Did the literature program help you? On literature

The school curriculum in literature complies with the "Mandatory minimum content of basic educational programs", includes a basic component of literary education, ensures the implementation of state standards.
This program is a continuation of the program for elementary school "Reading and Primary Literary Education" (authors R.N. Buneev, E.V. Buneeva) and together with it constitutes a description of the continuous course "Reading and Literature" (grades 1-11) .
In general, the program is focused on the “Concept for the Modernization of Russian Education”, adopted by the Government of the Russian Federation, recognizing the spiritual and moral value of literature as a priority for a student - a future citizen of his country, who loves his people, language and culture and respects the traditions and culture of other peoples. The main distinguishing feature of the program is that the study of literature as an aesthetic and national-historical phenomenon is seen not so much as the goal of teaching, but as a means of harmonious development of the individual.
From here the purpose of literary education in primary, secondary and high school is defined as the education of a competent reader, a person who has a strong habit of reading and the need for it as a means of knowing the world and himself, a person with a high level of language culture, a culture of feelings and thinking.
The competence of the reader assumes:
- the ability to fully perceive literary works in the context of the spiritual values ​​of national and world artistic culture;
- readiness for independent communication with a work of art, for a dialogue with the author through the text;
- mastering the system of knowledge, skills and abilities in the subject; development of speech, intellectual and creative abilities;
- mastering through the subject of literature ideas about the world that contribute to the successful social adaptation of students.
In accordance with the goal set, literary education is understood as the development of literature in the process of creative reading activity.
The purpose of literary education determines its tasks:
1. Maintain the interest in reading that developed in elementary school, form the spiritual and intellectual need to read.
2. To ensure the general and literary development of the student, a deep understanding of works of art of various levels of complexity.
3. Preserve and enrich the experience of a variety of reader experiences, develop the emotional culture of the student reader.
4. Provide comprehension of literature as a verbal art form, teach to acquire and systematize knowledge about literature, writers, and their works.
5. To ensure the development of basic aesthetic and literary-theoretical concepts as conditions for the full perception, interpretation of a literary text.
6. To develop the aesthetic taste of students as the basis of independent reading activity, as a guideline for moral choice.
7. Develop functional literacy (the ability of students to freely use reading and writing skills to obtain textual information, the ability to use various types of reading).
8. Develop a sense of language, skills of coherent speech, speech culture.
In the program for grades 5–8, works “for textual study” and “for review study” are distinguished. This approach allows, while maintaining a large "author's circle"*, to avoid overloading students, to use in practice the personally oriented minimax principle (with the maximum proposed by the authors, the student must master a certain minimum). When recommending approaches to the study, the significance of a particular work for revealing the main idea of ​​the section, the course as a whole, its artistic and aesthetic value for students of this age were taken into account. It is assumed that works “for textual study” are considered in many ways, in different aspects (content, literary criticism, cultural studies, etc.). Works "for review study" are read and discussed primarily in terms of content in accordance with the needs and abilities of students. It is important that the text, read from a certain point of view, can later be analyzed from a different position.

* Works for textual and survey study within one section are combined according to the degree of study (for the convenience of the teacher's work with the program). Such a division of texts sometimes violates the logic of constructing a topic, a section in educational books. The teacher needs to focus on the sequence of texts in educational books.

In the case of offering a number of works of equal complexity and volume “for review study”, the teacher has the right to choose the text in accordance with the abilities and interests of the students, their own reading preferences. If the work is not included in the "Mandatory minimum of the content of basic educational programs", the teacher also has the right to independently determine the nature of work with the text (textual study or review). At the same time, it is unacceptable to consider all texts that are not included in the "Mandatory minimum content of basic educational programs" only in the review.
This program also provides for the organization of independent home (out-of-class) reading of students. Recommendations for home reading are given in textbooks. The main feature of independent reading is that students in grades 5–8 read new works by the authors of this section, other chapters of texts studied in a review*, which allows them to implement the principle of a holistic perception of a work of art. In addition, works by other authors, united by a common theme, genre, problem, are also offered for home independent reading. When working with works for home reading, the choice of the author, the volume of reading remains with the students. Texts taken out for home reading are optional for each student to read, and their discussion in the classroom is possible. This program does not provide for special hours for extracurricular reading lessons, since the program and textbooks offer a sufficient amount of works that are not included in the mandatory minimum and ensure the expansion of the reader's horizons of students. At the same time, the teacher has the right to allocate hours for extracurricular reading lessons (at the rate of one lesson after studying the works of a certain section).

The program is designed in accordance with the structure of the secondary school: grades 1–4, grades 5–9, grades 10–11. The content of the program at the basic and senior levels of education is determined by the range of interests of students, the general aesthetic value of a work of art, and educational standards in literature. Orientation of program sections for grades 5–8 First of all, the age-related reading interests and opportunities of students explain its significant update compared to the current programs.
The basis for the selection of texts for reading and comprehension, the following general criteria:
– compliance with the high spiritual and aesthetic standards of humanitarian education;
- the emotional value of the work;
- reliance on the reading experience of students, on the achievements of the previous stage of literary development.
Also, when selecting texts, one of the following was taken into account criteria:
– national pedagogical tradition of referring to this work;
- the ability of the work to appeal to the life experience of students;
- psychological and intellectual capabilities, interests and problems of students of a certain age group.
The following stages of literary education of schoolchildren:
5th-6th grades- a gradual transition from literary reading to the comprehension of literature as an art form, which ensures the continuity of the system of literary education in primary and secondary schools. Students read adventure, fantasy, detective, mystical, historical literature, works about their peers, animals, nature, get an idea of ​​literary types and genres. Main learning goals: 1) the formation of a personal attitude to what is read; 2) comprehension of literature as a verbal form of art on the material of works that take into account the interests of students of this age group.
7th-8th grades- the period of development of the reading culture of students: their life and artistic experience expands and deepens; acquaintance with the diversity of the life content of literature and the biographies of writers contributes to the comprehension of the content of literature and the forms of its display, affects the development of the individual, and contributes to the emotional perception of a work of art, which is studied as a verbal art form. The circle of reading is changing: in the center of the program are works of moral and ethical themes that raise issues relevant to the teenager. Information on the theory of literature is being studied, explaining to students how a person can be depicted in fiction. Main educational goals: 1) development of the ability to interpret a literary text based on the personal perception of the work; 2) understanding the specifics of a work of literature as a verbal art form.
9th grade- Completion of literary education according to the concentric system; essays on the history of native literature, the study of creative biographies of individual writers. Elective courses (special courses, courses of students' choice) are provided, which makes it possible to put into practice the idea of ​​pre-profile education. Main educational goals: 1) the formation of emotional and valuable experience in the development of fiction; 2) awareness of the aesthetic value of a literary text and its place in the history of Russian literature.
10th-11th grades- multi-level specialized study of literature in historical and literary (general education course in accordance with the "Mandatory minimum content of basic educational programs", profile course) and functional aspects (elective courses). Main educational goals: 1) comprehension of the writer's artistic world, the moral and aesthetic value of his works; 2) the inclusion of a literary text in the historical and literary process.

In the program and the textbooks implementing it, the texts Russian writers different eras side by side with texts foreign writers, which makes it possible to show the place of Russian literature in the global spiritual space, to identify the general patterns of development of the literary process. In addition, significant changes taking place in society today require adequate reflection in the content of literary education. Removal of ideological evaluative clichés, presentation of various, sometimes opposing positions - such an approach to the selection of the content of the program contributes to the formation of a competent reader who is aware of the diversity of life positions, able to understand a different point of view, ready to adapt to modern, constantly changing reality. All this allows you to make the study of literature motivated, and learning problematic. With the same purpose in the textbooks of the 5th-8th cells. introduced "through" characters, author's texts; in the textbooks of the 7th-11th grade. the material is presented in a problematic way.
The titles of the textbooks reflect the content dominant, focused on the cognitive, personal interests of schoolchildren of a certain age:
5th grade- "Step beyond the horizon";
6th grade- "A year after childhood";
7th grade- "The way to the station" I ";
8th grade- "House without walls";
9th grade- "History of your literature."

As the basis for structuring the course, the basic theoretical and literary concepts are traditionally distinguished:

Introduction (2 hours)
Literature as the art of the word. Reading and Literature. book and reader. New textbook and its heroes.
Theory of Literature. Literature as an art form.

The impact of a work of art on the emotions and imagination of the reader.
N.S. Gumilev. A poem from the cycle "Captains" (1 hour).
Section 1. Life according to the laws of honor (10 hours).
The world of adventure literature. Heroes living by the laws of honor. What makes the book and its characters immortal.
for textual study.
J. Verne"Children of Captain Grant" (chapters). Selflessness and courage of the heroes of J. Verne.
For review study.
A. Dumas"Three Musketeers" (chapters). The laws of honor by which the heroes of Dumas live.
N.G. Dolinina"Honour and dignity".
Theory of Literature. The concept of adventure literature. Essay as a genre of literature. The concept of a literary hero. The portrait of the hero.
Section 2. Ciphers and treasures (9 hours).
"Laws" of adventure literature.
for textual study.
R.-L. Stevenson"Treasure Island" (chapters). Features of the development of action in adventure literature. The variety of human characters in the novel.
For review study.
E. By"Golden Beetle" (abbreviated).
A.N. Rybakov"Dirk" (chapters). The dynamics of the development of events in an adventure story.
Theory of Literature. Distinctive features of the works of adventure literature. Story, composition.
Section 3. Extreme situations (6 hours).
Heroes and circumstances in life and literature. Moral lessons of adventure literature.
for textual study.
J. London"Love of Life" (abbreviated). Man in single combat with fate.
B.S. Zhitkov"Mechanic of Salerno". Man's responsibility for his actions.
Theory of Literature. Story genre.
Section 4. How we become adults (10 hours).
Thematic and genre diversity of adventure literature. The pathos of liberty and love of freedom in fiction. Big events and small heroes in literature.
for textual study.
V.P. Kataev“The lonely sail turns white” (chapters). The growing up of heroes, the path from adventure games to a harsh life.
M.Yu. Lermontov"Sail". The motive of freedom in the poem M.Yu. Lermontov and stories M. Twain, V. Kataev.
For review study.
M. Twain"The Adventures of Huckleberry Finn" (chapters).
Theory of Literature. The author and his characters. Writer, author, storyteller.
Section 5. The truth of history and fiction (6 hours).
Historical truth and author's fiction in literature.
for textual study.
A.S. Pushkin"The Song of the Prophetic Oleg". The legend and its interpretation in a work of art.
M.Yu. Lermontov"Borodino". Arrangement of historical fact in artistic narrative.
For review study.
V.A. Kaverin"Two Captains" (chapters). The truth of history and fiction in an adventure novel.
Theory of Literature. The role of fiction in the world of fiction. Legend as a folklore and literary genre. Invention and author's intent. Monologue and dialogue.
Section 6. Romance of the unknown (3 hours).
A dream of beauty and the unknown. Dream and adventure in literature.
for textual study.
Poems about the beautiful and the unknown: A. Blok"Do you remember, in our sleepy bay ...", N. Gumilyov"Giraffe", V. Mayakovsky"Could you?" M. Svetlov"I've never been to a tavern in my life..." D. Samoilov"Story", V. Berestov"For some reason, in childhood ...".
Theory of Literature. Ways to create artistic expressiveness in poetry. Rhyme and rhythm as signs of poetic speech.

