Scientific research work in literature. Research work in literature (Grade 10)
Ministry of Education and Science of the Republic of Buryatia
MO "Kurumkansky district"
District Department of Education
MBOU "Kurumkan secondary comprehensive school№1"
Republican scientific and practical conference
young researchers "Step into the future"
Section "Literature"
Direction "Poetics of Russian literature"
Semantic space analysis
keyword "rain"
in the work of Boris Pasternak
(on the examples of the book "My sister is life"
and the novel "Doctor Zhivago")
Completed by: Khurkhesova Natalia,
9th grade student
Head: Buralova Z.G.,
teacher of Russian language
and literature
With. Kurumkan, 2014
TABLE OF CONTENTS
Introduction
ChapterI. Brief review of used literature
ChapterII. Theoretical aspect. Symbolization, creating symbols based on associations
ChapterIII.
ChapterIV. The symbolism of rain in the work of Boris Pasternak:
Analysis of the keyword in the lyrical poems "My sister is life";
Keyword analysis in the novel "Doctor Zhivago";
V. Conclusion
VI. List of used literature
Application
Introduction
The legacy of Boris Pasternak today is legally included in the treasury of Russian and world culture. His work for us, high school students, becomes an occasion for reflection on the "eternal" issues of human existence, teaches us to see the unusual in the ordinary. And together with the poet you begin to discover this wonderful world for myself.
It is sometimes difficult for an inexperienced reader of the 21st century to understand the poetic world of Boris Pasternak, which appears before us in all the richness of associations. They are unusual and sometimes very complex, require special attention, a lot of work of thought and soul. For a person, especially a poet, is rightfully considered the creator and interpreter of the linguistic picture of the world, as “an image of the world, manifested in the word” (B. Pasternak).
interest in life and creativitygoal research - to identify the semantic-associative structure of the concept "rain" in the work of Boris Pasternak, the features of its functioning and formation within its idiostyle. To achieve this goal, it is necessary to solve the following tasks:
Reveal the meaning of the artistic concept as a manifestation of the individual author's picture of the world;
Define the concept of the lexico-semantic field in the system of the writer's idiostyle;
To characterize the semantic structure of the concept of "rain" in the Russian language, to identify the conditions for its formation and functioning;
To study ways of forming the concept of "rain" and its components in artistic aspect question.
Relevance of the topic also due to the lack of research on this concept in the work of Pasternak. Object of study- concept as a categorical basis of language. Subject- the concept of "rain".
The main methods of work were: search; material sampling method; descriptive; the principle of text analysis “following the author” (V.G. Marantsman); method of analysis and generalization.
As research material the texts presented in the book of poems "My sister is life" and in the novel "Doctor Zhivago" were taken. Research work consists of an introduction, two chapters (theoretical and practical), conclusion, list of references.
Chapter I . Theoretical concept of the definition of "concept"
The study of the nature of the concept in cognitive linguistics is given paramount importance. But still no single definition this term. Some scholars understand the concept as some substitution of meanings hidden in the text as “substitutes” for many objects, facilitating communication and closely related to a person and his national, cultural, professional, and age experience. Some scientists believe that a concept is what we know about an object. According to others, the concept is a name that reflects a certain cultural knowledge of a person about the world.
AT " Concise Dictionary cognitive terms" definition of the term:
“A concept is an operational meaningful unit of memory, a mental lexicon, a conceptual system and a language of the brain... the whole picture of the world reflected in human psyche» [Kubryakova E.M. , 1996 90].
The words concept and notion are the same only in their internal form: translated from Latin conceptus means “concept”, from the verb concipere “begin”, which literally means “concept, conception”, the concept is from the Old Russian verb “understand “grab, take ownership” literally means the same. AT scientific papers sometimes these words act as synonyms.
Concepts reduce the diversity of observed and imaginary phenomena to something unified, bringing them under one rubric; they allow you to store knowledge about the world and are the building blocks of the conceptual system.
The concept is surrounded by an emotional, expressive, evaluative halo; this is the “bundle” of representations, concepts, knowledge, associations, experiences that accompanies the word and the concept it expresses.
In addition, the number of lexical units that are concepts is limited, because not every name - designation of a phenomenon is a concept. The concept becomes only those phenomena of reality that are relevant and valuable for a given culture, have a large number of language units for their fixation, are the subject of proverbs and sayings, poetic and prose texts. They are a kind of symbols, emblems, definitely pointing to the text, situation, knowledge that gave rise to them. They are the bearers of the cultural memory of the people.
To understand the concept based on general position: concept is what names the content of the concept, a synonym for meaning. Concepts occupy an important position in linguistic consciousness, and therefore their study becomes an extremely urgent problem.
CHAPTERII. THE CONCEPT "RAIN" IN BORIS PASTERNAK'S WORKS
2.1 COMPONENTS OF THE RAIN CONCEPT
Chapter III . The originality of the lyrics of Boris Pasternak
The poetic world of Boris Pasternak appears before us in all the richness of associations that renew our understanding of familiar objects and phenomena. To us, familiar with Russian poetryXIXand startXXcentury and accustomed to the classical structure of images, the world of the poet seems pretentious, tongue-tied, strange, confused. The habitual model of text perception is difficult to superimpose on the model proposed by the poet. And therefore, certain difficulties await us in the perception of Pasternak's poetry, without overcoming which we will not be able to come closer to understanding the poet.
Firstly, these difficulties are connected with Pasternak’s poetic dictionary, where there are unfamiliar and little-used words, which, as the poet believed, “should lead away from the template, from the usual phrases expressing familiar ideas. The less the word was in book circulation, the better, fresher it is. He strove for the accuracy of verbal usage.
The next, more difficult stage in comprehending the poet's texts is syntax. Pasternak violates literary norms familiar to our ears. Skills are needed to comprehend this syntax. Words may be ordinary, but their arrangement in a stanza is extremely unusual and therefore difficult. For example:
In the garden, where not a single foot
I didn’t step, only fortune tellers and blizzards
A foot has stepped, in a demoniac district,
Where and how the dead sleep snow...
In this poem, we are talking about a traveler who got lost in some suburb, about a blizzard that aggravates the hopelessness of the path. To get lost in space for a lyrical hero is the same as to get lost in time. This state is conveyed by ordinary words and phrases that have left their places and produce an unusual, strange impression.
