally evaluative words, for colloquial or, conversely, words of an elevated style (why are they used by the author)

Why are they used?

Epithets, metaphors, comparisons, personifications.

14. Observe the phonetic means of the language.

Repetition of certain consonant sounds - alliteration, repetition of vowel sounds - assonance)

15. What morphological means does the author use.

How to do text analysis

continue to work on teaching students to perform complex text analysis

Educational form uud for working with prose text

Educational: to form in children a feeling of love for mothers, compassion

Lesson time 45 min

During the classes:

Org. Moment, 3 min

Review of what was learned in the previous lesson, frontal survey

What is our speech? (if letters, sounds, sentences, then: “Ah, oh, c, y!” He asks: “Did you understand my idea? Forest, house, plant! Now everything is clear? Mushrooms are already growing in the forest! Is it clear why I need you give information about it?"

It is concluded that usually our speech consists of several sentences, related and the main idea, connected in meaning and grammatically.

What are the main features of the text you know?

The salient features of the text are:

Semantic integrity, depending on the main, main idea;

Thematic unity;

Grammar connection between sentences.

What speech styles do you know? What are their main distinguishing features?

What is the composition of each style? (can be graphically

What do the terms theme, micro-theme, theme mean?

The topic is the content, the subject of reasoning, presentation, utterance, conversation.

A theme is a collection of topics.

Micro-theme - the smallest component topics of the whole text (paragraphs or subparagraphs

plan for the disclosure of the entire topic).

What questions need to be addressed in the analysis of the text?

Work on the topic:

Work in pairs.

They tell me it's too much
I give love to children
What maternal anxiety
Makes my life older.
Well, what can I answer them -
hearts,
As impassive as armor?
The love I gave to children
Makes me stronger.

Prove it's text. What semantic parts can it be divided into? What are the topics of these parts? What words prove it? How are these parts connected? What is the style of the text? What is the structural connection of sentences (parallel, chain?) figurative and expressive means? logical emphasis?

(back 7 minutes)

Do you have any questions? Did everyone understand how to work?

According to the plan recorded in the last lesson, disassemble the proposed text. I remind you that this should be a related text, not a set of answers to questions. Choose an epigraph for the text. (out of those offered)

Job. (15 minutes)

Examination

Reflection. What new did you learn at the lesson, what skills did you acquire? What seemed interesting?

Homework - select the text from the text of the geography geography 2014, make a comprehensive analysis of it.