Fantastic literature and its reader. "Laws" of fantastic literature.
Section 1. The world "lost" in us (2 hours).
Science and fantasy in literature. The concept of fantasy literature. Science fiction.
For review study.
A. Conan Doyle"The Lost World" as a work of science fiction.
Theory of Literature. Fiction. Science fiction.
Section 2. Science and non-science fiction (8 hours).
Fiction as a means of expressing the author's intention. Fantastic worlds in literature. Features of fantasy literature.
Moral problems in fantasy literature. The role of fiction in the world of fiction. Thematic and genre diversity of fantastic literature. Real and fantastic in a work of art.
for textual study.
A. Belyaev"Professor Dowell's Head" (chapters). Responsibility of scientists to humanity.
N.V. Gogol"Portrait". Realistic fantasy as a way of artistic representation.
For review study.
R. Bradbury"And Thunder Rang" (abbreviated). The consequences of human actions for the future.
Theory of Literature. Distinctive features of fantasy literature. The role of artistic detail in the text.
Section 3. Fairy tale and fantasy (7 hours).
Fabulous and fantastic in a work of art. Fantastic in a fairy tale. Relationship between literature and folklore.
for textual study.
A.S. Pushkin"The Tale of the Dead Princess and the Seven Bogatyrs". Explicit and implicit fantasy in a magical literary tale.
For review study.
A.S. Pushkin"Ruslan and Ludmila". World of wonders in the poem. Unlike a fairy tale. Theory of Literature. The poem as a literary genre.

Detective literature and its reader. Genre diversity of the detective. "Laws" of detective literature.
For review study.
E. By"Murder in the Rue Morgue" (abridged) as a classic detective story.
A. Conan Doyle "The Hunchback". The hero and the second hero in the detective story.
Theory of Literature. The concept of a detective. Features of the plot and composition in the detective story.

The World of Childhood in Literature. The humanistic nature of works about children. Moral lessons of literature.
for textual study.
V.G. Korolenko"In Bad Society" (abbreviated). Lessons of kindness and justice in the story. The fate of the heroes of the story. Means of creating characters of heroes.
MM. Prishvin"Pantry of the Sun". Fairy tale. The role of landscape in a work of art.
For review study.
L.A. Kassil"Konduit and Shvambrania" (chapters).
G. Belykh, L. Panteleev"The Republic of Shkid" (chapters).
Fictional country of childhood. The problem of character formation in stories.
V. Rasputin"Mom's gone somewhere." The theme of childhood loneliness.
Poems about children: D. Samoilov"From childhood", N. Zabolotsky"Ugly girl."
Theory of Literature. Story and story. Autobiographical work. Means of creating the character of the hero (portrait, speech characteristics, author's assessment, etc.) Fairy tale and true story. Poems and prose.

Ethical problems of the relationship between man and nature in literature.
Heroes are animals, their place in fiction. Humanistic pathos of works about animals. Moral lessons of literature about "our smaller brothers".
for textual study.
A.P. Chekhov"Kashtanka"
A.I. Kuprin"Yu-yu" (abbreviated).
For review study.
E. Seton-Thompson"Chink".
J. Durrell"Hounds of Bafut" (excerpt).
K. Capek From a cat's point of view.
Poems about animals: S. Yesenin"Song of the Dog" I. Bunin"Snake", N. Zabolotsky"Horse Face" V. Inber"Setter Jack" B. Zakhoder"In memory of my dog." Theory of Literature. Animation writer. The language of a work of art. Reader's interpretation of a work of art. Poetic intonation, the concept of poetic meter.
Generalization (1 hour).
The world of your reading interests.
The development of speech.
1) Detailed, concise, selective retelling of the text.
2) Review of the book read. An essay is a reflection on a book, a literary hero.
3) An essay-story about a literary hero, a comparative description of two heroes.
4) Writing - imitation, writing a detective story, writing in the form of an essay.
Reading and studying works - 94 hours.
Speech development - 8 hours.

Introduction (1 hour).
Becoming a reader. Fiction and non-fiction literature. The role of fiction in human life.
Section 1. Flying over dreams ... (18 hours).
The place of mysticism in the world of fiction. Genre diversity of mystical literature. Mysticism as a way of artistic reflection of reality. Heroes of mystical literature. Ways of depicting a person in epic and dramatic works.
for textual study.
V.A. Zhukovsky. Ballads "Svetlana", "Forest King". An epic beginning in a ballad.
A.S. Pushkin"Demons". Mysticism as a reflection of the inner world of the author.
N.V. Gogol"Christmas Eve". Mysticism and reality in the story.
M. Maeterlinck"Blue Bird" (abbreviated). True and false in human life. Heroes' search for happiness.
For review study.
A.S. Pushkin"The Drowned Man", "Songs of the Western Slavs" ("Ghoul", "Horse").
A.P. Chekhov"Terrible Night"
The origins of the mystical in literature. P. Merimee"Venus of Ill" (abbreviated).
Guy de Maupassant"Orlya" (abbreviated).
Philosophical meaning of the short story and story. Theory of Literature. Mystic. Hoax. Symbol. Sleep as an artistic technique. Translation and processing of a work of art. Ballad, novella. Types of Literature. Epic (narration) in verse and prose. Drama as a literary genre. Epigraph, its semantic load.
Section 2. Tales for adults (12 hours).
"Eternal" themes in fiction and different forms of their implementation. The role of fairy tales in the life of the reader. The place of fairy tales in the world of fiction. Moral values ​​in fairy tales for adults.
for textual study.
V. Gauf"Little Muck". A fairy tale for children and adults and its "non-childish questions". The construction of a fairy tale (“a story within a story”).
T.-A. Hoffman The Nutcracker and the Mouse King. Moral lessons of fairy tales.
G.-H. Andersen"Mermaid". A tale of selflessness, love and suffering.
For review study.
N.D. Teleshov"White Heron". Appointment of a person and his responsibility to the future.
A.N. Tolstoy"Mermaid". Reflections on the destructive power of love.
M.Yu. Lermontov"Mermaid". Rhythm and sound writing in a poem.
V.V. Veresaev"Competition". Reflections on human beauty.
Theory of Literature.
Types of Literature. The life of a fairy tale in epic and lyrics. Literary tale. Artistic detail in a literary fairy tale. Compositional technique "story within a story".
Section 3. Traces in time (7 p.m.).
Myth. Heroic epic of different peoples. Myth, folklore and literature. Epic heroes.
for textual study.
Epics "Ilya Muromets and the Nightingale the Robber", "Volga and Mikula Selyaninovich". Heroes and the language of the Russian epic epic.
For review study.
Legends and myths of Ancient Greece. Myths about Hercules.
Homer"Odysseus at the Cyclopes". Life of myths in literature.
G. Longfellow"Song of Hiawatha" (excerpts). The grandeur of an ancient legend. The skill of the author longfellow) and translator ( I. Bunin).
Epos of different peoples.
From the Bashkir folk epic "Ural-batyr".
From the Abkhaz legends about Narts.
From the Kyrgyz epic Manas.
From the Yakut epic "Olonkho".
From the Karelian-Finnish epic "Kalevala".
The embodiment in myths and the heroic epic of the moral ideals of the people.
Theory of Literature.
Heroic epic, myth, epic. The difference between myth and fairy tale. Hero-bogatyr. Techniques for creating a heroic character in the epic. The role of the artistic word in the epic work. Hyperbola.
Section 4. Discovering the world around (26 hours).
The diversity of the real and artistic worlds. Eternal themes in literature. Literature as a way of knowing life.
for textual study.
A.S. Pushkin"Tales of Belkin" ("Shot"), "Dubrovsky".
I.S. Turgenev Mumu, Biryuk.
L.N. Tolstoy Sevastopol in the month of December. Analysis of the author's own experiences in the story.
K.G. Paustovsky"The old man in the station canteen."
The multifaceted image of a person in epic works. The author and his characters.
For review study.
M. Lermontov"Dream", K. Simonov"Wait for me", S. Gudzenko"Before Attack" B. Okudzhava"Goodbye boys..." M. Petrovs"April 1942", B. Slutsky"Horses in the Ocean" Reflections on the value of human life.
A. Green"Fourteen Feet". Image of a person in a story.
O.Henry"Last page". Heroes O'Henry. Reflection on the appointment of the artist and art in general.
Theory of Literature.
Short story, short story, story as epic genres. The skill of the writer, the role of artistic detail in the narrative.
Section 5. Laughing through tears ... (15 hours).
The author's view of the world and its reflection in fiction. Ridiculous in life and literature. instructive literature. Comic genres.
for textual study.
I.A. Krylov. Fables: "The Crow and the Fox", "The Cuckoo and the Rooster", "The Wolf and the Lamb", "Demyan's Ear", "The Rooster and the Pearly Grain", "Trishkin's Caftan". Allegorical meaning of fables.
M.E. Saltykov-Shchedrin"The Tale of How One Man Feeded Two Generals." The skill of parable. The object of the writer's satire.
A.P. Chekhov"Horse name", "Death of an official", "Thick and thin", "Chameleon". Funny and sad in the stories of A.P. Chekhov.
For review study.
Aesop. Fables.
ON THE. taffy"Mitenka", "Reassessment of values".
I. Ilf, E. Petrov"Football Lovers"
R. Burns. Epigrams and Epitaphs.
Jerome K. Jerome"Three in a boat, not counting the dog" (chapters).
Theory of Literature.
Fable as a literary genre. Allegory, Aesopian language, morality, moralizing, personification. Humor and satire, as a means of expressing the author's attitude to the depicted, techniques for creating a comic.
Section 6. Verses from the cherished notebook (8 hours).
Reflection of the world of human feelings in a lyrical text.