The third stage of penetration into the poetic world of Pasternak is the associative series of his images. They are unusual and sometimes very complex, they require attention and a lot of work of thought and soul.
The poet has an amazing ability to see the phenomena of the world as if for the first time. He listens to his surroundings, peers into it and sees more than a common person, creates its own, impetuous, bright and sonorous world. And together with the poet you begin to discover it for yourself.
Chapter IV . Research work.
The symbolism of rain in the work of Boris Pasternak
“I have always strove for simplicity and will never stop striving for it,” wrote Boris Pasternak. But the clarity of expression in his work is connected with the depth of the symbol and the breadth of thought. And that's why correct interpretation complex poetic symbols and associations contributes to a deep and correct reading of his works.
One of the most complex symbols that expands the semantic perspective of a lyrical work, allowing us to build a chain of associations, is the symbol of rain.
4.1 Analysis of the keyword in lyrical poems (the third book of poems "My sister is life")
Boris Pasternak has a native element - flowing water, most often - rain. This image-symbol is multi-valued. And so we have a variety of associations.
Marina Tsvetaeva called her article dedicated to her friend Boris Pasternak “Shower of Light”. The image found by Tsvetaeva is surprisingly accurate: a downpour, a tropical thunderstorm, streams of water, waterfalls. “But more passionately than grass, dawn, blizzard - Pasternak loved the rain (Well, he waited for the poem! - The whole book floats.) But what is not autumn, not fine, not rain - rain! The rain is jigit, not rain!” - Marina Tsvetaeva wrote so enthusiastically in 1923.
Rain for Pasternak is equivalent to life:
I was hurt by the spring rain about everyone.
Like life, this image-symbol is infinitely diverse.
Here is the jubilant rain:
The drops have the weight of cufflinks,
And the garden blinds like a pool,
Splattered, splashed
A million blue tears.
And not only the one who rejoices, but also the one who makes everything irrigated by him rejoice:
Waving a fragrant branch,
Drinking in the dark is good,
Ran for a cup with a cup
Storm-stupefied moisture.
Or:
Throat - deep roses, burning,
wet diamonds.
Wet overlap
Happiness on them, on eyelashes, on clouds.
But this exultation of unearthly power can turn into a disaster for the earthly:
And covered with sacrificial smoke
Eyes and clouds.
Or:
She, this unearthly force, can even turn into something miserable, lonely and unhappy:
All these examples are taken from the third book, My Sister Life (1922), main idea which lies in the fact that the meaning of the surrounding world is in itself, you only need to “wake up and see clearly”, learn to see it and love it disinterestedly, and then it will become clear why this world exists. Thunderstorms, storms, downpours raging in the book "My Sister - Life" are not just natural phenomena. They are spiritualized and personified, endowed with the properties of the subject. They become actors on a par with humans.
But already in the early works we find direct indications of the meaning of flowing rain water for Pasternak. The surrounding world is endowed with human properties. Comparisons and metaphors bring together the human and the natural, spiritualize the outer world and dissolve the inner world in it. Here are a few lines from a poem written before 1914:
Getting up from the rumbling rhombus
pre-dawn squares,
My chant is sealed with a seal
Inescapable rains.
Don't look under clear skies
Me in a crowd of dry colleagues.
I smoky to the skin from intuitions,
From later collections, several characteristic images-symbols:
…Why is it pointless
Kiss like raindrops!
Who will portray my fear to the dew
Going through the years by name,
Alternately calling out to the darkness,
The poem reflects the heightened worldview of the lyrical subject: the poet hears what cannot be heard. These abstract concepts (darkness, the rustle of dreams) become animated in the same way as rain, appear in the everyday world, are embodied in sounds. Internal transformation under the influence of love is associated with the spring awakening of nature. Consciousness gradually transforms, opens up for new impressions. Thus, with the help of the image-symbol of rain, the author's thought about the purifying, ennobling and renewing influence of a love feeling on a person, about inner transformation under the influence of love and beauty is highlighted.
In one of the most saturated with a sense of reverence for life lyrical hero of Pasternak's poems, he refers specifically to the rain in order to tell his jubilation:
Was it not a mistake to be born?
Pasternak likens the events of the revolutionary years to rain:
And long, long, until dawn
Rhyming bubbles.
Poetry when under the tap
Even then the stream is preserved,
And, finally, the poet himself likens himself to a drop (though not water, but ink):
I hang on a pen at the Creator
This is an excerpt from The Tale, where we see what water and rain mean for Pasternak: “But tomorrow the rains will end, and the earth will dry up. And love is like a lake, a big lake, like a dish ... the same thing today, in ten, in thirty years, it is the same every day.”
In his old age, Pasternak wrote about such love, associating it with snow:
The snow on the eyelashes is wet,
Sadness in your eyes.
And your whole appearance is harmonious
From one piece.
As if with iron
Soaked in antimony
You were cut
According to my heart.
And it's stuck in it forever
The humility of these traits
And therefore there is no matter
That the world is hardhearted.
And that's why it doubles
All this night in the snow
And draw boundaries
Between us I can't...
Thus, throughout life and creative way the poet's favorite symbol - flowing water, rain, downpour, tropical thunderstorm, streams of water, waterfalls - becoming more complex, developing, evolving, turns into snow as a symbol of irretrievably passing time, a reminder of the end.
4.2 Analysis of the keyword "rain" in the novel "Doctor Zhivago"
The mystical essence of the element of water, rain as flowing water, its direct connection with the element of love and life is also revealed in the novel Doctor Zhivago.
The case takes place in Melyuzeev: Lara has left. Only Yuri Zhivago and the old Swiss Mademoiselle Fleury remained in the big manor house. On the night before Zhivago himself left Melyuzeevo, there was a terrible storm: “The noise of the hurricane merged with the noise of a downpour, which either fell vertically on the roofs, or, under the pressure of a changed wind, moved along the street, as if conquering step by step with its whipping streams.”
