- introduce students to the morphological means of expressiveness of a literary text;
- develop the skills of thoughtful reading, multidimensional analysis of a literary text
- cultivate an attentive and careful attitude to the word
LESSON OBJECTIVES:
- to attract students' attention to ways of creating an artistic image, to help them touch the secret of the work of an artist of words
- develop the ability to draw conclusions, develop skills in working with text
- develop skills in presenting the results of your work (presentation, defense of work)
EQUIPMENT:
- blackboard,
- multimedia projector,
- computer,
- texts of works of art,
- fragment analysis plan.
TYPE OF LESSON: combined lesson with elements of research activities
LESSON STRUCTURE:
- Introduction (establishing contact with students, getting ready to work) 1-2 min
- Understanding the topic of the lesson (remember the basic concepts) 2-3 min
- Working with texts of works of art, conclusions for each stage) 15 min
- Independent work in pairs and presentation of your conclusions 5+3 min
- Presentation by students on artistic expressiveness of functional parts of speech 4 min
- Generalization and consolidation of the topic. 4 min
- Comment and record homework 3 min
DURING THE CLASSES
FRONT CONVERSATION
What are the means of artistic expression, and which of them do we already know quite well?
What does MORPHOLOGY study?
Conclude, what is the main question that we will have to find an answer to today?
MULTIMEDIA PROJECTOR:
"Every grammatical form is also a means of representation." M. Bakhtin
Before we look at HOW the word works, let's remember what the meaning of participle is. What does it mean?
WORKING WITH TEXTS.
WORKING WITH THE TEXT OF S. MARSHAK'S POEM "LILY OF THE LILY"
Let's do a little statistical research:
- Option 1: Underline all participles in the text (single and dependent words)
- Option 2 - adjectives, count them.
USING THIS TEXT, PROVE THAT THE ABILITY OF A PARTICIPLE TO CONVEY THE SIGN OF AN OBJECT AS AN ACTION IS AN EXPRESSIVE MEANS IN A LITERARY TEXT?
The conclusion is written down in a notebook: the use of a large number of participles in S. Marshak’s poem “Lily of the Valley” not only describes the feeling of the arrival of spring, the fact that a flower is blooming, but also creates an image of a flower, surprisingly delicate and fragile: “carefully swaddled by nature, wrapped in green sheet:".
WORKING WITH THE TEXT OF THE POEM "LODORSKY WATERFALL"
(the text is projected through a multimedia projector and is on the children’s tables)
Reading (silently, then out loud)
Determine which part of the speech is repeated so persistently by the author? (gerund)
- What artistic effect is achieved by this? (remember what the gerund means - “completes” the action, denotes an additional action)
- Why is the poem written with a ladder?
- What sounds predominate in it?
Conclusion: the use of a large number of gerunds in the poem gives us a dynamic, fast, impetuous image of a waterfall. The author's intentional construction of the poem with a ladder helps both visually and aurally to imagine a waterfall, alliteration (the sounds R. Sh, Zh, B. L “voices” the text.
4. INDEPENDENT WORK WITH AN EXCERPT FROM A. FET’S POEM.
(give cards with questions, work in pairs. -5 minutes. Protect your work 3 minutes) group No. 1, No. 2
- Determine what time of day the poet depicted. By what signs did you guess this?
- Explain the meaning of the words bliss, soak up.
Is it possible to feel whether the air is dry, hot or humid? What words help you feel this (clouds are swirling, dew, not dust)
Underline the subjects and predicates in the sentence. How many stems are there in this sentence?
Highlight gerunds and participial phrases. What is their role in describing the landscape and state of mind? Explain the punctuation in this sentence.
Group 1.
- Read an excerpt from A. Fet's poem.
- Determine what time of day the poet depicted. By what signs did you guess this?
- Name key words that help imagine the landscape described in the poem.
- Find words in the passage that convey the colors of this landscape.
- Imagine yourself as an artist. What would you depict on canvas? What colors would you need? What is the color scheme of this landscape?
- Explain the meaning of the words bliss, soak up. What parts of speech are they? What state of nature is emphasized by these words? (peace, calm, calm)
- Find the word with which the landscape is “sounded” (ringing).
- Is it possible to feel whether the air is dry, hot or humid? What words help you feel this (clouds are swirling, dew, not dust
Group 2
- Read an excerpt from A. Fet's poem.
- Determine what time of day the poet depicted.
- Find words in the passage that convey the colors of this landscape.
- Explain the meaning of the words bliss, soak up. What parts of speech are they? What state of nature is emphasized by these words?
- Underline the subjects and predicates in the sentence.
- Highlight gerunds and participial phrases. What is their role in describing the landscape and state of mind? Explain the punctuation in this sentence.
Conclusion:(entry in a notebook) The use of gerunds and participial phrases saturates the picture with action, paints a three-dimensional picture of the coming summer evening.
This school year we are talking in detail about the functional parts of speech. Can they, these prepositions, conjunctions, particles, be a means of artistic expression?
PRESENTATION ABOUT NEGATIVE COMPARISON (PSYCHOLOGICAL PARALLELISM) COMPLETED BY STUDENTS.
Conclusion:(children must do this)
GENERALIZING AND CONSOLIDATING THE TOPIC.
WHAT QUESTION WE SHOULD ANSWER TODAY?
What will your answer be?
HOMEWORK INSTRUCTION.
As homework, I would like to offer you any type of work, the one that is more interesting.
An essay on the linguistic topic “How beautifully a word works in a literary text”
Presentation "Morphological means of expression"
Glossary of his findings "Parts of speech decorate a literary text"
Poem. A. Fet "Whisper, timid breathing..." - the role of nouns in the text of this poem"
Your own version of homework.