S. Yesenin"Where are you, where are you, father's house...", M. Tsvetaeva"Houses of old Moscow", A. Akhmatova"Flowers and inanimate things...", I. Bunin"First matinee, silver frost...", I. Brodsky"The wind left the forest...", B. Pasternak"No one will be in the house ...", etc. at the choice of the teacher and students.
Theory of Literature.
Types of Literature. Lyrics. Lyric poem. Features of the organization of poetic speech (rhyme, rhythm, size, stanza). Poetic anthology. Metaphor, comparison, sound writing, epithet, personification.
Generalization (1 hour).
The world of your literature.
The development of speech.
1) Detailed, concise, selective retelling of the text.
2) Annotation of the book read. Writing is thinking about a book.
3) An essay about a literary hero, a comparative description of two heroes.
4) Composition-imitation. Writing fairy tales, ballads, fables, epics, etc. (optional).
Reading and studying works - 96 hours.
Speech development - 6 hours.

Introduction (1 hour).
The image of a person as the most important moral and aesthetic problem of fiction. Literary hero and reader.
Section 1. Me and my childhood (15 hours).
Autobiographical and memoir literature. The personality of the author, its reflection in literature. Traditions of autobiographical literature.
for textual study.
A.I. Herzen"The Past and Thoughts" (chapters). The role of adolescence in the formation of the author's personality. "The Past and Thoughts" as an example of memoir literature.
L.N. Tolstoy"Childhood", "Boyhood" (chapters). The inner world of a hero. Work on oneself, moral formation of the personality.
M. Gorky"Childhood" (chapters). Autobiographical narration. The history of the child's soul in the story of M. Gorky.
S. Yesenin"Mother's Letter"
For review study.
M.I. Tsvetaeva"Father and His Museum" (excerpts from "Memoirs"). Features of memoir literature.
Sh. Bronte"Jen Eyre" (chapters). Autobiographical beginning in the novel. Fictional memoirs.
Lyric confession. Childhood Memories: I. Bunin"Childhood", K. Simonov"Thirteen years...", A. Tarkovsky"White Day", M. Tsvetaeva"On Saturday", S. Yesenin"My way".
Theory of Literature.
Artistic autobiographical literature. memoir literature. Objective and subjective in literature. The author and his hero. The concept of literary tradition.
Section 2. Me and me ... (16 hours).
Moral problems of fiction. The hero of a work of art, his character, actions. Techniques for creating character in epic, drama, lyrics.
for textual study.
A.S. Pushkin"Captain's daughter". The formation of Grinev's character. "Mozart and Salieri". "Genius and villainy" in a small tragedy. Characters of Mozart, Salieri.
A. Green"Scarlet Sails" (abbreviated). Belief in beauty and a dream of happiness. Creating a miracle for a loved one.
V.F. Tendryakov"Bread for the dog" Torments of human conscience.
For review study.
A.S. Pushkin"A gift in vain, a random gift ...". Philosophical reflections on the destiny of man.
V.G. Korolenko"The Blind Musician" (chapters). True blindness and spiritual insight of the hero.
L.A. Kassil"Early Sunrise" (chapters). Spiritual development of the hero.
K.G. Paustovsky"The Life of Alexander Grin" (fragment).
Sue Townsend"The Diaries of Adrian Mole" (excerpts). Vulnerable soul of a teenager, his dreams and their realization in life.
A. Frank"Death" (excerpts). Spiritual development of a person in the terrible years of the war.
"Blue Grass: The Diary of a Fifteen-Year-Old Drug Addict".
Poetry: N. Ogarev"Blues", Y. Levitansky"Dialogue at the Christmas tree", B. Okudzhava"Song about night Moscow", A. Makarevich"As long as the candle burns." The motive of loneliness in the lyrics.
Theory of Literature.
The concepts of "literary hero", "character". Hero in an epic. Speech and deed as a means of creating the character of a hero in an epic and dramatic work. Plot, conflict, problem. The diary as a literary form.
Section 3. Me and others (12 hours).
Moral foundations of the character of a literary hero. The author and his hero, the expression of the author's position in a literary text.
for textual study.
V.M. Shukshin“Strong man”, “The word about the “small motherland”. Heroes of Shukshin as a reflection of the author's system of moral values. The writer's interest in man.
A.G. Aleksin"Mad Evdokia" (abbreviated).
The relationship between the individual and the team, teacher and students. Education of the "talent of humanity".
V.G. Rasputin"French lessons". The problem of awakening conscience and the problem of memory in the story.
O.Henry"Gifts of the Magi". The beauty of the soul of heroes. Moral values ​​in the life of the characters in the story.
For review study.
VC. Zheleznikov"Scarecrow" (chapters).
Poems about the meaning of life, about finding one's place in the world: A. Pushkin"If life deceives you..." R. Kipling"Commandment", N. Zabolotsky"On the beauty of human faces", A. Yashin"Hurry to do good deeds" B. Okudzhava"Farewell to the Christmas Tree"
Theory of Literature.
Essay as an epic genre. The role of the title in a work of art. Ways of expressing the author's position and evaluation of the hero.
Section 4. Me and the world: eternal and transitory (18 hours).
Heroes and circumstances. The act of the hero as a manifestation of character. The moral cost of an act. Eternal values ​​in life and literature.
for textual study.
M.A. Sholokhov"Destiny of Man". The fate of an ordinary person in a difficult wartime. The moral "core" of A. Sokolov's character. Features of the composition of the story.
Yu.D. Levitansky"So what if I was there..." The impact of war on a person - on his life and inner world.
Ch.T. Aitmatov"The First Teacher" (abbreviated). The feat of teacher Duishen. The moral beauty of the character of the hero.
K.G. Paustovsky"Meshcherskaya side" (chapters). Unselfish love for ordinary land.
For textual and survey study.
Poems about the eternal and the transient: A.S. Pushkin"Winter morning", Y. Levitansky"Leaves are falling..." V. Vysotsky"I do not like", A. Voznesensky"Saga", G. Shpalikov"People are lost only once ...".
Sonnets W. Shakespeare, poems about love: A.S. Pushkin"You and You", "On the hills of Georgia", "I remember a wonderful moment", "Confession", M.Yu. Lermontov“Like heaven, your eyes shine ...”, “Why”, “From under the mysterious cold half-mask”, A.K. Tolstoy"In the midst of a noisy ball ...", F.I. Tyutchev"I met you...", A. Akhmatova"Song", M. Tsvetaeva“Like the right and left hand...”, “Finally met...”, V. Bagritsky"Do you remember the dacha..." M. Petrovs"Make me a date..." M. Svetlov“All jewelry stores are yours...”, D. Samoilov"The names of winters", "And everyone he loved ..., V. Vysotsky"The Ballad of Love".
Theory of Literature.
Composition. Compositional techniques "story within a story", "story with a frame". The concept of the author's style.
Comparison, contrast, metaphor as a means of artistic representation. Lyrical hero and author of a lyrical work. Genres of lyric poetry.
Generalization (1 hour).
The development of speech.
1) Creative retelling.
2) Review.
3) An essay is a characteristic of a literary hero. Essay on a moral and ethical theme.
4) Writing in the form of a diary, an interview. An autobiographical essay. Writing-stylization.

Speech development - 5 hours.