At night, a persistent knock on the front door wakes old Fleury and Zhivago. Believing it is Lara who has returned, they open the door but find nothing but rain. It turns out, however, that “in the pantry, a window was broken with a piece of lime bough that hit the glass, and huge puddles on the floor, and the same thing in the room left from Lara, the sea, the shaped sea, the whole ocean.” They talked some more, locked the door, and went to bed, both regretting that the alarm had been false. “They were sure that they would open the front door and enter the house so well famous woman, soaked to the skin and chilled, which they will bombard with questions as she shakes herself ... They were so sure of this that when they locked the door, a trace of this confidence was left around the corner of the house on the street, in the form of a watermark of this woman or her image, who continued to see them around the corner.
I immediately recall the poem "Separation", where the image of a beloved woman entails images of a raging sea, surf, excitement after a storm.
Thus, we see that Lara is associated with the image of living water - a watermark, rain turning into a sea.
The novel as a whole takes place against the backdrop of snow: also water descending from the sky, but dead water. All the losses in the novel take place in the snow and under the snow.
For example, after the funeral of Yuri's mother: “There was no road, no cemetery, no garden outside the window. A blizzard was raging in the courtyard, the air was smoking with snow ... From the sky, turn after turn, endless skeins of a white cloth fell to the ground, wrapping it in funeral shrouds.
Historical events, like all poets, writers - masters, are often shown by Pasternak through natural phenomena. Ends in November 1917 old world. The feeling of the approach of a “historical whirlwind” (compare the poem “The Twelve” by A. Blok), the perception of revolution, rebellion as an element (A.S. Pushkin’s story “ Captain's daughter”) says bright artistic detail, symbolizing the end of the old world: “Suddenly, the snow fell thickly and thickly and a blizzard began to break out, that blizzard that in an open field with a screech spreads along the ground, and in the city it rushes about in a close dead end, as if lost.”
The descriptions of snow, scattered over many pages of the novel, correspond to the subtlest spiritual movements of the hero. Zhivago leaves Moscow with his family: “On the eve of departure, a snow storm arose. The wind whipped gray clouds of spinning snowflakes up to the sky, which returned to the ground like a white whirlwind, flew away into the depths of the dark street and covered it with a white veil. Or Zhivago learns about his family's departure abroad: “It's snowing outside the window. The wind carried it sideways through the air, faster and thicker, as if by doing this all the time something was catching up.
And, finally, Zhivago loses Lara in the snow-buried Varykino. The picturesque play of colors, shadows, light exacerbates the grief of Yuri Zhivago, when he mentally says goodbye to Lara, his love (part 14, ch. 13): “dark crimson sun”, “ blue line snowdrifts”, “pineapple sweetness” of the sun on the snow, “crimson-bronze spots of dawn”, “the ashy softness of spaces quickly plunged into a lilac twilight, more and more purple. Their gray haze merged with the lacy, handwritten subtlety of birches on the road, gently drawn against a pale pink, as if suddenly shallow sky. Picturesqueness, visibility of images, bright visual and expressive means sharply emphasize the piercing pain, the state of mind of the hero, his unbearable suffering.
And in the last collection of poems by Boris Pasternak "When it clears up" (1956-1959), the snow has finally taken over the territory over which it once rained. We see that the snow here is a symbol of irretrievably passing time:
The snow is falling, thick, thick.
In step with him, those feet
At the same pace, with that laziness
Or with the same speed
Maybe time passes?
Maybe year after year
Follow like snowing
Or like the words in a poem?
Snow is a reminder of the end:
Then I understood why
She during the snowfall,
Snowflakes piercing the darkness
Looked into the house from the garden.
She whispered to me: "Hurry!"
Lips white with cold
And I made pencils
Joking awkwardly.
And in the poem "Winter Night" the tragic notes of death and parting already sound:
Melo, melo all over the earth
To all extent...
Gray and white...
Snow will fall on the road
Will fill up the slopes of the roofs ...
Snow - death:
I'm blind and I've lost my mind.
Winter falls to the ground.
The sky from above admires the modeling
And on the tree every shoot.
Life is symbolic, therefore it is significant in all its manifestations. And the subject of poetry is life itself. Man's duty is to pay with pain for the miracle of life, the fairy tale of life. And in Yuri Zhivago's poem "Fairy Tale", denominative sentences denote Eternity as a unity of fluidity and immobility:
Closed eyelids.
Height. Clouds.
Water. Brody. Rivers.
Years and centuries.
Thus the circle closes. "Watermark" the life-giver-rain turns into the watermark of the grave-digger-snow,” writes V.S. Frank, a literary critic who studies Pasternak’s poetic worldview.
Thus, the mystical essence of this element is directly connected in the poet's work with the elements of love and life. The life path of a human artist who wants to “get to the very essence” in everything is shown by Boris Pasternak on the evolution of the image-symbol of rain as flowing living water (rain, storms, thunderstorms, streams of water, waterfalls) and snow - also water descending from the sky , but dead water - a symbol of irrevocably passing time, a symbol of death.
Conclusion
In this way, Having studied the work of one of the greatest poets of the 20th century, Boris Pasternak, having analyzed the semantic space of the keyword "rain" in the context of Boris Pasternak's personal life and work, we have come to the following conclusions:
The symbolism of "rain" is the basis for understanding the worldview, worldview of Boris Pasternak. The image-symbol is infinitely diverse and ambiguous: a downpour, a tropical thunderstorm, streams of water, waterfalls, a raging thunderstorm, a storm, and snow (also water descending from the sky, but dead water).
The mystical essence of this element is directly connected in the poet's work with the elements of love and life. With the help of the image-symbol of rain, the author's thought about the purifying, ennobling and renewing influence of a love feeling on a person, about inner transformation under the influence of love and beauty is highlighted.
In one of the most saturated with a sense of reverence for life, the lyrical hero of Pasternak's poems refers precisely to the rain in order to tell his jubilation.
Throughout his life and career, Boris Pasternak's favorite symbol - flowing water, rain, downpour, tropical thunderstorm, streams of water, waterfalls - becoming more complex, developing, evolving, turns into snow as a symbol of irretrievably passing time, a reminder of the end, a symbol of death.
List of used literature:
Berezina T.N., Abulkhanova K.A. "Time of personality and time of life". - St. Petersburg, 2001.
Zhdanova A.I. " Nobel laureates Russian literature. - Volgograd, publishing house "Teacher", 2009
KostomarovN. I. "About historical significance Russian folk poetry. - Kharkov, 1943.
Ozerov L. "About Boris Pasternak". - M., publishing house "Pravda", 1990.