Lesson of the elective course “Russian Literature”
Topic: “Morphological means of expressive speech
in the texts of A.S. Pushkin."
Objectives: to conduct laboratory research observations on texts
Pushkin, in order to find vivid examples of the use of visual
expressive possibilities of morphology, cultivate the “taste” of laboratory
work with literary text, develop combinatorial abilities
thinking, analysis and synthesis.
Results
I.
preliminary in microgroups.
laboratory research of students,
received
PROGRESS OF THE CLASS:
Results
(The children were offered Pushkin texts, where there were approximately 500
significant words. It was necessary to count the number of words of each part
speech in the text, since morphology in the minds of children is associated first
just with a system of parts of speech.
laboratory research
are discussed, patterns are identified, results are compared with
conclusions of scientists.
Scientists believe that Pushkin has 110 verbs for every 500 significant words.
B.N. Golovin refutes the hypothesis about the special verbality of speech style
Pushkin, having found out that the relationships between “nouns and adjectives”
turn out to be equal in Pushkin and Lermontov, while 39
out of 100 nouns in Lermontov receive the characteristics of adjectives, in
Pushkin’s thinking is only 25 out of 100 more objective)
II.
Noun.
V
1. Let us pay attention to Pushkin’s use of the instrumental case
comparison: “And exactly: the horse is in front of me. Scratching his hoof, all the fire,
The neck is arched, the tail is a pipe.”
(Students are invited to read homemade collections of quotes, where
Pushkin's texts contain similar examples).
Conclusion: such a comparison is more figurative, closer to folklore comparison,
designs without comparative unions represent a more dynamic
picture.
2. The source of figurative personification is often the use
inanimate nouns in the meaning of animate ones. Pushkin often
uses this trope in expanded form in poems about the poet and poetry. Students,
who analyzed Pushkin’s poems on this topic, present
selected quotes.
a) Appeal to the muse:
Sit down, muse: hands in your sleeves;
Legs under the bench! Don't turn around, little girl!
b) Appeal to works:
1
Go to the banks of the Neva,
Newborn creation
And earn me a tribute of glory:
Crooked talk, noise and swearing!
c) Personification of abstract nouns.
When the blues are cruel
She was chasing him in the noisy light,
Caught me, took me by the collar
And locked me in a dark corner.
Conclusion: Pushkin’s personifications make it possible to imagine creativity in
mythopoetic images, and the vices that interfere with creativity are depicted as
dark forces.
III. Adjective.
Students know about the adjective as a source of special figurative
expressions in descriptions.
1) The children are asked to highlight all the epithets in the analyzed texts and
divide them into folk (permanent) and copyright.
2) Consider the features of Pushkin’s adjectives in the text and compare
their thoughts with the conclusions of the scientist A.I. Fedorov, who believed that the definitions
in Pushkin they indicate the qualities of an object that reflect its essence.
Let's analyze the snowstorm scene from the story "The Captain's Daughter".
(Expressive recitation by heart by a trained student). Adjective
“narrow” (“the carriage was traveling along a narrow road”) predicts further
development of events: the nearest one (the horses will leave the road and the travelers will get lost in
steppe) and deeper (on the “narrow road” Grinev and Pugachev will collide).
Conclusion: from the use of definitions, Pushkin’s prose gains
evidentiary, documentary nature: “splint wings”, “log
pine forest", "distant hillock", "hiking carriages", etc.
And now the next group voices examples where figurative and
semantic possibilities of adjectives.
(“Red-cheeked health”, “the envious distance of centuries”, “wingless desire”, in
desert stunted and stingy,” life is a mouse’s scurry,” “windy fate,
“wide-noisy oak trees”, etc.)
3). Short adjectives describe a variable that changes over time
sign.
Determine what the semantic and stylistic role of short
adjectives in these passages:
a) “You are rich, I am very poor... You are as ruddy as a poppy, I am like death, and skinny
and pale."
b) “How his gaze was quick and gentle, bashful and daring, and sometimes sparkled
an obedient tear."
c) “Shvabrin was very intelligent. His conversation was witty and entertaining.”
2
Conclusion: short adjectives compress the spring of descriptions, make
characteristics are categorically accurate and facilitate acceptance
contrast.
IV. Verb.
Read those selected by the next group.
Name the verbs and explain their role in the description:
lines by A. Pushkin.
I'm on the shore
a) A cloud is moving across the sky,
A barrel floats on the sea
(sky -> sea smooth reflected movement)
b) There is another wonder in the world:
The sea will swell violently,
It will boil, it will howl,
It will rush ashore empty.
Will spill in a noisy run,
And it turns out
In scales, like the heat of grief,
Thirty-three heroes...
(It’s a miracle that the living capricious sea itself)
c) The son rose to his feet,
I rested my head on the bottom,
I strained a little:
“It’s like there’s a window looking out into the yard
Should we do it? he said,
Knocked out
(No adjectives, the lines are strong, energetic, like a counting rhyme)
d) The faithful horse is zealous and humble,
Feeling the fatal fire,
. He looks askance with his eyes
Trembling
And rushes
in the dust of battle,
Proud of the mighty rider
(The speed of movement of a horse worthy of its rider)
e) How early could he be a hypocrite?
,
To harbor hope, to be jealous,
To dissuade, to make believe,
Seem gloomy, languish
(The infinitive names the action as an abstract concept, which is typical for
the worldview of bored Onegin.)
Students are asked to compare their conclusions with the opinion of S.Ya. Marshak about
extreme laconicism of Pushkin's texts.
bottom and went out.