Introduction (1 hour).
The main subject of knowledge in literature. Man as the main object of the image in literature. Artistic image and figurativeness in literature. Figurative reflection of life in art. The connection of the artistic image with the development of the literary process.
I. Man of the crowd - a man in the crowd (15 hours).
The artist's realistic view of the world. Society and personality, social relations as an object of art. Subjectivity of the author and reader in the assessment of a literary hero.
for textual study.
N.V. Gogol"Overcoat" (abbreviated). Protest against social inequality and injustice. Typical character of Bashmachkin.
"Inspector". The system of images in comedy. Mastery of the satirical depiction of reality.
J.-B. molière"The tradesman in the nobility". Image of Jourdain. The life position of the hero. Author's methods of creating an image.
M.A. Bulgakov"Dog's heart". The problem of the moral consciousness of the individual. The destructive power of militant ignorance.
Theory of Literature.
Type of literary hero, typical character, artistic image, "little man" in literature. Humor, irony, satire, sarcasm as a means of expressing the author's position and as a way to create the character of the hero. Comedy as a dramatic genre.
II. Thinking man... (10 hours).
The eternal search for the meaning of life by literary heroes. Ideal and reality in literature. for textual study.
W. Shakespeare"Hamlet". Thinking Heroes. Dreams and their collapse.
Comprehension by the hero of the frailty and transience of human life.
A.P. Chekhov"Gooseberry". The responsibility of the hero for the choice of life philosophy.
For review study.
T.N. thick Okkervil River. The clash of the fictional world of the hero with real life.
Theory of Literature. Tragedy as a dramatic genre. dramatic conflict. The story as an epic genre.
III. Feeling Man... (10 hours).
The world of feelings of a literary hero. The depth of human feelings and ways of expressing them in literature.
for textual study.
N.M. Karamzin"Poor Lisa". Depiction of the feelings of the characters in the story. Deep penetration into the human soul.
I.S. Turgenev"Poems in prose" as a lyrical confession of the author. "Russian language". Love for the motherland, a way of expressing it in a poem.
Poems about the motherland: F. Tyutchev"You can't understand Russia with your mind..." A. Blok"Russia", E. Evtushenko"White snows are falling" A. Galich"When I'll come back...". The theme of the Fatherland in the lyrics. Motherland in the value system of heroes.
For review study.
F. Sagan"Hello, sadness" (chapters). The complexity and inconsistency of the inner world of the characters. The need to be sensitive to the feelings of others.
S.D. Dovlatov"Ours" (abbreviated). Hero and Circumstances. The development of the inner world of the hero. The problem of man's relationship to his homeland. The theme of emigration. The fate of people and countries.
Theory of Literature. Psychologism as a way of depicting the inner world of heroes. Prose poetry as a genre.
IV. Acting man... (26 hours).
The ideals of freedom and justice in literature. Fighting heroes. Heroic character. Subjective and objective beginnings in the image of heroes. Feat as a moral category.
for textual study.
M.Yu. Lermontov"A song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov." Heroes-personalities in the "Song ...". Kalashnikov and Kiribeevich. Kalashnikov's struggle for family honor and justice. Subjective and objective in the depiction of historical characters.
"Mtsyri". The romantic hero of the poem. Contrasting dream and reality. The image of Mtsyra in the poem.
N.V. Gogol"Taras Bulba" (abbreviated). The free world of the Zaporizhian Sich in the image of Gogol. Ostap and Andrey. Reception of contrast in the image of heroes. The heroic character of Taras Bulba.
ON THE. Nekrasov"Frost, Red Nose", "Russian Women" (abbreviated). Selflessness of heroines of poems. The act of the hero as a way to create character.
L.N. Tolstoy"Prisoner of the Caucasus". The passive hero and the acting hero: Kostylin and Zhilin. Modern reading of the story.
For review study.
M. Cervantes Don Quixote (chapters). Don Quixote is a fighter against injustice or a parody of a knight.
K.F. Ryleev Ivan Susanin. National Russian character, heroic beginning in the Duma.
B. Vasiliev"Tomorrow there was a war" (chapters). The struggle of heroes for justice and human dignity. Thirst for personal achievement.
J. Aldridge"The Last Inch" (abbreviated). Overcoming the hero's own fear and impotence.
Theory of Literature.
Heroic character in literature. Reception of contrast as a way to create character. Ways to create the character of a literary hero (generalization). The combination of the subjective and the objective as the basis for creating an artistic image.
V. Big "little man" (5 hours).
Man as the main value in the world and in literature. Humanistic character of fiction.
for textual study.
M. Gorky"The Simplon Tunnel" (from Tales of Italy). The great power of a small man.
E. Hemingway"The Old Man and the Sea" (abridged). philosophical meaning of the story. The strength of the character of the old man.
For review study.
V. Shalamov Major Pugachev's Last Fight. The hero's fight for his human self.
Theory of Literature. The development of the fairy tale genre in literature. Variety of types of literary characters. Hero - character - image (correlation of concepts).
Generalization (1 hour).
The development of speech.
1) Presentation based on literary and artistic texts.
2) Reader's diary. Extracts from the book.
3) Composition-characterization of the image of the hero. The composition is a generalizing characteristic of a group of heroes.
4) Composing a poem in prose. The essay is a monologue of a literary hero. Debating essay. Comparison of different editions, translations of the same work.
Reading and studying works - 63 hours.
Speech development - 5 hours.

In the 9th grade, it is supposed to study a short course in the history of Russian literature.
A schoolchild who has mastered the program of grades 5-8 has a sufficient level of erudition (knowledge of texts, names of authors, an idea of ​​writers' biographies and destinies, about the main topics of Russian and world literature) and skills (skills) for working with texts and near-text information in order to be prepared to take a course in the history of their literature.
The program is based on the chronological principle (literature is studied in the system of historically established stages, which are distinguished by modern literary criticism).
Within the framework of the general chronology, topics for monographic study are named (a closer interest in the biography of the writer, in a certain text and its place in the literary process is possible) and texts that are studied in full.
The course is aimed at forming a holistic vision of the history of the development of literature from antiquity to the present. The program ensures the completion of the basic literary education, assuming that in the future it is possible to deepen education (for specialized humanities classes) and expand it (for general education and specialized non-humanities classes).
The program continues the philosophical and humanistic line of selection of content, laid down in grades 5–8. Course objective- to give not only a general idea of ​​the history of Russian literature, but also to show the connection of the hero of Russian literature with the peculiarities of the historical development of Russia, the change in social and ideological trends, literary trends, the originality of the creative individuality of writers.
The course highlights separate thematic blocks that help students to fix the stages of development of literature. To this end, the educational material is constructed as essays on the history of Russian literature. There is a constant appeal to the reading experience of schoolchildren, parallels are drawn between literary works of different eras.
The material is distributed between the primary and secondary schools as follows: in the 9th grade, in order to prevent overload of students, works of the 18th century are read and studied in full. and the 1st half of the 19th century. Literature of the middle/end of the 19th century. and XX century. is studied in full in grades 10–11. The program for grades 9-11 does not include a section on "Theory of Literature", the analysis of works is carried out on a theoretical and literary basis, formed in grades 5-8. At the same time, a literary approach is carried out in spreads to the topics. In general, the program is built on a concentric basis and provides a holistic view of the history of Russian literature at each level of education, the difference between them lies primarily not in the circle of authors, but in the works of art recommended for reading and studying.
The program includes works of foreign literature in accordance with the "Mandatory minimum ...". The main part of works of foreign literature is read in grades 5-8. However, the authors believe that in order to implement the idea of ​​pre-profile education, the study of Russian literature should be accompanied by parallel special courses on foreign literature, world artistic culture, etc. (at the choice of the educational institution).
The program is designed for 3 hours per week for a 9-year basic school and suggests the possibility of allocating additional hours for studying literature at the pre-profile level.

Introduction (1 hour).
The role of fiction in the spiritual life of man. Growing up of the personality and its reader's interests, tastes, predilections.

The beginning of Russian literature: time, authorship, texts, genres (on the example of fragments from The Tale of Bygone Years, Teachings of Vladimir Monomakh). Seven centuries of ancient Russian literature. General features of ancient Russian literature. Spirituality of ancient Russian literature. The life of ancient Russian genres in fiction.
"The Word about the destruction of the Russian land" as an example of a monument of ancient Russian literature.
"The Tale of Igor's Campaign": the history of the discovery, the historical basis and issues. Composition and main storylines. Figurative system "Words ...". Translations of "Words...". D.S. Likhachev and I.P. Eremin on the poetics of ancient Russian literature.

From Ancient Russia to Russia of Peter I. Main Stages in the Development of Literature in the 16th–17th Centuries. Moral and spiritual searches of the literature of this period. The origin of humanistic ideals in the literature of the Middle Ages.
Peter's era. On the way to classicism of the XVIII century. The history of the emergence of classicism. Classicism in Russian literature.
M.V. Lomonosov.
Genius Lomonosov. Lomonosov is a philologist and poet. "Ode on the day of accession to the throne of Empress Elisaveta Petrovna 1747". Ode as a genre of classicism.
The role of Lomonosov in the formation of the Russian literary language. The theory of three styles.
G.R. Derzhavin.
The audacity of the poetic thought of G.R. Derzhavin. The variety of poetic themes in Derzhavin's work: "To the rulers and judges", "Monument", "The river of times in its striving".
DI. Fonvizin.
DI. Fonvizin - "satyr bold ruler." Fonvizin's comedy "Undergrowth" as a work of classicism. The ideas of enlightenment in comedy, the ideals of Fonvizin.
N.M. Karamzin.
The fate of Karamzin - historian, writer, public figure.
"Poor Lisa" as a work of sentimentalism (a generalization of what was previously read). Universal and eternal in the story. Lyricism and poetry of language.
"History of the Russian State" (fragment). "Respect for the past" in the historical chronicle of Karamzin.

Romanticism in the early 19th century
The emergence of romanticism. Features of romanticism as a literary movement. genres of romantic literature. romantic hero.
D. Schiller"Glove".
J.-G. Byron"You ended the path of life ...".
Two different romantic attitudes.
Romantic duality in Russian poetry of the early 19th century.
V.A. Zhukovsky and K.N. Batyushkov.
Creative fates of Zhukovsky and Batyushkov.
Elegy "Sea". "The Unspeakable" as Zhukovsky's Poetic Manifesto. Zhukovsky - translator. The originality of Zhukovsky's ballads.
Two I of the lyrical hero Batyushkov.
The place of Zhukovsky and Batyushkov in Russian poetry of the early 19th century
A.S. Griboyedov.
The personality and fate of Griboyedov in the assessment of contemporaries.
The history of the creation of "Woe from Wit".
Key comedy scenes. Comic and satirical beginnings in the play. Antithesis as the basis for the construction of comedy. The tragic loneliness of Chatsky. Features of the poetic language of comedy. Stage life "Woe from Wit". The birth of Russian realism. Comedy as assessed by writers (I.A. Goncharov, A.S. Pushkin) and critics (V.G. Belinsky). Article by I.A. Goncharov "A million torments".
A.S. Pushkin.
Pages of Pushkin's biography. Pushkin and his contemporaries. The origins of Pushkin's work. The main themes of the lyrics. Pushkin about the lyceum brotherhood in the poem "October 19" (1825). The theme of freedom in the poet's lyrics ("To Chaadaev", "To the sea", "Anchar". The theme of the poet and poetry "Prophet", "I erected a monument to myself not made by hands"). Pushkin's love lyrics (“K ***”, “Night darkness lies on the hills of Georgia ...”, “I loved you, love still, perhaps ...”, “Madonna”, etc.). The humanism of the poet, the life-affirming pathos of poetry. The path from romanticism to realism.
The search for a modern hero. The novel "Eugene Onegin". Pushkin's era in the novel. Pushkin's moral ideal in the novel. Spiritual searches of the hero. The complexity of Onegin's relationship with the outside world. The integrity of Tatyana's character. Genre features of the novel in verse. The development of the concept of realism. The author on the pages of the novel. The embodiment in the novel of the social and aesthetic ideals of the poet.
Evaluation of creativity of Pushkin V.G. Belinsky.
M.Yu. Lermontov.
The fate of the poet Lyrical hero of Lermontov, his inconsistency. The main motives of the lyrics. The pathos of disobedience, liberty, rebellion ("Prophet"). The poet’s reflections on life, love, creativity (“Three palm trees”, “Prayer”, “Both boring and sad”, “Duma”, “Prophet”, “No, I don’t love you so passionately ...”, “Motherland "). The novel "A Hero of Our Time". Meaning of the title of the novel. Features of the composition, its role in revealing the character of Pechorin and the ideological content of the novel. The problem of the hero in the novel. Personality and society, "self-knowledge" of the hero Lermontov. Psychologism. Pechorin and other heroes of the novel. Artistic features of the novel, its diversity. Realistic and romantic beginnings in the novel. Evaluation of the novel by Russian criticism.
N.V. Gogol.
Review of Gogol's work. Poem "Dead Souls" The idea of ​​the poem. History of creation. Genre, plot, characters (I volume). "Living Russia" in the poem. Gogol's humanistic ideal. The problem of the Russian national character in the poem. Ways to create typical characters in a poem. The peculiarity of the language. Gogol's poetics: the art of detail, irony, the unity of the satirical and the lyrical. Evaluation of the poem by Russian criticism.