Pasternak B.L. "Favorites": in 2 volumes - M., 1985.
Pasternak B.L. “With me, with my candle on a par. Blooming worlds hang." -M.: BO VFO, 1993. "
Potebnya A. A. "On some symbols in Slavic folk poetry." -Kharkov, 1960.
Tsvetaeva A. "Memories". - M., 1986.
Tsvetaeva M. "Favorites". - M.: Enlightenment, 1989.
Efron A. "About Marina Tsvetaeva" - M.: Soviet writer, 1989.
Epshtein M.P. “Nature, the world, the secret of the universe. The system of landscape images in Russian poetry. - M.: graduate School, 1990.
Internet resources:
Eliseeva, N. Nobel exile:www. country. en/ stories
Kavtorina. A. Nobel's Perpetuum, which has crossed the century: Art.:http:// www. idf. en
APPS
A SELECTION OF EXAMPLES FROM THE POEMS AND POEMS OF BORIS PASTERNAK
Titles of poems and poems
Lines from poems
From the book "My sister is life ..."
“My sister is life in flood today…” (1917)
Sister my life is in flood today
I was hurt by the spring rain about everyone ...
"Weeping Garden" (1917)
Horrible! - Drop and listen,
Is he all alone in the world
Crumples a branch in the window, like lace,
Or is there a witness...
Not a sound. And there are no spies.
Making sure in the wilderness
Takes up the old - rolls down
On the roof, behind the gutter and through ...
But quiet. And the leaf does not move.
No sign of zgi: except for creepy ones
Sips and splashes in flip flops
And sighs and tears in between.
"Mirror" (1917)
…Rustling water in the ears, and, chirping,
A siskin jumps on tiptoe.
You can stain your lips with blueberries
You can't fool them with pranks.
“You are in the wind, trying with a branch ...” (1917)
…Drops have the weight of cufflinks,
And the garden blinds like a pool,
Splattered, splashed
A million blue tears...
"Rain" (1917)
She is with me. play it up
Lei, laugh, tear the twilight!
Swamp, flow as an epigraph
For a love like you!
Snuy silkworm mulberry
And hit the window.
Wrap around, wrap around
Don't look dark yet!
- Night at noon, downpour - her comb!
On rubble, sweating - take it!
And whole trees
In the eyes, in the whiskey, in the jasmine!
"Balashov" (1917)
Through the rain the chorale was sown
On the coffin and in the hats of the Molokans ...
From the series "Entertainment Beloved"
“Waving a fragrant branch ...”
Waving a fragrant branch,
Drinking in the dark is good,
Ran for a cup with a cup
Storm-stupefied moisture.
Rolling down on a cup from a cup,
Slipped on two, - and in both
A huge drop of agate
Hanging, sparkling, shy ...
"Spring rain"
He grinned at the bird cherry, sobbed, moistened
Lacquer carriages, trees awe…
Puddles on the stone. Like full of tears
Throat - deep roses, in burning
wet diamonds. Wet overlap
Happiness - on them, on eyelashes, on clouds ...
From the series "Engaging in Philosophy"
« Diseases of the earth »
…Here is the downpour. Glitter of hydrophobia,
Whirlwind, scraps of rabid saliva.
But where? From the clouds, from the field, from the Klyazma
Or from sardonic pine?
"Our Storm"
Thunderstorm, like a priest, burned the lilac
And covered with sacrificial smoke
Eyes and clouds. straighten
Lips dislocation of an ant.
The sound of buckets is knocked on one side.
Oh, what greed: the sky is small?!
A hundred hearts beat in a ditch.
The storm burned the lilac like a priest.
"Mein liebchen,
Was willst du noch menr?"
…Can lightning strike, -
Flashes like a wet booth.
Or all the puppies will be given away.
The rain will pierce the wing with a pellet ...
"Stuffy Night"
Dripped - but did not bend
And herbs in a thunder sack
Only dust swallowed the rain in pills,
Iron powder...
Orphaned and sleepless,
Raw, worldwide latitude
Moans fled from the posts,
But the whirlwind, burrowing, squirmed.
They followed them in flight
Oblique drops. At the wattle fence
Between wet branches with a pale wind
There was a dispute. I froze. About me!
"Even More Stuffy Dawn"
I begged for the hour to come
When outside your windows
upland glacier
Raging washbasin
And the songs of the chipped pieces,
Heat of swollen cheek and forehead
In glass hot as ice
It pours on the mirror ...
"Return"
...Puffing, soot, fever
Do not liquefy the pines.
Thunderstorm sticks out in the forest
Like a stabbed ax...
"Elena"
…At night the farm raved;
Cirrus clouds prevented sleep.
Rain wrapped up
Niva with a quiet step
Careful drops...
"Summer"
…Not a shadow, - he laid the beams for a month,
And then he was away,
And quietly, quietly the night flowed
Jogging, from cloud to cloud.
Rather from sleep than from the roofs; hurry up
Forgetful than timid
It was raining at the door...
"There was"
…There was a night. There were lips
Trembling. Hanging for centuries
Diamonds, frowning. Rain in the brain
Noisy, not giving thought ...
"Love - go ..."
To love - to go - the thunder did not stop,
Trample longing, do not know the shoes,
Scare hedgehogs, pay good
For the evil of lingonberries with cobwebs.
Drink from the branches hitting the face
Azure with rebound streak:
"So this is an echo?" - and by the end
Get off the road in kisses ...
From the book "Themes and Variations" (1916-1922)
"Five stories"
"Meeting"
Water burst from pipes, from holes,
From puddles, from fences, from the wind, from roofs ...
Getting up from the rumbling rhombus
pre-dawn squares,
My chant is sealed with a seal
Inescapable rains.
Don't look under clear skies
Me in a crowd of dry colleagues.
I smoky to the skin from intuitions,
And the north has been my lodging for the night since childhood.
"Variations"
It was common for everyone to have dinner
At least it would rain on the third.
…Why is it pointless
Kiss like raindrops!
Who will portray my fear to the dew
At the hour when the first kochet yells,
Behind him is another, is that all?
Going through the years by name,
Alternately calling out to the darkness,
They will prophesy a change
Rain, earth, love - everything, everything.
My friend, my rain, we have nowhere to hurry.