…
V. Numeral noun.
3
The next group of students will focus on the story “The Queen of Spades.”
Students read out phrases that contain numerals, noting only them
informative function, but also expressive.
Conclusion: everything moves around the magic spring “three cards”, fabulous
triplicity, symbolism.
?»
! - “You are modest, dear friend!
VI. Pronoun.
A group of children were asked to note the special role of personal places in poems about
love and friendship.
a) You barely walked in, I instantly recognized
Everything was stupefied, on fire
And in my thoughts I said: here he is
!
(Tatyana, speaking with Onegin, resorts to a third person pronoun,
to emphasize the destiny independent of both
b) “You are sad, admit what’s wrong with you
I love you, my friend - “But who captivated you?”
She...
... “To whom are you sacrificing your soul?”
Ah! To her
But why are you so upset?
And who is to blame? Husband, father, of course..."
Not so, my friend! - “But what?”
I'm not him
.
(The poem is called “She,” emphasizing Pushkin’s Sophia
reverence for the sacred feminine. The hero's conclusion also sounds like a strict
self-esteem, and as a blessing with selfless Pushkin notes:
“How God grant you, your beloved, to be different”)
c) You are empty, you are heartfelt
She said, she replaced,
And all the happy dreams
Aroused in the soul of a lover
I stand before her thoughtfully
To reduce, there is no strength from her eyes:
And I tell her: “How sweet you are!”
And I think: “How I love you!”
(This poem is called “You and You”, these pronouns
become a semantic antithesis, between them there is an abyss from secular
conventions to the kinship of souls. Let's remember how confused these pronouns are
beloved Tatyana Larina: “... I am writing to you. ... That is the will of heaven: I am yours ... ")
VII. Functional parts of speech.
In Pushkin's texts, every word is significant and expressive.
4
The last group examined the functions of the conjunction “but” in Pushkin’s
texts:
a) ... An angry despondency comes over me
At least spit and run...
But how I love it
In autumn, in the evening silence...
b) But I don’t want, about others, to die;
I want to live, what to think and suffer...
(Conclusion: “but” is an exponent of life-affirming pathos)
VIII. Working with cards.
The guys receive cards with Pushkin texts and perform the morph
oological analysis, establish the quantitative ratio of parts
speech, the role of parts of speech, type of speech and stylistic features of Pushkin
“golden” syllable.
5
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Municipal educational institution "Secondary school No. 62"
PROGRAM
SUBJECT COURSE
FOR 6TH GRADE STUDENTS
Morphological means of expression
Russian speech
Scope of various forms of educational work:
Total classroom hours 17 hours
including:
lectures 3 hours
practical classes 11 hours
test classes 3 hours
Control form: complex controls
Magnitogorsk
Explanatory note
The subject course program “Morphological means of expressiveness of Russian speech” is designed for 6th grade students.
Studying the school course “Morphology” involves mastering the general principles of characterizing parts of speech (general grammatical meaning, morphological and syntactic features). This formal-grammatical approach does not allow deep insight into the essence of language processes and inhibits the speech development of children. The qualitative difference in approaches to studying the topic “Morphology” (using the example of considering a noun, adjective, verb) in a school course and a subject course is obvious:
| Level of study | Knowledge and skills that students must master |
| 5th grade | Knowledge: Noun: animate and inanimate; proper and common nouns; genus; number; case; three declensions; nouns that have only singular and only plural form. Adjective: gender, number, declension adj.; full and short; change of full adj. by gender, cases and numbers; short - by gender and number. Verb: face; time; number; gender (past tense); conjugation; infinitive; perfect and imperfect types. Skills: Agree adjectives and past tense verbs with nouns; Form the forms I.p., R.p. plural noun numbers; Use nouns, adjectives, and synonymous verbs in speech to more accurately express thoughts and to eliminate unjustified repetitions in speech; Agree predicate verbs in the past. time with a subject expressed by a noun. Wed gender and collective noun. |
| 6th grade | Knowledge: Noun: Declension noun. on –MYA; indeclinable nouns; text-forming role noun; Adjective: qualitative, relative, possessive adjectives; degrees of comparison, Verb: transitive, intransitive verbs; indicative, imperative, conditional mood; heterogeneous verbs, impersonal verbs; text-forming role of verbs. Skills: Correctly use indeclinable nouns in speech; Match adjectives and past tense verbs with nouns. general kind; Determine the meanings of suffixes noun, adj.; Use adj. in a figurative sense. |
| Upon completion of the subject course | Knowledge: - the role of nouns, adjectives, verbs in achieving accuracy, information content, expressiveness of speech; On the peculiarities of using certain grammatical forms when creating figurative and expressive means; Skills: - identify the grammatical sources of imagery and expressiveness of literary texts; Identify the expressive means of language in literary texts, based on the visual capabilities of various grammatical categories; Linguistic analysis of literary text and its fragments. |
The program of this subject course is based on systematic observation of the use of morphological means in creating expressiveness in the best examples of fiction, which will allow not only to penetrate more deeply into the field of artistic images, but also to improve the most important speech skills, to develop basic skills in linguistic analysis and expressive reading of a work of art .
Main objectives of the course:
To deepen students' knowledge about the role of nouns, adjectives and verbs in speech and in the texts of works of art;
Develop and improve students’ skills in identifying figurative and expressive means, which include nouns, adjectives and verbs;
Improve the skills of analyzing a literary text, identifying the peculiarities of the use of nouns, adjectives and verbs in it;
Improving the ability to work with various types of linguistic dictionaries.