Features of the literary process of the 40-60s of the XIX century.
A.N. Ostrovsky.
Great Russian playwright. The world of the merchant class in Ostrovsky's comedies. The play "Own people - let's settle!". Duplicity and metamorphoses of comedy heroes. Features of the composition of comedy. Stage fate of the play. Russian criticism of the meaning of Ostrovsky's comedies (N.A. Dobrolyubov, V.G. Avseenko).
Poetry of the middle and second half of the 19th century: F.I. Tyutchev, A.A. Fet. ON THE. Nekrasov, A.K. Tolstoy, A.N. Pleshcheev, Ya.P. Polonsky, A.V. Koltsov, I.S. Nikitin.
Moral and philosophical searches in poetry.
Landscape and love lyrics by F.I. Tyutchev and A.A. Feta - two views of the world (poems "Spring waters", "There are in the initial autumn", "Autumn evening", "The earth still looks sad ...", "Last love" by Tyutchev and "This morning, this joy ... ”, “Learn from them - from the oak, from the birch ...”, “I came to you with greetings ...”, “Do not wake her at dawn ...”, “Still fragrant bliss ...” Feta). Poetics A.A. Feta, F.I. Tyutchev.
ON THE. Nekrasov.
Music Nekrasov. Citizenship of the poet's lyrics (poems "Uncompressed lane", "Railway", "Reflections at the front door", etc.). The accusatory pathos of poetry. The originality of Nekrasov's style: a combination of civic pathos and penetrating lyricism.
I.S. Turgenev.
Review of I.S. Turgenev. Generalization of the previously read: a high assessment of the spiritual and moral qualities of a Russian person in the cycle of stories "Notes of a Hunter" and the story "Mumu".
L.N. Tolstoy.
Tolstoy about Tolstoy. Writer's diaries about his personality and fate. "Dialectics of the soul" of Tolstoy's heroes, their spiritual quest. The main criteria of Tolstoy in evaluating a person (on the example of the trilogy "Childhood", "Boyhood", "Youth" and "Sevastopol stories" - a generalization of the previously read).
F.M. Dostoevsky.
The contradictory nature of Dostoevsky's personality. Artistic world of Dostoevsky. The story of the poor people. Man and circumstances in the image of Dostoevsky. Features of the language of the story. The theme of "Humiliated and Insulted" in the works of Dostoevsky.

Features of the literary process of the late XIX century. General idea of ​​the artistic prose of the 80s. (G.I. Uspensky, V.N. Garshin, D.N. Mamin-Sibiryak, N.S. Leskov).
A.P. Chekhov.
Chekhov's life: the creation of himself. Review of Chekhov's creativity. Funny and sad in Chekhov's stories (generalization of previously read). "Little Trilogy" The story "The Man in the Case" is a reflection on human freedom and independence. The laconicism of the narrative, the art of detail, the role of the landscape in the story.
Generalization.
The Golden Age of Russian Literature. Russian classical literature of the 19th century.

Features of the literary process of the early twentieth century.
Humanistic traditions of 19th century literature. in the prose of the early twentieth century.
A.I. Kuprin. Humanistic traditions in the writer's work (generalization of what was previously read).
I.A. Bunin.
The creative fate of Bunin. Love for Russia, spiritual connection with the motherland in the work of Bunin. Poems "Dense green spruce forest near the road ...", "Word", "And flowers, and bumblebees, and grass, and ears", "Motherland". Lyrical hero of Bunin.
M. Gorky.
Traditions of Russian autobiographical prose in the story "Childhood" (a generalization of the previously read). The romantic ideal of the writer ("Song of the Petrel").
Traditions and innovation in poetry of the early twentieth century. A.A. Blok, V.V. Mayakovsky, S.A. Yesenin. Poets about themselves and their time (artistic autobiographies). Features of the attitude and creative manner of each of the poets (on the example of poems A.A. Blok“Oh, I want to live insanely ...”, “Twilight, spring twilight ...”; S.A. Yesenin“You are my fallen maple”, “Golden grove dissuaded ...”; V.V. Mayakovsky“Do you understand ...” (an excerpt from the tragedy “Vladimir Mayakovsky”) and previously read poems).
Poets about poets V.V. Mayakovsky"Sergey Yesenin" M.I. Tsvetaeva"Poems to Blok", A.A. Akhmatova Mayakovsky in 1913.)
Poetic understanding of reality in the lyrics of the twentieth century.
Great poets of Russia A.A. Akhmatova and M.I. Tsvetaeva. Fate. Peculiarities of attitude and creative manner of poetesses (on the example of poems A.A. Akhmatova“Confusion”, “Alexander Blok”, “I had a voice ...”, “I see a faded flag over the customs ...”; M.I. Tsvetaeva“To my poems written so early...”, “On the ruins of our happiness...” (an excerpt from “The Poem of the Mountain”) and previously read poems).
A.T. Tvardovsky.
Poet about time and about himself (autobiography). History of the poem "Vasily Terkin" (chapters). Traditions and innovation in Tvardovsky's poetry.
The search for a new hero in the prose of the twentieth century.
Generalization of previously read works (heroes M.A. Bulgakov, M.A. Sholokhov, V.P. Shalamova, Ch.T. Aitmatova, V.F. Tendryakova, V.M. Shukshina, V.G. Rasputin, B.L. Vasiliev).
A.P. Platonov.
Strange heroes of Platonov's stories, the meaning of their existence. Morality as the basis of the characters' characters. Yushka's story. The language of the era in the story.
From the literature of the second half of the 20th century (review and generalization of what was read earlier). Searches and problems. The variety of poetic talents (A.A. Voznesensky, E.A. Evtushenko, B.Sh. Okudzhava, N.M. Rubtsov, etc.). The originality of Russian prose, the main development trends (F.A. Abramov, Ch.T. Aitmatov, V.P. Astafiev, V.I. Belov, F.A. Iskander, Yu.P. Kazakov, V.L. Kondratiev, E. I. Nosov, V. G. Rasputin, A. I. Solzhenitsyn, V. F. Tendryakov, V. T. Shalamov, V. M. Shukshin, V. Makanin, T. N. Tolstaya, L. Petrushevskaya and etc.).
A.I. Solzhenitsyn.
Solzhenitsyn is a public figure, publicist, and writer. “Brief biography” (based on the book “A calf butted with an oak tree”). The story "Matryona yard". The writer's idea of ​​the Russian national character.

Generalization.
The development of speech.
1) Artistic retelling of the text. Synopsis of the written source. Abstracts. Reconstruction of the text on the support.
2) Interpretation of a lyric poem. Lyric analysis. Linguistic analysis of the poetic text. Expressive reading of fiction. Annotation of the book read.
3) Report on a historical and literary topic. Compilation of the speech characteristics of the hero of a dramatic work. Oral discussion. Extended answer to the question. An essay is a discussion on a literary topic.
4) Stylization of prosaic and poetic texts. Writing is a journey. Writing in the epistolary genre. Artistic autobiography. A short biography in a journalistic style.
Reading and studying works - 95 hours.
Speech development - 7 hours.

the main task Literature programs for senior students - to provide variability and differentiation of literary education, which cannot be achieved with a single program for the graduating classes. Modern high school has classes of different levels: general education, profile (non-humanitarian), in-depth study of the subject (humanities and philology). It is obvious that the mechanical reduction of the educational material of the program for in-depth study does not allow the teacher to be productively engaged in the literary education of students in specialized non-humanitarian and general education classes in practice.
The teacher is offered two programs to choose from, the first is focused on mastering the educational standard(basic level) and can be used in general education and specialized non-humanitarian classes; the second program involves an in-depth study of literature (profile humanitarian and philological level).
The difference between the programs is significant.
At the heart of the program basic level lies the problem-thematic principle. Works for reading and studying are combined into blocks in terms of their significance for solving one or another universal, aesthetic, moral problem, for revealing a certain “eternal” literary theme. The program is unconventional in structure and content. In addition to the works from the "Mandatory Minimum...", which ensures the preparation of high school students for the final certification, it includes additional texts by Russian and foreign writers. We draw the teacher's attention to the variability of the program: a short list of books is offered for each topic, the text for reading and studying from among those not included in the "Mandatory minimum ..." the student determines independently. This approach allows students who have not chosen a humanitarian line of education to remain interested in literature, ensures the development of a work of art as a kind of textbook of life, a source of spiritual memory of mankind. All this requires the teacher to take new approaches to the lesson of literature in high school. The program is designed for 2 hours per week.
Program for in-depth study of literature(profile level) is a chronological systematic course on a historical and literary basis, which enables students to continue their education in the humanities.
The focus of students is not only a specific artistic text, but also the artistic world of the writer, the literary process. The emphasis in the program is on the study of a literary text using knowledge of the history and theory of literature, based on literary criticism. In the program of the profile level, the circle of writers has been significantly expanded, which will allow students to make generalizations on literary material, to compare works of art from different eras. When implementing a program of in-depth study of literature, the teacher independently determines the depth and path of analysis of a particular work, taking into account both the place of the work in the literary process and the work of the writer, and the opportunities and needs of students.
The program is designed for 3-5 hours of study per week and involves the support of various elective courses (at the suggestion of the school and the choice of students). We draw the teacher's attention to the need to develop an elective course on foreign literature in accordance with the circle of authors defined by the standard, and an elective course on the literature of the peoples of Russia, in which the national-regional component will be implemented. As an example of building an elective course, we offer an elective course "Learning to work with a book and text" in the appendix to this program.