We have time. In my pockets -
Nuts. There is something with you in the steppe
Pass the midnight. You've seen? Understood?
Do you understand? Yes? Is this not true?
That infinity? That promise?
Was it not a mistake to be born?
Years have passed. Rains of events have passed.
Poetry is likened to a jet of water:
The sprouts of the shower are dirty in bunches
And long, long, until dawn
They sprinkle their acrostic from the roofs,
Rhyming bubbles.
Poetry when under the tap
Empty like a zinc bucket, a truism
Even then the stream is preserved,
The notebook is substituted - flow!
I hang on a pen at the Creator
A large drop of purple gloss.
From the book "Over the Barriers" (Poems different years)
"July Storm"
Thunderstorm at the gate! outside!
Transforming and foolish
In darkness, in peals, in silver,
She runs through the gallery
On the stairs. And on the porch.
Step, step, step. - Bandage!
All five mirrors have a face
A thunderstorm that has torn off its mask.
"After the rain"
…At first everything is reckless, out of order
Crashed into the fence trees to debunk,
And the trampled park from the downpour - under the hail.
Then from the sheds - to the log terrace ...
Here is a beam, rolling from the web, lay down
Nettles, but it doesn't seem to last long.
And the moment is not far away, like his coal
It will light up in the bushes and blow out a rainbow.
"Lilies of the valley"
Raw ravine with dry rain
Dewy lilies of the valley humiliated ...
"Lilac"
…Somewhere carts and summer
And the thunder opens the bushes
And the downpour drives into the cassettes
Rebuilt beauty…
"The Approaching Thunderstorm"
Caplet. The swallows will boil.
The whole compartment will enter the twilight poplar ...
From morning to tomorrow from the roof, from juniper
It pours into three streams ...
"Bad weather" (1956)
The rain swamped the road.
The wind cuts their glass...
Rain splashes through a sieve.
The pressure of cold is getting stronger.
Like everything is covered with shame,
Just in the autumn - a shame.
Just a shame and a disgrace
In flocks of leaves and crows
And rain and hurricane
Whipping from all sides.
"After the Thunderstorm" (1958)
The air is full of a thunderstorm.
Everything came to life, everything breathes, as in paradise ...
Everything is alive with the change of the weather.
Rain floods the gutter roofs ...
Memories of half a century
A swept thunderstorm goes back.
The century was out of his care.
It's time to give way to the future.
No upheavals and upheavals
Clearing the way for a new life
And revelations, storms and bounties
Somebody's inflamed soul.
Poems from the novel "Doctor Zhivago"
"On Strastnaya"
Water bores the shores
And whirlpools blow...
"Winter Night" (1946)
Melo, melo all over the earth
To all extent...
And everything was lost in the snow haze
Gray and white...
"Date" (1949)
The snow on the eyelashes is wet,
Sadness in your eyes.
And your whole appearance is harmonious
From one piece.
As if with iron
Soaked in antimony
You were cut
According to my heart.
And it's stuck in it forever
The humility of these traits
And therefore there is no matter
That the world is hardhearted.
And that's why it doubles
All this night in the snow
And draw boundaries
Between us I can't...
"Fairy Tale" (1953)
Closed eyelids.
Height. Clouds.
Water. Brody. Rivers.
Years and centuries.
From the book "When it clears up" (1956-1959)
The snow is falling, thick, thick.
In step with him, those feet
At the same pace, with that laziness
Or with the same speed
Maybe time passes?
Maybe year after year
Follow as it snows
Or like the words in a poem?
"After the Blizzard" (1957)
I'm probably wrong, I'm wrong
I'm blind and I've lost my mind.
White woman dead from plaster
Winter falls to the ground.
The sky from above admires the modeling
Dead, tightly pressed eyelids.
All in the snow, the yard and every chip
And on the tree every shoot.
Research work in literature - page №1/1
Ministry of Education and Science of the Russian Federation
Abstract-research work on literature
Done by 8th grade student
MOU Nevonskaya secondary school No. 1
Moskvina Daria
Head: teacher of literature
Bilienkova Irina Alexandrovna
Content
Introduction
The role of color images in revealing the characters' characters (based on A.S. Green's story "Scarlet Sails")
The artistic world of A. Green
The role of color images in revealing the characters of the main characters
Assol
Gray
Application
Introduction
Every person has the ability to dream. If this opportunity is taken away from him, then one of the most powerful incentives that give rise to culture, art, science and the desire to fight for the sake of a beautiful future will disappear. That is why the appeal of youth to the work of writers who know how to dream will always be relevant. The world in which Green's heroes live may seem unreal only to a person who is poor in spirit. Green should be read not only by children, but also by adults. His works cause excitement - a source of high human passions. The writer's work does not allow one to calm down and always shows new, sparkling distances, a different life, it disturbs and makes one passionately desire this life. It is for these reasons that in our time it is necessary to read the works of A. Green. After all, if you forget about the dream and stop dreaming, then life will become completely uninteresting and boring. There will be nothing to strive for, and people will become completely different - gray, boring, poor in soul.
Green must be read thoughtfully, otherwise the casket of secrets and mysteries will remain closed. Responding to the concerns of his contemporary, Green also wrote for the future. The work "Scarlet Sails" is one of the main for the writer. World " scarlet sails"- bright, frantically sparkling. Green uses a large number of colors to describe characters, nature and the world around him. It was the interest in the color images of this work that influenced the choice of our topic.
Few writers actively work with color images, revealing the world of their characters with their help. A. Green is just the person who actively uses colors in all his works. research, dedicated to creativity this author and specifically his story "Scarlet Sails", quite a lot - these are E. Aleksanyan, E. Pestryaev, V. Amlinsky. There are quite a lot of analytical remarks about the work of A.S. Green in the literature. Russian writers– K.G. Paustovsky, V. Kataev, Yu. Kazakov, E. Bagritsky and others. Their work is dedicated genre features story, the romantic basis of A. Green's creativity, the artistic means of embodying the author's idea. Very little attention has been paid to the use of color images, this topic has not been systematically studied. Based on this, we can conclude that this topic has been little studied and is waiting for its researchers. About the same that color images can become bright artistic medium embodiment of the author's idea, about color symbolism It has been known for a long time, the works of art critics - Y. Menner, V. Levy, literary critics - Y. Lotman, B. Uspensky, psychologists - L. Vygotsky, A. Stern are devoted to this.