When studying this subject course, the following forms of classes and activities of students are provided:
Lecture;
Practical lesson;
Control lesson;
Observation of the text of a work of art;
Linguistic analysis of text fragments;
Working with various types of dictionaries;
Creation of creative works;
These forms of involving students in lesson activities will allow students to acquire knowledge and skills with a greater degree of independence, relying on information received from the teacher during lectures.
Upon completion of the study of each block, students are required to complete complex tests, which will be assessed according to the following criterion: “pass” - “fail”. Complex tests include test tasks, questions requiring a detailed answer, as well as tasks of a creative nature, because The final goal of studying the course is not only familiarization at a higher and more in-depth level with the morphological means of expressiveness of the Russian language, but also the development in students of certain needs for developing the skills and abilities of creative use of linguistic wealth in their own speech practice.
Thematic planning
| No. | Topic name | Number of hours | Types of student activities |
| 1 | The use of nouns in speech to achieve accuracy, information content and expressiveness. | 1 | Listening to a lecture, working with dictionaries |
| 2 | Features of the expressive use of verbal nouns in literary texts. | 1 | analysis of text fragments, work with dictionaries |
| 3 | Expressive use of proper names and toponyms in literary texts. | 1 | Observation of the text. works, linguistic analysis of text fragments, work with dictionaries |
| 4 | Features of the meaning and use of abstract nouns. | 1 | Observation of the text. works |
| 5 | Using inanimate nouns to mean animate. | 1 | |
| 6 | Using nouns to create comparisons. | 1 | Observation of the text. works, linguistic analysis of text fragments |
| 7 | Using nouns to create metaphors | 1 | Observation of the text. works, linguistic analysis of text fragments |
| 8 | Comprehensive test work on the topic “Morphological expressiveness of nouns” | 1 | Linguistic analysis of text fragments, creation of creative works |
| 9 | The use of adjectives to achieve accuracy and expressiveness of speech. | 1 | |
| 10 | Using adjectives to create various types of epithets. | 1 | Observation of the text. works, linguistic analysis of text fragments |
| 11 | The use of “color” adjectives in literary texts. | 1 | Observation of the text. works, linguistic analysis of text fragments |
| 12 | Features of the use of short adjectives in the texts of literary works. | 1 | Observation of the text. works |
| 13 | Comprehensive test work on the topic “Morphological expressiveness of adjectives” | 1 | |
| 14 | The use of verbs in speech to achieve accuracy, information content and expressiveness of speech. | 1 | Listening to a lecture, observing the text. works, work with dictionaries |
| 15 | Visual possibilities of the infinitive. | 1 | Observation of the text. works |
| 16 | The use of personifications in the texts of works of art. | 1 | Observation of the text. works, linguistic analysis of text fragments |
| 17 | Comprehensive test work on the topic “Morphological expressiveness of verbs” | 1 | Linguistic analysis of text fragments, creation of creative works |
List of applications
| Application no. | |
| № 1 | Text material for lesson No. 1 |
| № 2 | Text material for lesson No. 2 |
| № 3 | Text material for lesson No. 3 |
| № 4 | Text material for lesson No. 5 |
| № 5 | Text material for lesson No. 6 |
| № 6 | Text material for lesson No. 7 |
| № 7 | Text material for lesson No. 9 |
| № 8 | Text material for lesson No. 10 |
| № 9 | Text material for lesson No. 11 |
| № 10 | Text material for lesson No. 14 |
| № 11 | Text material for lesson No. 15 |
| № 12 | Text material for lesson No. 16 |
| № 13 | Comprehensive inspection work |
| № 14 | Tasks - questions that will help organize the analysis of the morphological means of expression used in the text |
Appendix No. 1
Gave it to the lady at the station
About baggage received:
Suitcase,
Travel bag,
Painting,
Basket,
Cardboard
And a little dog
(S.Ya. Marshak)
2. If they give me a boat,
Self-propelled gun,
Or at least a kayak,
I will be so glad to receive a gift!
I agree with the junk too,
punt,
As a last resort, on a raft..
I will be glad
catamaran,
Omorochka
And a sampan.
I would gladly take a boat
Or even a gas chamber.
If only I
At liberty
Sail and swim
In your gondola
On a whaleboat,
On the pie-
Sail without grief
And anxiety...
(B. Zakhoder)
Appendix No. 1
3. ...that’s right along Tverskaya
The cart rushes over potholes.
The booths and women flash past,
Boys, benches, lanterns,
Palaces, gardens, monasteries,
Bukharians, sleighs, vegetable gardens,
Merchants, shacks, men,
Boulevards, towers, Cossacks,
Pharmacies, fashion stores,
Balconies, lions on the gates
And flocks of jackdaws on crosses.
(A.S. Pushkin)
4. Truth and lies
In those regions where with your wallet
They measure everything in the world,
Truth goes barefoot
Lies roll in the carriage.
A lie will always get ahead
A little truth.
But don't be afraid: he will win
The truth is sandals.
(S.Ya. Marshak)
This morning, this joy,
This power of both day and light,
This blue vault.
These flocks, these birds,
This cry and strings,
These willows and birches,
These drops are these tears,
This fluff is not a leaf,
These mountains, these valleys,
These midges, these bees,
This noise and whistle,
These dawns without eclipse,
This sigh of the night village,
This night without sleep
This darkness and heat of the bed,
This fraction and these trills,
It's all spring.
Appendix No. 2
Whisper, timid breathing,
The trill of a nightingale,
Silver and sway
Sleepy stream,
Night light, night shadows,
Endless shadows
A series of magical changes
Sweet face
There are purple roses in the smoky clouds,
The reflection of amber
And kisses and tears,
And dawn, dawn!..
The autumn moon is bright,
The lace alley sleeps.
Nature silently froze,
Anticipating, remembering.