* The total number of teaching hours for the 10th and 11th grades is indicated.

The Problem of Continuity in the Literature of the 19th–20th Centuries
Golden and Silver Age of Russian Literature. Aesthetic and moral values ​​of the XIX century. Their rethinking and transformation in the XX century. The tragedy of the fate of Russian literature of the 19th century in the 20th century.
Attitude towards Pushkin's work as a reflection of the aesthetic and philosophical concept of the writer. "Fight against Pushkin" by nihilists and futurists. Attitude to the classics as a means of ideological propaganda. Reading the classics from a new angle.

Literature**:

** In the list, texts from the “Required minimum ...” are highlighted (underlined), they are read by all students. In addition, students read at least one non-Required Minimum... from each topic of their choice.
Texts in italics are subject to study, but are not included in the "Requirements for the level of preparation of students."

A.S. Pushkin. Philosophical lyrics (“The daylight went out ...”, “Elegy”, “Imitation of the Koran”, “Desert sower of freedom ...”, “Again I visited ...”).
F. Dostoevsky. Essay "Pushkin".
A. Blok. About literature. About the appointment of the poet.
A. Lunacharsky. Alexander Sergeevich Pushkin.
D. Merezhkovsky. Eternal companions. Pushkin.
M. Tsvetaeva. My Pushkin.
O. Mandelstam. On the nature of the word.
N. Berdyaev. About Russian classics.
R. Rozanov. Return to Pushkin.
M. Zoshchenko. Stories "Retribution", "Pushkin".
E. Zamyatin. I'm afraid.
A. Terts. Walks with Pushkin.
The integrity of Russian literature. General features of Russian literature of the XIX - XX centuries. The concept of literary tradition. Eternal themes, traditional problems. "Through" images (Don Juan, Don Quixote, Hamlet, etc.) and types of literary heroes (Bashmachkin, Khlestakov, Onegin, Pechorin, etc.). The place of Russian literature in the world literary process: its originality and general tendencies.
Literature:
A.S. Pushkin. Stone guest.
Molière. Don Juan.
Man and History in Russian Literature. Interest in history in Russian literature. History as a subject of the image. Various ways of artistic depiction of the historical past. The question of the role of personality in history. The fate of man in certain historical circumstances.
Literature:
A.S. Pushkin."Bronze Horseman".*

L.N. Tolstoy. War and Peace.
M.E. Saltykov-Shchedrin. History of one city.
S. Yesenin. Poems about peasant Russia and the Soviet Motherland.
A. Tolstoy. Peter the Great.
M. Sholokhov. Don stories. Quiet Don.
V. Grossman. Life and destiny.
V. Shalamov. Kolyma stories.
K. Vorobyov. It's us, Lord!
The people and the intelligentsia in Russian literature. The origins of the problem. A look at the problem A. Radishchev.
Literature:
F.M. Dostoevsky. Notes from the House of the Dead.
A. Blok. The people and the intelligentsia.
M. Bulgakov. Dog's heart.
B. Pasternak. Doctor Zhivago.
Heroes of time in Russian literature. Heroes A.S. Griboedova, A.S. Pushkin, M.Yu. Lermontova, N.V. Gogol. "Superfluous" and "strange" heroes of Russian literature. Hero and his time. Lyrical hero of his time.
Literature:
N.V. Gogol. "Nose".
I.S. Turgenev. Fathers and Sons.
ON THE. Nekrasov. Russian women.
A.P. Chekhov. Student, Lady with a dog, Cherry Orchard.
Ilf and Petrov. The twelve Chairs.
V.V. Nabokov. Luzhin's defense.
A. Akhmatova.“Song of the last meeting”, “She squeezed her hands ...”, “I don’t need odic rati ...”, “I had a voice ...”, “Native land” and etc.
M.I. Tsvetaeva.“Who is created from stone...”, “Longing for the motherland. For a long time..." and etc.
O.E. Mandelstam."Notre Dame", "Insomnia. Homer. Tight sails ... ". "For explosive valor...", "I returned to my city..." and etc.
The theme of love in world literature. "Through" plots in world literature.
Literature:
"Tristan and Isolde".
W. Shakespeare. Romeo and Juliet. Sonnets.
M.Yu. Lermontov.“How often, surrounded by a motley crowd ...”, “Prayer” and etc.
A.A. Fet.“Whisper, timid breathing...”, “This morning, this joy...”, “The night shone...”, “It’s still May night...” and etc.
F.I. Tyutchev."Oh, how deadly we love ...". "K.B.", "We are not given to predict ...".
A.K. Tolstoy. "In the midst of a noisy ball..." and etc.
I.A. Bunin. Dark alleys. (Clean Monday).
A.I. Kuprin. Garnet bracelet.
V. Mayakovsky. About it.
R. Gamzatov. Lyrics.
Sh. Baudelaire. Lyrics.
The theme of the "little man" in Russian literature. Favorite topic of Russian literature. Traditions A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky in the disclosure of the topic.
Literature:
F.M. Dostoevsky. Humiliated and insulted.
A.P. Chekhov. Ward №6. Man in a case.
F. Sologub. Small demon.
L.N. Andreev. The story of the seven hanged men.
I.A. Bunin. Gentleman from San Francisco.
A.P. Platonov. Stories.
A. Akhmatova. Requiem.
A.I. Solzhenitsyn. One day of Ivan Denisovich.
E.I. Zamyatin. We.
The problem of individualism. The theme of "superman" in world literature. Philosophical and aesthetic views of F. Nietzsche. individuality and individualism. Theories of the "superman" in history and literature. Byronic motifs in the works of A.S. Pushkin, M.Yu. Lermontov.
Literature:
J.G. Byron. Childe Harold's Pilgrimage.
F.M. Dostoevsky. Crime and Punishment.
M. Gorky. Old Isergil.
A. Camus. Plague.
J.-P. Sartre. Death in the soul.
The theme of the loss of a person in a hostile world. Hamlets and Don Quixotes are the tragic heroes of world literature. The human essence of lone heroes, their vulnerability to evil. The Motif of Loneliness in Russian Literature of the Beginning of the 19th Century.
Literature:
W. Shakespeare. Hamlet.
Cervantes. Don Quixote.
F.I. Tyutchev."Silentium", "Nature-sphinx", "Russia cannot be understood with the mind ...".
A.N. Ostrovsky. Thunderstorm.
A. Blok."Stranger", "Russia", "Night, street, lantern ...", "In a restaurant", "On the railway" etc. Poem "Twelve".
V. Mayakovsky.“Nate!”, “Could you?”, “Listen!”, “Violin and a little nervously” and etc. "A cloud in pants".
K. Balmont. Lyrics.
V. Vysotsky."Hamlet" and etc.
B. Pasternak. Hamlet. "February. Get ink and cry! ..”, “In everything I want to reach ...” and etc.
J.D. Salinger. The Catcher in the Rye.
G.-G. Marquez. One hundred years of solitude.
Russian village theme. The image of the city (Petersburg by N.V. Gogol, F.M. Dostoevsky) and the image of the village in Russian literature. The village as the embodiment of the moral ideal in Russian prose and poetry.
Literature: I.S. Turgenev. Hunter's Notes.
I.A. Bunin. Village. Lyrics.
F. Abramov. Pelagia.
N. Rubtsov. Lyrics.
A. Zhigulin. Lyrics.
The theme of the Motherland in Russian literature. Traditions of citizenship and patriotism in Russian literature.
Literature:
ON THE. Nekrasov."On the road". "Elegy" and etc.
S. Yesenin. Poems about peasant Russia and the Soviet Motherland: "Goy you, Russia, my dear ..", "Soviet Russia", "The feather grass is sleeping ..." and etc.
IN AND. Belov. Habitual business.
V.G. Rasputin. Deadline.
Yu.V. Trifonov. Waterfront house.
V.P. Astafiev. king fish
E. Yevtushenko. Lyrics.
The search for a moral core as the basis of human existence. Spirituality and morality of Russian literature, its humanistic origin. Heroes are carriers of the Russian national character. The desire for moral self-improvement, the dialectics of the souls of heroes. The concept of spiritual death.
Literature:
I.A. Goncharov. Oblomov.
L.N. Tolstoy. War and Peace*.
N.S. Leskov. Lefty.
A.P. Chekhov. Ionych.
M. Gorky. At the bottom.
V.M. Shukshin. Stories.
V. Tendryakov. night after release.
A.V. Vampilov."Farewell in July"
A.T. Tvardovsky.“The whole point is in one single covenant...”, “I know: no fault of mine...” and etc.
B.Sh. Okudzhava. Lyrics.
O. Balzac. Gobsek.

*Repeated reference to some of the texts from the "Mandatory Minimum..." is assumed.