The purpose of my work: to reveal the role of color images for revealing the characters of the main characters of Green's story "Scarlet Sails".
In order to achieve this goal, it is necessary to solve the following tasks:
Reveal Features artistic world A. Green.
Analyze Green's story "Scarlet Sails"
Make a conclusion about the role of color images in revealing the characters of the heroes of the story.
Based on the conclusions drawn about the role of color images, draw pictures explaining the characters and life of the characters.
under the word story, we will understand "an epic prose genre, which is characterized by detailed event series representing multiple characters in action." (5 p.397) Under hero- main protagonist literary work, possessing certainty of character and emotional world. (1.p.368) Under way – «… artistic reflection reality, clothed in the form of an individual phenomenon. (1.p.387)
Under romanticism- “a direction in art, imbued with optimism and the desire to show in vivid images the high purpose of a person. State of mind, attitude, imbued with the idealization of reality, dreamy contemplation. (5s.682) Under color image- the appearance of something, expressed by a certain color scheme.
The structure of the work: the work consists of an introduction, the main part, consisting of two paragraphs, a conclusion and an appendix. Attached is a list of used literature and illustrations for the story, made by the author of the work. The illustrations are made on the basis of the conclusions made in the work.
1. The artistic world of Alexander Grin
All Green's work is a dream of that beautiful and mysterious world where wonderful, generous heroes live, where good triumphs over evil, and everything conceived comes true. The writer is sometimes referred to as " strange storyteller”, However, Green did not write fairy tales, but the most real works. Only he came up with his heroes and the places where they lived, exotic names and names - Assol, Gray, Liss, Kaperna. Alexander Stepanovich took everything else from life. True, he described her as beautiful, full of romantic adventures and events, the kind that all people dream of.
Green lived like two lives. One, the real one, was heavy and bleak. But on the other hand, in his dreams and in his works, he, along with his heroes, wandered through the expanses of the sea, walked through fabulous cities ...
Some critics believe that Greene wrote such works because he sought to enrich, embellish "a painfully poor life" with his "beautiful inventions." (4.p.392)
The famous writer Eduard Bagritsky wrote: “A. Green is one of the favorite authors of my youth. He taught me courage and the joy of life” (4. p. 393). Green created his own world, his imaginary country, which is not on geographical map, but which - and he knew it for sure - exists in the imagination of all young people.
K. Paustovsky wrote that “after Green’s stories, I want to see the whole Earth- not countries invented by him, but real, genuine, full of light, forests, multilingual noise of harbors, human passions and love ”(5p.6).
Green tests all of his characters many times in "exceptional circumstances of striving for a goal." His plots and characteristics do not just exhaust the potential of the characters "to the bottom." He speaks wonderfully and convincingly about inexhaustibility, about the boundless energy of the human spirit and body. It is not surprising that the attention of psychophysiologists to Green's work, to his guessing the inclinations and manifestations of human nature in the process of relations with reality. As an artist, Green is able to feel the colors of life and nature that surround him. The world of artists is amazing, it skillfully throws bridges to the unprecedented, about which for the time being nothing is known either in theory or in the practice of mankind. Of course, all these features speak of the romantic basis of A. Green's work. Green's romanticism does not loudly say about himself "the world is overwhelming with the power of his voice." But, without saying a word, the writer opens it in his works, one of which is Scarlet Sails. “Romanticism,” Blok wrote, “is a greedy desire to live a tenfold life, the desire to create such a life” (4. p. 393).
A feature of the artist Green, according to Blok, was the intimacy of vision and display, but this intimacy is of a special kind. Greene poeticized the perfection of the individual in the conviction that perfection, armed with the consciousness of its own strength, acts irresistibly. Art in Green's passionate practice is "a sparkling human soul, expressed by artistic effort, ”and Greene equates the gift of imagination with“ the fusion of the heavenly dawn ”(3.p.93).
In Green's style, emotion and reason, subtle impression and deeply considered proof constantly interact. This feature is subject to the plot, image, phrase.
In the work "Scarlet Sails" Green showed in his fabulous images and inventions that "fantasy always comes true, but it comes true precisely as that" associative-possible "that is inherent in the very conditions of not only your existence, but also the existence of your environment" (3 .p.97).
Thematic lines of Green's stories come into focus main idea. It coincides with Gorky's conviction that man is the only miracle on earth.
2. The role of color images in revealing the characters of the characters
(based on the novel by A.S. Green "Scarlet Sails")
2.1 Assol
To create the image of Assol, the author used a certain color scheme, through which he showed the features of the character and appearance of the girl. Throughout the work, Assol does not change, like all children at her age. She remains the same gentle, affectionate, innocent person who is true to her ideal and dream. This feature of the image of the heroine allows us to conclude that Assol's character is romantic.
Her childhood was special, not like all children. At an early age, Assol was left without a mother. Memories of childhood are bright spots of color. Despite the difficulties, poverty, Assol's life was full of colors, testifying not only to love, beauty, but also to poverty and difficult life situations.
So, at the age of five, the girl had a plush toy, “a dancing bear, decorated with a blue ribbon” (2. p. 10). The blue color in Assol's life is quite common. It symbolizes a dream, an ideal, purity; it is this color image that occurs first in Assol's characterization. This toy gave the girl joy and warmth, which she lacked so much.
Sometimes the girl watched the weather and the life of the town from the window. But very often she had to see landscapes that were not pleasing to the eye. “Fishing boats formed a row of dark keels on the white sand” (2. p. 10). The abundance of black, dark colors testify to her difficult life, but there are also White color- purity, life, joy. Such a contrasting of colors evokes the association of the struggle between dark and light, which is typical for Assol's life.
The girl's father, Longren, made small toys for children from wood. This work served as the main income of the family. But once Longren told Assol an incomprehensible and even mysterious phrase: “I made a black toy” (2. p. 12). The black color in the girl's life was always present, testifying to failures, suffering, but this time he crept up very close. After all, to make a “black toy” means to kill, to deprive a person of life. It was this crime that Longren committed by not coming to the aid of the drowning Menners, thus wanting to avenge the death of his wife. The shadow of this "black toy" will fall on Assol's life more than once.