The rustling of leaves, the sigh of the forest -
The last echo of summer bliss...
But everything pales before the moon -
As if in dreams of the first snow.
(S.Ya. Marshak)
...Suddenly behind him
Arrows instant buzzing,
Chainmail ringing, and screaming, and neighing,
And the tramp across the field is dull.
(A.S. Pushkin)
Appendix No. 3
Heroes of E. Nosov’s book “The Adventures of Dunno and His Friends”:
Know-nothing, Dunno, Grumpy, Confused, Donut, Tube, Shpuntik.
"Talking" proper names:
Vralman, Prostakov, Starodum, Pravdin, Molchalin, Lyapkin-Tyapkin,
Prishebeev, Unylov, Dikoy, Kabanova, Podkhalyuzin.
Proper names that existed before the 17th-18th century:
4. Metamorphosis
Childhood is the village of Krasnoshchekovo,
Nesmyshlenovo, Sko-Poskokovo, a little Zhestokovo,
But Bezzlobino, but Chistoglazovo.
Yunost is the village of Nadezhdeno,
Nerapashkino, Solntsovano,
Well, if you’re a little ignorant,
It’s still Promised.
Maturity is a village Rassmelovo,
Either Skhvatkino or Pryatkino,
Either Trusovo or Smelovo,
Either Krivdino or Pravdino.
Old age is the village of Ustalovo,
Understood, Unreproached,
Zabyvalovo, Zarastalovo,
And, God forbid, it’s lonely.
(E. Yevtushenko)
5. ...A tightened province,
Terpigoreva County,
Empty parish,
From adjacent villages -
Zaplatova, Dyryavina,
Razutova, Znobishina,
Gorelova, Neelova,
Bad harvest too.
Appendix No. 4
At Skvortsov's
Lived once
Dirty,
Shaggy,
Humpbacks,
Without end
And without a beginning
Bindings-
Like a washcloth,
On sheets-
Scribble.
They cried.
(S.Ya. Marshak)
The lamp was crying in the corner,
I am hungry,
I'm cold!
My wick is drying up.
There is thick dust on the glass.
I can `t get it-
No one needs me?
(S.Ya. Marshak)
Winter sings and calls,
The ringing sound of a pine forest.
All around with deep melancholy
Sailing to a distant land
Gray clouds.
The little birds are cold,
Hungry, tired,
And they huddle tighter.
And the blizzard roars madly
Knocks on the hanging shutters
And he gets angrier.
(S.A. Yesenin)
Appendix No. 4
4. Galosh
For rubber galoshes
Real trouble
If the day is dry, good,
If the water has dried up.
She's worse than anything in the world
Stand in a clean room;
Walk across the street!
(O. Mandelstam)
5. Ball in the workshop
started playing
Dancing
Pointed drill,
Yes like this
Fire,
It just started dancing!
Here's the screw
I could not resist:
Spun in a whirlwind of a waltz,
And behind it comes a hammer:
Jump-jump! Jump-jump!
Shavings
Left, right-
It wriggles like a vine.
And the compass has joints
So they walk around shaking!
(B. Zakhoder)
Appendix No. 5
Blue page
And this page is sea,
You won't see any land on it.
Cutting through a steep wave,
Ships pass through it.
Dolphins flash like shadows
The starfish wanders
And leaves of underwater plants
The water sways like the wind.
At the bottom of this blue page
It's dark like the depths of the seas.
Here the fish can glow
In the darkness, where there are no lanterns...
(S.Ya. Marshak)
...Screamed
Buzzed
Like a bee.
I sawed through half the boards,
She shuddered and stood up,
As if in a strong vice
I got it on the go.
(S.Ya. Marshak)
3. A) The rich man has a beard with a broom, the poor man with a wedge.
B) Crocheted nose, tufted beard.
B) And exactly: the horse is in front of me; Scrapes with a hoof, all the fire, with an arc
Neck, tail like a pipe.
D) Petya’s nose is a chisel, Petya’s tail is a wheel.
D) And this girl is pretty, I can’t even tell. Star eyes, eyebrows
Arc, raspberry lips...
Appendix No. 6
1. The foot of the mountain, the grain of truth, the tongue of flame, the firmament embroidered with stars, the smile of nature.
2. The heat of the sun is the heat of feeling
The weight of luggage is the weight of loss
Flexibility of the mind - flexibility of the branch
Stone building - stone heart
Mature age - mature fruit
Grind grain - grind nonsense
Make plans - build a bridge
Preserve values - remain silent
3. January - spring is grandfather. July is the peak of summer, December is the peak of winter. November is the twilight of the year. November is the gate of winter.
4. ...Nature with a clear smile
Through a dream he greets the morning of the year...
(A.S. Pushkin)
5. What sadness! End of the alley
Again in the morning he disappeared into the dust,
Silver snakes again
They crawled through the snowdrifts.
Appendix No. 7
Green Page
This page is green,
This means it is permanent summer.
If I could fit here,
I would lie down on this page.
Golden insects roam in the grass,
All blue, like turquoise,
She sat down, swinging on the corolla of a chamomile,
Like a colored airplane, a dragonfly.
There's a dark red ladybug,
Dividing your back in half,
Deftly raised her transparent wings
And she flew according to God's business.
(S.Ya. Marshak)
The air is life-giving, the air is resinous
The light is not blinding, intoxicating, pure,
It's like heaven.
A narrow path to the coastal granites
I came out and stood there.
I enjoy the space, harsh and gentle,
My soul.
The pines are motionless on the island, as if
In a wondrous land.
Quiet waves babble lovingly
Your own fairy tale.