The theme of the way-road in Russian literature. Ways-roads in folklore. The motive of the path and traditions of spiritual literature. The way as the movement of the human soul. Journeys of the Heroes of Russian Literature and Their Spiritual Path. The theme of the path in the work of A.S. Pushkin, M.Yu. Lermontova, N.V. Gogol.
Literature:
ON THE. Nekrasov. Who in Russia live well.
A.P. Chekhov. Sakhalin island.
A.T. Tvardovsky. House by the road.
The theme of the fate of the artist. The image of the poet-prophet in the work of A.S. Pushkin, M.Yu. Lermontova, N.V. Gogol. The tragic fate of the artist.
Literature:
ON THE. Nekrasov. Poet and citizen. “Yesterday at six o'clock...”, “Oh Muse! I am at the door of the coffin ... ".
M. Bulgakov. The Master and Margarita.
B. Pasternak. Doctor Zhivago.
K. Paustovsky. Golden Rose.
V. Kataev. Grass of oblivion.
V.Ya. Bryusov. Lyrics.
S. Dovlatov. Our.
V. Vysotsky. Lyrics.
Writers of the late XX century and Russian classics. Classics as a material for a literary game with the reader. Associative links with the classics in modern literature.
Literature:
Y. Polyakov. Goat in milk.
D.S. Samoilov. Lyrics. ("Pestel, the poet and Anna" and etc.).
Ven. Erofeev. Moscow - Petushki.
T. Tolstaya. Stories.
T. Kibirov. Poetry.
Dialogue between 19th and 20th century literatures (connections Pushkin - Mayakovsky, Nekrasov - Mayakovsky, Gogol - Bulgakov, L. Tolstoy - Sholokhov, etc.). Russian classical literature as a key to solving many moral, ethical, aesthetic, psychological, philosophical and other problems of our time. The main lessons of Russian classics, its modernity. Eternal spiritual guidelines and moral coordinates of Russian classics.
The role of "mass literature", fiction in the life of modern man.
Literature:
P. Weil, A. Genis. Native speech.
B. Sarnov. Look who's coming...
The development of speech.
As a result of mastering the program, graduates should be able to:
own monologue and dialogic forms of oral and written speech;
retell the key scenes and episodes of the studied works (to characterize the image-character, the main problem, compositional features, etc.);
analyze the episode (scene) of the studied work, establish its role in the work;
draw up a plan, abstracts of articles on a literary and journalistic topic;
write essays in different genres on a literary theme (about heroes, problems, artistic originality of literary works); written analysis of the episode, poem; review of the studied work; essay on a free topic.

Old Russian literature of the late X-XVII centuries.(review).
The beginning of Russian literature: time, authorship, texts, main genres. The life of one of the genres through the ages (at the choice of the teacher).
1. Literature and folklore: correlation, influence.
The main features of the emerging literature: anonymity; utility; applied character, literary etiquette; predominantly handwritten nature of literature.
2. Literature of Kievan Rus XI - early XII century.
The adoption of Christianity as an impetus for the development of literature.
Translation Literature. Genre diversity.
original monuments. Chronicle as a special genre.
"The Tale of Bygone Years".
"Teaching Vl. Monomakh" is the first autobiography in Russian literature.
3. XII-XVI centuries.
The era of feudal fragmentation.
"The Tale of Igor's Campaign" is a unique combination of epic and lyrical beginnings, one of the greatest monuments of the Christian Middle Ages.
"A word about the destruction of the Russian land".
The genre of the word in ancient Russian literature.
4. XVI-XVII centuries.
The transition from medieval writing to modern literature. Domostroy is the first printed book in Russia.
The rebirth of the genre of life into the biography of a private person.
"The Life of Archpriest Avvakum" is a life-autobiography.
Theory of Literature. The development of the genres of ancient Russian literature (chronicle, teaching, word, life).
Literature of the 18th century (review)
First half of the 18th century. Russian enlightenment as a stage in the formation of self-consciousness.
Russian classicism, difference from Western classicism ( HELL. Kantemir, V.K. Trediakovsky.).
The predominance of high genres, their features: epic poem, tragedy, solemn ode. Neighborhood of "high", "low" and "medium" genres (odes M.V. Lomonosov, satire A. Cantemira, fables A. Sumarokova, comedy I. Princess).
Second half of the 18th century.
DI. Fonvizin"Undergrowth". The transition from criticism of morals to social denunciation. Personalized characters. The first "truly social comedy" (Gogol).
A combination of moral satire and civic pathos, a mixture of high and low styles in creativity G.R. Derzhavin("Ode to Felitsa", "Vision of Murza", "Waterfall"). Lyrical beginning in poetry G.R. Derzhavin(“Snigir”, “Evgeny, Zvanskaya life”), an element of autobiography, an appeal to the simple joys of life.
Reform of the literary language.
A.N. Radishchev"Journey from Petersburg to Moscow". A combination of sentimentalism (in the choice of genre) and realism (in the choice of content).
Theory of Literature. Classicism, sentimentalism as literary trends (deepening of concepts). The connection of the zhan system with the literary movement.
Individual-author's style as a concept.

The controversy between the "archaists" and "innovators" (Karamzinists) about the "old" and "new style": the struggle between the "Conversation of lovers of the Russian word" and "Arzamas".
V.A. Zhukovsky and K.N. Batyushkov as the founders of elegiac poetry. Dissatisfaction with the present, the desire for harmony in the inner world of man.
Peculiarities of Russian Romanticism. Attraction to mystical-romantic fantasy, folklore motifs, motifs of different times and peoples (ballads V.A. Zhukovsky).
elegiac poetry ( A.A. Delvig, N.M. Yazykov, E.A. Baratynsky).
Civil poetry ("Free society of lovers of literature, sciences and arts"). Decembrist poets ( K.F. Ryleev, V.K. Kuchelbeker, A.A. Bestuzhev-Marlinsky, F.I. Glinka) and their program (adoption of ideal forms of morality and behavior).
Attraction to the traditions of "enlightenment classicism" and the transition to the romantic image of the hero (rethinking the code of Byronism). K.F. Ryleev.
I.A. Krylov. A fable free from the conventions of classicism, "common sense" coming "from life".
A.S. Griboyedov. "Woe from Wit" - a combination of classicism and realism: psychological and everyday concreteness. The topicality of the content (the conflict of the era: an advanced nobleman-intellectual and a conservative lordly bureaucratic environment). The value of the comedy "Woe from Wit" for the formation of the Russian literary language.
A.S. Pushkin. Pushkin's personality The main stages of life and creative path. The general humanistic sound of his poetry. Lyceum, post-lyceum and "southern" lyrics. Byronic rebellion ("Prisoner of the Caucasus") and its overcoming ("Gypsies"). Features of realistic style in the lyrics of the 20s.
Historicism of thinking ("Boris Godunov" *: the relationship between "the fate of man" and "the fate of the people").

* Texts in italics that are subject to study, but are not included in the "Requirements for the level of preparation of students."

"Eugene Onegin": the formation of Pushkin's realism (the fate of a contemporary, combined with the richness of pictures of Russian life). The poetics of the novel.
Philosophical lyrics. (“The light of the day went out ...”, “The desert sower of freedom”, “Imitation of the Koran”, “Elegy”, etc.). Poem "The Bronze Horseman"**.

** The texts underlined in the program are included in the "Mandatory minimum content ..." and are intended for mandatory reading and study.

Dramaturgy ("Little Tragedies" - "Mozart and Salieri").
Prose ("Tales of Belkin", "The Captain's Daughter").
Pushkin's attitude: the unity of world history and culture.
N.V. Gogol. Essay on the life and work of the writer. The world of fantasy, the grotesque on the pages of Gogol's books. A special line in the development of Russian literature. A romantic dream of a beautiful and just world ("Evenings on a Farm near Dikanka"). Humanistic pathos of prose and drama in 1832-1841. ( "Nevsky Avenue", "Overcoat", "Inspector"). "Little Man" in the image of Gogol. The "new hero" of the era in the poem "Dead Souls". The unity of the satirical and lyrical began as a way of expressing the author's position. The reality of social life in the poem. Gogol's controversy with V.G. Belinsky. "Selected places from correspondence with friends." The originality of the writer's artistic manner, the humanistic and civic pathos of creativity.
M.Yu. Lermontov. The personality of the poet. Essay on life and creativity. The influence of the era on the nature of Lermontov's lyrics. Fatal impracticability of the ideal, introspection, intensity of experience (lyrics “Prayer”, “I go out alone on the road ...”, “How often surrounded by a motley crowd ...” and others, the poems "Demon", "Mtsyri", the play "Masquerade"). Realistic tendencies in prose ("A Hero of Our Time": a drama of an active personality, "an extra person").
Aesthetics V.G. Belinsky and the formation of Russian criticism (principles of critical evaluation of literary activity; substantiation of the realistic essence of art, historicism).
Natural school as a kind of Russian realism of the 40-50s of the XIX century. Connection with the work of N.V. Gogol, the development of his artistic principles. Journal "Domestic Notes" and its authors (D.V. Grigorovich, V.I. Dal, I.I. Panaev and others).
Theory of Literature. Romanticism as a literary trend (deepening of the concept). Romantic "two worlds".
Realism as a literary trend (deepening of the concept). Artistic principles of realism (humanism, nationality, historicism, objectivity, etc.). Realism and naturalism. Genres of realistic literature (novel, essay, poem, drama).
Enlightenment satire as a literary form.
Literary criticism as a phenomenon at the intersection of art literature and literary criticism.