Growing up, Assol herself began to go to the city to sell toys. So, one day, the girl decided to play with a toy boat, which caught her eye with her unusual scarlet silk sails, lowering her into the stream. And in this journey through rough water, Assol learned her fate from the lips of the magician Aigl. “One morning in the distance of the sea, under the sun, a scarlet sail will sparkle. They will put you in a boat and bring you on a ship, and you will leave forever for a brilliant country ”(2. p. 19-20). Assol's future life seemed to her a reality. Although his father did not believe in such a miracle, he did not prevent Assol from dreaming about a ship with scarlet sails. Undoubtedly, Special attention attracts the color of the sails - scarlet, a symbol of love, hope, dreams and fidelity to one's ideal.
However, other children laughed at the girl, calling her “ship Assol” and teasing her with “red sails”: “Hey, Assol, look here, red sails are floating!” (2.p.22). Red is the color of blood ripe berries strawberry, a bright poppy flower, and scarlet is a bright red, delicate shade. Even the sound of these words differ. The growling “R” and the deaf “C” in the word “red” sound very rude, and in the word “scarlet” the sonorous “L” sounds gentle, affectionate. This color of light sounding, subtlety is ideal for the main character. It is a pity that the guys teasing the girl do not notice this.
Thus, the author wants to show the reader that Assol is not simple girl Kaperna, but the fact that she is special, and her dream is not the same as that of everyone else. The dream of a ship with scarlet sails - romantic, illuminating her heart, sharply distinguishes her from Caperna. And in order to show this feature of Assol, her zest, A.S. Green uses not simple colors (red, blue), but delicate shades - scarlet, blue ... The girl was waiting for a ship with scarlet sails. She believed in her dream and was devoted to it.
While walking around a small town, a girl meets an unusual dog. “A black dog with a white chest spun at Assol’s feet” (2. p. 51-52). This combination of colors shows the struggle for life and death, between dark and light colors. But before that, Assol wanted to sell toys, but the owner did not agree to purchase such simple things. Longren's money ran out, and, it would seem, this fight should have been won by black - the color of death, disappointment. But Assol is persistent. She persevered through the most difficult moments of her life and overcame those difficulties. The main support in her difficult life is a dream. It was for her sake that Assol overcame all the evil jokes of fate.
The heroine of the work loves nature very much and treats it with care. She talks with trees and insects, and nature reveals her beauty to her: “In the green leaves of the chestnuts there were white flower cones” (2. p. 52). The combination of white and green colors gives the world around you brightness and tenderness. Where this girl is, it is always warm and cozy. The forest tells and shows Assol his special world, and she notices the smallest detail of this sometimes natural and familiar beauty. When creating the image of a girl, the author uses words such as "whiteness, blueness." These colors used by the author speak of Assol's purity, hope and dream. This is one of the methods of A.S. Grina - the materialization of color for the associative way of revealing the image of the heroine.
When Assol was waiting for the promised ship, cold colors appeared before her eyes. Life seemed to test her for strength and loyalty to the ideal. “The color of steel near the shore gradually turned into blue and black” (2. p. 53). Green, combining colors, shows that Assol's dream will soon come true, although its realization will require stamina and struggle from the heroine.
Thus, colors play one of the main roles in revealing the image of Assol and her main feature - loyalty to her dream and ideal. Through the colors, the character of the heroine and the features of her difficult life are visible. A lot of difficulties fell on the lot of Assol, they are conveyed in black and dark shades. But the main colors in the life and fate of the girl are scarlet, a symbol of love, hope, dreams; white - purity, tenderness, innocence and blue - the color of the sea, joy. And it was this color that became a symbol of the rapprochement of the two heroes of the work.
Creating Assol's color image (see Figure No. 1 in the Appendix), we used the following colors: pink, white, scarlet, black and green. In the lower left corner are black color spots that symbolize difficult life girls, but this color is gradually conquered by green, which gives Assol the beauty of nature. Shimmering, black color spots become scarlet - the main colors of the heroine, the colors of dreams, love and hope. A close shade of this color - pink speaks of the spiritual joy of the girl, and merging with white, shows the mood and external beauty heroine, which nature has awarded her.
2.2 Gray
Second main character works - Gray. He is from a wealthy, noble family. His house is very beautiful garden in which unusual flowers grow: “ the best varieties tulips - silver-blue, purple and black with a pink shadow wriggled in the lawn with lines of whimsically thrown necklaces ”(2. p. 24). The boy's life was dominated by a variety of colors - variegation. Such a rich color scheme in Gray's life testifies to wealth and family wealth, which often turned into excess.
One of the important places in Gray's house is the kitchen, a symbol of a well-fed, prosperous, carefree life. The color images used by the author when describing the food attract attention: “There on a long table lay rainbow pheasants, gray ducks, motley chickens, blue raisins” (2. p. 27). Not every family could afford such an abundance of products, and besides, such unusual flowers, and this abundance did not make it possible to single out the main thing in life. Again, variegation attracts attention - a color image that is simply imposed on the main character by his family nest. But Gray's sensitive soul did not drown, did not fall asleep in this excess.
One day the boy saw the crucifixion of Christ: “There was blood on his hands. Gray smeared the bloody nails with blue paint” (2.p.24-25). Gray's move speaks volumes. He wanted to save a person from pain and suffering, thereby saving his life. This is typical of children, but still, of course, speaks of Gray's character traits: the ability to feel someone else's pain and the desire to remake the world. But it was not without reason that the boy chose blue paint: after all, he dreamed of the sea and travel, which is why this color, the color of dreams, purity, ideal was the closest to his soul. It becomes for Gray, as well as for Assol, a key source, the beginnings of his destiny.
In the cellars of the rich house of the Gray family, barrels of special wine were stored: “Its color is darker than cherry, and it will not flow from the bottle. The wine is nailed into ebony barrels and on them are double hoops of red copper” (2. p. 26). Cherry has a great resemblance to scarlet, only it is not a delicate color of youth, but the same color, time-tested.
The predestination of the two characters to each other, their connection is conveyed by the author even before they meet. Assol's childhood was described in the same colors as Gray's, which proves their destiny for each other since childhood, the coincidence of color images reinforces the romantic idea that the true souls of dreamers are ready to meet each other halfway.