(V.Ya.Bryusov)
...the hair was tousled, black, the eyes were gray, the cheekbones were wide, the face was pale, pockmarked, the mouth was large but correct, the whole head was huge, the body was squat and awkward.
He was a slender boy, with beautiful and delicate, slightly small features, curly blond hair, light eyes and a constant half-cheerful, half-absent-minded smile.
Appendix No. 7
Fairy tale
In an open field, in a white field
Everything was white and white
Because it's a field
Covered with white snow.
And that white field stood
Snow-white house
With a white roof, with a white door,
With a white marble porch.
The ceiling was white, white
The floor shone white,
There were many white stairs
White rooms, white halls.
And in the whitest hall in the world
I slept without grief and worries,
Slept on a white blanket
Completely black cat.
He was black, like a raven,
From mustache to tail.
Black on top, black below...
Everything is completely black!
Looking for words
I'm looking for melodious words,
Folk, primordial,
Effervescent, flammable,
Bottomless, hundred-ringing,
Like a little grain in a pole,
So that good and good,
They shone like the sun.
Yes, the radiant ones would warm,
Yes, their names would be pretty
With pure thoughts
Yes, things are good.
(V.Vyrkin)
Appendix No. 8
The field is wide, clean...
Brown, silky curls...
Tears are burning, large...
The swords are sharp, damask...
The horses are daring, zealous, bay, black...
The winds are violent, autumn...
The month is bright and clear...
The sun is red, setting...
The mountains are high, steep...
The head is wild, brave, sad, unreasonable...
Life is free, brave, lonely...
The keys are clean, cold...
Bird cherry
Bird cherry fragrant
Bloomed with spring
And golden branches,
That I curled my curls.
Honey dew all around
Slides along the bark
Spicy greens underneath
Shines in silver.
And nearby, by the thawed patch,
In the grass, between the roots,
The little one runs and flows
Silver stream.
Fragrant bird cherry,
Having hung himself, he stands,
And the greenery is golden
It's burning in the sun.
The stream is like a thunderous wave
All branches are doused
And insinuatingly under the steep
Sings her songs.
(S. Yesenin)
Appendix No. 9
Everything is white
Everything is white, oh-everything is white,
Bloomed white.
Bel bunny light trail,
There is a white beret on the birch tree,
And on the alder grove
White is the downy scarf!
The rowan trees have a white frill,
Nice little red handkerchief...
Runs well downhill
Little Nastenka.
How many flowers do water lilies have?
So Nastenka has some fluff on her.
How many chips are there in the yard,
So Nastya has silver.
(A. Prokofiev)
Leaf fall
The forest is like a painted tower,
Lilac, gold, crimson,
A cheerful, motley wall
Stands above a bright clearing.
Birch trees with yellow carving
Glisten in the blue azure,
Like towers, the fir trees are darkening,
And between the maples they turn blue
Here and there through the foliage
Clearances of the sky, like a window.
The forest smells of oak and pine,
Over the summer it dried out from the sun,
And Autumn is a quiet widow
Enters his motley mansion.
(I. Bunin)
Appendix No. 9
3. Flowed, wriggled, glittered
A river between green meadows.
And she became motionless and white,
A little bluer than the snow.
She submitted to the shackles.
Don't know if the water is running
Under the white wavy cover
And miles of fragile ice.
The coastal willows are turning black,
Reeds stick out from the snow,
Barely outlining the twists
A river lost under the snow.
Only somewhere in the hole it’s unsteady
Water plays and breathes,
And there is a red fish in it
Sometimes it will flash with scales.
(S.Ya. Marshak)
Only golden stars look tenderly from heaven,
Only soon the green garden will rustle with its leaves,
The cold stream will gurgle with a silvery stream.
5. The rowan tree turned red,
The water turned blue.
The moon, sad rider,
Dropped the reins.
Floated out of the grove again
Darkness like a blue swan.
(S. Yesenin)
6. The mermaid swam along the blue river,
Illuminated by the full moon;
And she tried to splash to the moon
Silvery foam waves.
(M.Yu. Lermontov)
Appendix No. 10
Speaking verbs:
2. Change
“Change, change!” -
The call is ringing.
Vova will definitely be the first
Flies over the threshold,
Flies over the threshold -
Seven are knocked off their feet...
He made it in five minutes
Redo a bunch of things:
He set three steps
(Vaska, Kolka and Seryozhka),
Rolled somersaults
He sat astride the railing,
Dashingly fell off the railing,
Got a slap on the head
He gave someone back on the spot,
I did everything I could!
(B. Zakhoder)
3. Wind
The wind howls, howls,
Bends the trees down to the grass,
It knocks apple trees off their branches,
He pulls his hat off his head.
The green spruce forest is disheveled,
It penetrated into narrow cracks.
What is he doing, you slacker?
Crazy mischief-maker!
(L. Kvitko)
Appendix No. 10
There is another wonder in the world:
The sea will swell violently,
It will boil, it will howl,
It will rush ashore empty.
Will spill in a noisy run,
And they will find themselves on the shore,
In scales, like heat, burning,
Thirty-three heroes...
(A.S. Pushkin)
Noise and silence
Why, aspen, are you making noise,
Do you nod to everyone like a river reed?
You bend, change your appearance, posture,
Do you turn the leaves inside out?
I'm making noise
To hear me
To be seen
To be magnified
They celebrated among other trees!
(L. Kvitko)
The snow is still white in the fields,
They run and wake up the sleepy shore,
They run and shine and shout...
(F. Tyutchev)
Appendix No. 11
Run there, jump here,
Jump up and move
Drop here, pick up there.
Verbs, of course, are no strangers
Work and build, know no peace.