At Gray's house a big library where rare and expensive books: “Books in rough blue, motley, black bindings were kept in dark cabinets” (2. p. 31). Such colors predominate throughout the Gray house, which indicates wealth, nobility and possible indifference to the outside world. But in addition to books, there hung here and big picture, which often attracted the eye of Gray: “The picture depicted a ship rising on the crest of a sea rampart. The sails, vaguely visible from behind the backboard and above the bowsprit, full of the furious force of the storm, fell in their entire bulk back ”(2. p. 31). This seascape influenced further fate boy. After Gray only dreamed of going on a long voyage. Soon the hero of the work fulfilled his dream and became a sailor. Perseverance, courage, the desire to achieve everything on his own helped Gray achieve his goal. But he didn't stop there. Gray went on, overcoming all difficulties, he achieved his dream - he bought a ship and became its captain. And the blue color that accompanied the boy with early childhood, led him in life, did not let his dream fade away.
Meanwhile, Gray's mother got very old and wrote him a letter asking him to come home. Returning, the young man saw "a gray-haired woman in a black dress" (2. p. 35). By appearance Mom's son guessed that something terrible had happened. Now in the fate of Gray, the dark symbolizes sadness, longing and loss - Gray's father died recently. After such a shock, the young man went swimming and soon met his soul mate - Assol.
The drawing, which depicts the color image of Gray (see figure No. 2 in the Appendix), is dominated by the following colors: blue is the main color in his fate, blue is the color of joy and the sea, cherry is wealth and greatness, and shades of black are family and life difficulties. At the top of the picture is a rich blue color, which gradually turns into cherry-scarlet (Assol color).
The first and long-awaited meeting with the hero, the executor of Assol's dream, happened unexpectedly. The girl was sleeping in a clearing, in the description of which the author uses a variety of color images: “Grey got out on open space, overgrown with variegated grass, and saw Assol sleeping ”(2. p. 40). The landscape where the heroine of the work was located is as unusual as she herself. And moreover, it is here that we first see Assol against a colorful background (this is Gray's color image). This is probably a sign of their imminent acquaintance. Wherever this girl is, everything around her becomes bright. At the time of meeting Assol was dressed in a simple dress with pink flowers, but even in this outfit she looked unusual and beautiful, and pink color emphasizes her youth and tenderness.
Seeing Assol, Gray immediately realized that she had become a part of his life. Having learned about the dream of a stranger, the young man decided on a feat in order to fulfill Assol's dream. First of all, he chose the color for the sails. What shades of red were offered to him: “purple, pink, orange, red ...” (2. p. 57) He managed to see and recognize among the many shades exactly the one that Assol thought of, because he wanted to fulfill her dream completely, which testifies about his ability to see the most important thing and above all with his heart. Indeed, among the thousands of girls - rich and beautiful - Gray chooses poor Assol. And finally, Assol's dream came true: "On Gray's ship, pink shadows glided over the whiteness of the masts" (2. p. 70). The combination of pink and white gives this image, already surprisingly beautiful, a special purity, tenderness and fragility - a combination that characterizes a dream. Everything happened just as the wizard Egle predicted. A ship with scarlet sails sailed for Assol. “Music flowed in a blue day with a white deck under the fire of scarlet” (2. p. 72). Now the girl's suffering and her hard life will turn into the life she dreamed of from early childhood. And the combination of blue, white and scarlet colors predict a joyful, cheerful and desirable life for Assol and Gray, who remained true to their dream.
In the color image of the meeting of Assol and Gray (see Figure No. 3 in the Appendix), the following colors are used: blue and blue - the colors of the sea and joy (Gray), scarlet and pink - dreams, love and hope (Assol) and shades of cherry - wealth and nobility (Grey).
Conclusion
Green said that "The whole earth, with everything that is on it, is given to us for life, for the recognition of this life wherever it is."
Studying the features of the artistic world of A.S. Grin, analyzing this or that work, this or that stage of the creative path, we see how organically romanticism and romance - method and mood - responded to the nature of a person and an artist. Original structure and tonality, special choice visual means, depicting the personality of Green, the work "Scarlet Sails" was generated - a unique, fantastic, but also a living world where they exist, captivating us with fearlessness and purity, amazing people co strange names and clear deeds ... It is known that the story of A.S. Green's "Scarlet Sails" is the most famous and main work. The heroes of the story - Assol and Gray - look very different people. Gray is from a wealthy noble family, well educated, and Assol is a girl from poor family, raised by her father ... But loyalty to the ideal and her dream brought the main characters closer. They overcame all life obstacles to be together.
Revealing the characters of Assol and Gray, Green used different tricks. We, analyzing the color images in the story, came to the conclusion that to reveal the image of Assol, the author used colors such as scarlet, white, blue and black. And to reveal the image of Gray, blue, blue and colorful tones are characteristic.
While working on the story, we found out that color plays a special role in the work "Scarlet Sails", it helps to reveal the character traits of the hero. After all, white is a symbol of purity, scarlet is love and hope, black is grief, misfortune, and blue is the color of joy. Combining these colors in the image of Assol, the author shows her spiritual and external beauty, innocence and wealth. inner world. And the color image contains many color shades, the main of which are blue and blue - the colors of the sea and dreams ...
Thus, we can say that A.S. Greene is a writer needed by our time, because he made his contribution to the upbringing of high feelings, without which daring and moving forward, spiritual richness and beauty of human relations are impossible. This is what all his works teach us, and, of course, Scarlet Sails.
List of used literature
Beznosov E.L., Erokhina E.L., Karnaukhov N.L. Literature: A large reference book for schoolchildren and university applicants. - M.: Bustard, 2004. - 432 p.
3. Mikhailova L. Alexander Green: Life, Personality, Creativity
2nd edition, revised and supplemented. - M.: Artist. Lit., 1980. 216s.
4. Shalaeva G.P. Who is who in the world - M .: Philological Society "Word". Olma-Press. Education, 2004. - 1680s.
Encyclopedia for children, v.10. Russian literature. Part 2. Literature of the 20th century. - M .: Avanta plus, 1998
Paustovsky K. Alexander Green. \\Lessons of Literature No. 10 / Supplement to the journal "Literature at School", 2005.
Shishkina E.A. In the shadow of scarlet sails.\\ Scientific and methodological journal "Literature at school", 2006.