See everything, hear everything,
Everyone in the world can:
Walk and stand
To love and to be angry
Forgive and understand!
They are sad and sick,
And they love to dream, -
They want us in everything
And always help:
Decide on a feat
Solve the problem
And open up to a friend,
And open the pole...
Nice thing -
You won't stop-
It's worth starting!
Yes, most of all
I love pampering
And I obey
I don't love anyone!
I obey dad
(when he's angry)
But daddy all day
Sitting in the service!
Where is poor mother?
Deal with us
Deal with us
Mischievous!
(B. Zakhoder)
Appendix No. 12
The storm covers the sky with darkness,
Then, like a beast, she will howl,
Then he will cry like a child,
Then on the dilapidated roof
Suddenly the straw will rustle,
The way a belated traveler
There will be a knock on our window.
(A.S. Pushkin)
The willow is all fluffy
It's fragrant spring again
She blew her wing.
Sail
The lonely sail is white
In the fog there is a blue sea!..
What is he looking for in a distant land?
What did he throw in his native land?..
The waves are playing, the wind is whistling,
And the mast bends and creaks...
Alas, he is not looking for happiness
And he’s not running out of happiness!
Below him is a stream of lighter azure,
Above him is a golden ray of sun...
And he, the rebellious one, asks for a storm,
As if there is peace in the storms!
(M.Yu. Lermontov)
Appendix No. 12
Mountain peaks
Quiet Valleys
Full of fresh darkness;
The road is not dusty,
The sheets don't tremble...
Wait a bit,
You too will have a rest.
(M.Yu. Lermontov)
It's lonely in the wild north
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a flammable cliff
A beautiful palm tree is growing.
(M.Yu. Lermontov)
The golden cloud spent the night
On the chest of a giant cliff,
In the morning she rushed off early,
Playing merrily across the azure;
But there was a wet trace in the wrinkle
Old cliff. Alone
He stands, deep in thought,
And he cries quietly in the desert.
(M.Yu. Lermontov)
Appendix No. 13
1. Errors associated with the use of nouns.
2. Errors associated with the use of verb forms.
3. Errors associated with the use of adjectives.
4. Errors associated with the use of numerals and pronouns.
Errors associated with the use of nouns. Morphology is a section of grammar that studies the grammatical properties of words, i.e. grammatical meanings, means of expressing grammatical meanings, grammatical categories.
Norm morphology – rules for using morphological forms of different parts of speech.
The peculiarities of the Russian language are that the means of expressing grammatical meanings often vary. At the same time, the options may differ in shades of meaning, stylistic coloring, sphere of use, correspond to the norm of the literary language or violate it.
The largest group consists of options whose use is limited to the functional style or genre of speech.
In colloquial speech, we often find the genitive plural forms orange, tomato, instead of oranges, tomatoes; from her, from her, instead of from her, from her. The use of such forms in official written and spoken speech is considered a violation of the morphological norm.
1. Nouns that end their stem with the sounds -in- in the genitive case have a zero ending, these are:
a) words denoting belonging to a particular nation, for example: Georgian, Abaza;
b) attitude towards a certain territory, for example: southerners, northerners, Volga residents
There are words that cannot be subsumed under one or another classified definition, for example: felt boots, boots, stockings, pagon, partisans, soldiers, waffles, kachers, mokorons, sheets, saucers, towels, gills.
But: socks, Kalmyks, Kyrgyz, Mongols, Tajiks, oranges, tangerines, tomatoes, kilograms, hectares, rakes, mangers, candles, canned food, runs, finances, everyday life, Greeks, Hutsuls, Kurds, Eskimos.
In the prepositional case, the following cases require memorization: many words of the masculine gender, 2 declension, having the meaning of “inanimate” receive the ending at instead of the common one e in the singular prepositional case. If the pretext V or on indicates a place, time, manner of action, for example: in service, in the snow, in the forest, in the nose, in alcohol, in alcohol. However, the prepositional case can also be expressed variably. For example: in the workshop - in the workshop, on vacation - on vacation, in the wind - in the wind. In a business scientific speech, the ending e, and in colloquial at.
In the instrumental case: doors (colloquial) - doors (lit.), horses (colloquial) - horses (lit.).
One can also note “frozen forms”: lie down with bones, be proud of your sons and daughters.
2. Nouns used only in the plural: vacations, burners, christenings, darkness, twilight.
Nominative case.
When choosing the ending –a (ya) or –ы (i) you should pay attention to the fact that many words have normative forms:
A (-i-) - running, doctor, feed, bathed, coachman, watchman, tower;
Y (-i-) – pharmacists, librarians, elections, issues, consuls, tractors, paramedic.
Sometimes endings indicate semantic differences:
Conductor s– devices in technology;
Conductor A– transport workers.
The word accountant in the nominative case, plural, has only the form with the ending - s. Accountants!
Using number forms . The real nouns sugar, fuel, oil, oil, marble are used in the singular form: sugar, fuel, oil, oil, salt, marble. These forms have a stylistic connotation of professional use. In some cases, one of the forms violates the norm of the literary language incorrectly, shoe, and shoe with stress on the first syllable is correct.
Gender category: In the Russian language there are many masculine and feminine words to designate people by their position or profession. With nouns denoting a position, profession, rank, title, the difficulties that arise in speech are explained by the characteristics of this group of words. What are they?
Firstly, in the Russian language there are names of the masculine gender and there are no parallels for them in the feminine gender, or (much less often) there are only names of the feminine gender. For example: rector, businessman, financier, parliamentarian, laundress, nanny, milliner, manicurist, midwife, dowry worker, lacemaker, seamstress motorist, president, ambassador, candidate of sciences, diplomat.
Secondly, there are names, both masculine and feminine, both of which are neutral. For example: athlete - athlete, poet - poetess.
Thirdly, both forms are formed, both masculine and feminine, but feminine words differ in meaning or stylistic coloring.
So, the words professor, doctor, have the meaning of “professor’s wife”, “doctor’s wife” and a colloquial connotation, but as job titles they become colloquial. The generic parallels cashier, watchwoman, accountant, controller, laboratory assistant, watchwoman, usher are classified as colloquial, and doctor as colloquial.
Difficulties arise when it is necessary to emphasize that we are talking about a woman, and there is no neutral feminine parallel in the language. Such cases are increasing. According to scientists, the number of titles that do not have a female gender parallel is increasing every year, for example: cosmophysicist, television commentator, television reporter, bionicist, cyberneticist, etc., while this position can be held by a woman.
What way out do speakers and writers find? As linguists answer, not only in oral speech, but also in newspaper texts, in business correspondence, syntactic reference to persons is increasingly used. Sometimes with masculine nouns the verb in the past tense has a feminine form. For example: The doctor came, the philologist said, the foreman was there, our bibliographer advised me. Such constructions are currently considered acceptable and do not violate the norms of the literary language. The use of masculine nouns that do not have a word-formation parallel of feminine rad as a name for a woman is an excuse for the fact that fluctuations in the forms of agreement have increased. The following options became possible: young physicist Yakovleva - young physicist Yakovleva.
In the frequency-stylistic dictionary of options “grammatical correctness of Russian speech” regarding this use of definitions it is said: “In written strictly official or neutral business speech, the norm of agreement on the external form of the defined noun is accepted: the outstanding mathematician Sofya Kovalevskaya; new Prime Minister of India Indira Gandhi.
The most common grammatical errors are related to the use of gender of nouns. You can hear incorrect phrases: railway rail, French shampoo, big callus, registered parcel, but the noun rail, shampoo is masculine, (lit.v) environment. genus. - open, callus - feminine, cuff - feminine, sandal feminine, curtain - masculine, shoe - feminine, parcel - feminine, ballerina - ballet soloist, dancer, ballet dancer, typist - feminine - copyist on typewriter.
Violation of grammatical norms is associated with the use of prepositions in speech. Prepositions because of and thanks .
The preposition thanks retains its original lexical meaning associated with the verb to thank. U are consumed to indicate the reason that causes the desired result: thanks to the help of comrades, thanks to proper treatment. If there is a sharp contradiction between the original lexical meaning of the preposition thanks and the indication of a negative reason, the use of this preposition is not advisable: I did not come to work due to illness, in this case correctly - because of illness.
The prepositions thanks to, in spite of, according to, towards, according to modern standards, are used only with the dative case.
Errors associated with the use of verb forms.
Insufficient verbs: win, convince, find yourself, wonder. They have insufficient structural features to form 1st person singular verbs. In this regard, this form is formed through descriptive expressions: I can win, I can find myself, I convinced you etc. Abundant verbs: moves - moves, rinses - rinses, waves - waves, sways - sways, etc.
The verbs eat and eat are examples of the complexity of the stylistic system of the Russian language. The verb to eat is not used in either the first or third person; only an imperative mood such as “Eat is served”, “Eat for your health” is possible. This verb can be used when addressing children as an expression of tenderness and affection.
The first form is colloquial, and the second is literary. Lag - lie. The root of lies is not used without a prefix: lend, instead of borrow money.
Dried wet; the norm is the loss of the suffix well in all forms of the past tense of prefixed verbs, get wet - wet, wet.
The perfect participle pine with a vowel sound can be used in two forms: with the suffix in, and with the suffix lice (for example: having listened, having overlooked).
The forms for lice are inherently colloquial in nature, the forms for are commonly used: seen - commonly used. lit. in-t.; vidal - colloquial; notify, cork - talk. V. T.; notify, cork - book. V. T.
Errors associated with the use of adjectives. It is the short forms of the superlative and comparative degrees of adjectives that are the most “vulnerable” and are “tense” points in spelling.
Speech errors.
a) The girl was tall, beautiful and cheerful. In one gender, full and short forms are used.
b) My brother is older than me, he studies well. Older is an expression that is a combination of simple and complex comparative forms in one construction. I must say: My brother is older than me. Good me. From the words good and bad, suppletive forms of degrees are formed - better, worse. He is more capable and smarter than me.
Simple and complex forms of degrees of comparison cannot be used as homogeneous members of a sentence. I should have said: Brother is more capable and smarter than me.
The short forms have a predominantly bookish stylistic flavor: The lecture is interesting and instructive.
Short adjectives sound more categorical in the text, usually expressing an active and specific sign: Thoughts are clear, the girl is beautiful.
Full forms of adjectives are used normally in colloquial speech: The lecture is interesting and instructive.
The long form indicates a permanent sign, the short form indicates a temporary one: The girl is beautiful (in general) the girl is beautiful (at the moment).
Full and short forms of adjectives can form semantic variants, i.e. have different lexical meanings: the boy is deaf - the boy is deaf (to requests).
When forming short forms of adjectives with unstressed - established(natural, solemn) fluctuations are observed. Artificial – artificial, artificial; solemn - solemn, solemn.
Currently, these options are equal; they are entrenched in all styles. But the more common form is the truncated form (on en). Possessive and relative adjectives in speech can be replaced by synonymous forms of indirect cases of nouns: mother's book - mother's book, stone wall - wall of stone. But in a number of cases, such combinations differ in meaning: an old man’s gait - an old man’s gait (figurative meaning), wall painting - wall painting (terminological meaning).
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