50-60s. The content of the new era (the fall of serfdom, a series of reforms, the development of the capitalist economy, the process of the formation of civil society, the emergence of commoners). The crisis of Russian society, the emergence of the populist movement. Revitalization of journalistic activity and journal controversy. Magazine "Contemporary". The Making of Fiction: A "Physiological Sketch" and Prose N.V. Uspensky, N.G. Pomyalovsky. The crisis of Russian society and the state of literature. Criticism of society: G.I. Uspensky"Morals of Rasteryaeva Street".
A.N. Ostrovsky. The development of Russian drama. "Plays of life" - "Thunderstorm", "Forest". Dramatic conflict in Ostrovsky's plays. "Thunderstorm" in the assessment of criticism. ( ON THE. Dobrolyubov "A Ray of Light in the Dark Kingdom", A.A. Grigoriev "After Ostrovsky's Thunderstorm. Letters to I.S. Turgenev".)
The theme of human obsession ("Dowry", "Each sage is quite simple"). The variety of human characters in the plays of A.N. Ostrovsky.
N.S. Leskov. Works from folk life (introduction to the sphere of artistic representation of new layers - the life of the clergy, the bourgeoisie, the Russian provinces, etc.); interest in the unusual, paradoxical, curiously anecdotal, various forms of narration (“Lefty”, “Dumb Artist”, "The Enchanted Wanderer").
I.A. Goncharov. Essay on the life and work of the writer. The theme of spiritual death in the novel "Oblomov". The novel "Oblomov" is a canonical novel of the 60s. The place of the novel in the trilogy. Image system. Typical characters of Goncharov's heroes: "an extra person" - a business person. The dual nature of the characters. Women's characters and destinies. Literary criticism about the novel and its protagonist (N.A. Dobrolyubov “What is Oblomovism”, A.V. Druzhinin “Oblomov”, a novel by Goncharov). Essays "Frigate "Pallada"".
I.S. Turgenev. Essay on the life and work of the writer. Hunter's Notes. The development of the genre of the novel in the work of I.S. Turgenev. The novels "Rudin", "Nest of Nobles", "Fathers and Sons" (review). Novel "Fathers and Sons" about a new hero. Narrator and hero. A new kind of hero. Artistic features of the novel. The psychologism of the novel by I.S. Turgenev. Literary criticism about the novel and its protagonist. Ambiguous perception of the novel and the image of Bazarov by Russian literary criticism (D.I. Pisarev, A.I. Herzen).
Cycle "Poems in prose".
N.G. Chernyshevsky. "What to do?" - a novel about "new people". The system of images in the novel, features of the composition. The form of reflection in the novel of Chernyshevsky's social ideals (elements of utopia).
Ways of development of poetry in the 2nd half of the 19th century.
The pathos of democracy and citizenship in Russian poetry and the lyrics of "pure art" (Poets of Iskra, A.A. Fet, F.I. Tyutchev, Ya.P. Polonsky, A.N. Maikov, A.K. Tolstoy).
The complexity and inconsistency of the lyrical hero A.A. Feta . The fusion of the outer and inner worlds in his poetry. The theme of love and nature in the work of Fet ( “This morning, this joy ...”, “May night ...”, “The night shone ...”, “Whisper, timid breathing ...” and etc.). Philosophical motives in poetry F.I. Tyutchev. (“Silentium”, “Nature is a sphinx...”, “Not what you think, nature”, “Oh, how deadly we love...”, “We are not given to predict...” and etc.).
The penetrating nature of the lyrics A.K. Tolstoy. The theme of the motherland, its history in the work of the poet.
ON THE. Nekrasov. Essay on the life and work of the poet. Civic motifs of Nekrasov's lyrics ( "On the Road", "Poet and Citizen","Elegy", etc.). Traditions of folk songwriting. Artistic originality of poetry (lyricism, emotion, sincerity of feelings, revealing pathos). The poems "Pedlars", "Frost Red Nose": folk life in "big literature", the merger of the author's world with the world of heroes "from the people".
Poem "Who in Russia to live well"- folk epic, the combination of innovation with the traditions of epic, song, fairy-tale poetics; elements of legend, utopia, parable. The duality of the modern image of the people, the forms of behavior characteristic of folk psychology and their contrasts: patience and protest; dispute about the meaning of life; response dynamics.
M.E. Saltykov-Shchedrin. Essay on life and creativity. The influence of personal fate on the work of the writer. "Fairy tales". Artistic originality of Saltykov-Shchedrin's satire. "History of a City"- a satirical history of Russia. Types of mayors. The originality of the genre of the work. Protest against lawlessness, obedience of the people.
F.M. Dostoevsky. Dostoevsky as an artist and thinker. Essay on the life and work of the writer. early prose. An innovative form of the novel "The Humiliated and Insulted" (a synthesis of motives and techniques of philosophical, psychological, social and "tabloid" prose). Novels "Demons", "Idiot" (review).
"Crime and Punishment": the image of the hero and his "ideological" relationship with the world. The system of images in the novel. The versatility of the socio-psychological coloring in the novel. Polyphony, dialogism of Dostoevsky's novel. The novel in the assessment of Russian criticism ( N.N. Strakhov "Crime and Punishment").
L.N. Tolstoy. The personality of the writer. Literary and social activities. Ideological searches and their reflection in the writer's work. "Sevastopol stories".
"War and Peace": the art of "dialectic of the soul", the connection between private life and the fate of peoples, real historical events and the spiritual quest of fictional characters. Reflection of the philosophical concept of Tolstoy in the novel.
"Anna Karenina". Interest in the spiritual problems of the individual, the tragedy of the situation of discord with others. A love story against the backdrop of the life of Russian society, interest in "biology" in man, natural and spiritual, fundamental novelty of poetics.
Strengthening the social principle in the realism of L.N. Tolstoy (on the example of the novel "Resurrection").
80-90s of the XIX century. The band of political reaction. Refusal of public consciousness from revolutionary populist illusions. The evolution of populist literature towards the annalistic objectivity of the depiction of folk life ( D.N. Mamin-Sibiryak, N.G. Garin-Mikhailovsky).
Prose V.M. Garshina ("Red Flower") and V.G. Korolenko (poetization of tragic heroism, allegorism, monologism). Types of people "from the people" and the intelligentsia environment - "Wonderful". An objective artistic study of life and the poetry of hopes and aspirations for the future in Makar's Dream.
A.P. Chekhov. Essay on life and creativity. Early humorous stories: laconism of language, capacity of artistic detail.
Stories and stories about Russian society: coverage of all layers and sections of the social structure of Russian society - from peasants, landowners ("Men", "In the ravine") to various layers of the intelligentsia ( "Jumper", "Student", "Ionych", trilogy - "The Man in the Case", "Gooseberries", "About Love", "Ward No. 6", "House with Mezzanine", "Lady with a Dog"). New forms of combining the objective and the subjective, the essential and the secondary, the characteristic and the accidental.
Dramaturgy: "Three sisters", "The Cherry Orchard". New structure of dramatic action. Rejection of the evaluation hierarchy. Lyricism and psychologism of Chekhov's plays.
Theory of Literature. The development of genres of realistic literature (novel, short story, fairy tale, prose poem, poem).
Psychologism, dialogism, polyphony, lyricism as ways of depicting the inner world of characters.
The development of drama as a literary genre. dramatic conflict.

Application

* The program was prepared jointly with O.V. Chindilova.

The content of the school component of the curriculum in the conditions of pre-profile training determines, as a rule, the specifics of a particular educational institution. However, in modern conditions it seems generally significant to single out such interdisciplinary course which is designed to provide mastering the ways of reading activity by students. To teach a student to work independently with a book, gain knowledge, find information of any level in the text (factual, subtext, conceptual) and use it - this is goal this course.
Students, who have been studying according to our continuous course from the 1st grade, master the methods of reading activity already in elementary school. In accordance with our program "Reading and Primary Literary Education" (1-4), which is recommended by the Ministry of Defense of the Russian Federation, within 4 years, students form the correct type of reading activity in accordance with a certain technology (ed. Professor N.N. Svetlovskaya ). Its essence is that they learn to independently master a literary work before reading, during reading and after reading: to guess the content of the text by the author's name, title, illustration and keywords, to independently read the text to themselves in the "slow reading" mode and " dialogue with the author” (ask the author questions while reading, look for answers to them, conduct self-control), analyze the text at an accessible level, formulate the main idea, independently divide the text into parts, draw up a plan, retell, etc. etc. Thus, the elective course "Learning to work with a book and text" for those "our" students who choose it, will support and deepen all these reading skills.
The importance of mastering rational ways of reading and working with a book for the successful education of modern schoolchildren and their further socialization is obvious. However, practice shows that only a small part of students can read and work with the book meaningfully. A high level of reading culture implies the formation of the following cognitive skills:
1) highlight the main thing in the text;
2) use "folded" records (notes, theses, summaries, etc.);
3) highlight the links between phenomena in the text;
4) use reference literature;
5) to involve additional sources in the process of reading;
6) formulate hypotheses during reading, outline ways to test them;
7) perform analysis, synthesis, generalization on the material of the studied text.
The formation of a functionally literate reader involves purposeful training in the skills of working with educational and fiction literature. Obviously, this course can be offered to both students of the basic and senior levels of education (depending on the possibilities of the curriculum and the educational program of the school). The number of hours and the practical content of the course should also be determined by the educational institution itself. Each topic of the program can be considered on various artistic texts, which the teacher chooses at his own discretion. At the same time, the authors offer certain texts as recommendations, they are indicated in brackets.
Topics of classes.
On the way to the book.
Search for a book in the library. Systematic and alphabetical catalogues. Bibliography. File cabinets. Completing book requirements.
Getting started with the book. book apparatus.
Imprint of the book, its reference apparatus. Preface and afterword. Notes, comments, index of names, lists of abbreviations, lists of references, etc. The purpose of the annotation, its structure, content. (Grade 8 - on the material of the educational reader "A House without Walls", Grade 9 - on the material of the textbook "The History of Your Literature".)
book device.
Cover. Cover types. Dust jacket. Title page. Endpaper assignment. The role of the frontispiece and illustrations in the book. Types of printed works. Printed material. (8th grade - different editions of Shakespeare's tragedies, 9th grade - different editions of "The Tale of Igor's Campaign").
Work with the book before reading.
Title and subtitle. Dedication.
Title. Header analysis. Types of headings: heading-topic, heading-main idea, heading-symbol, heading-genre. Title and authorship. Title and content of the book. Ways of formulating headings. (Grade 8 is the name of the educational reader “House without Walls”, Grade 9 is the name of the textbook “The History of Your Literature”; the titles of the works included in these textbooks.)
Epigraph. The role of the epigraph in artistic and scientific text. Epigraph and main idea. Direct and allegorical expression of the main idea in the epigraph. Understanding the epigraph before and after reading. Epigraphs are evaluative, emotional, problematic. (8th grade - A.S. Pushkin "The Captain's Daughter", 9th grade - A.S. Pushkin "Eugene Onegin", etc.)
Sources for the search for epigraphs, the selection of an epigraph.
Reader's work. Asking questions while reading.
Finding direct and hidden questions in the text. Content prediction. Highlighting incomprehensible text. Statement of questions.
Building a chain of questions as a way to comprehend the text.
Classification of questions by direction. Questions external (to someone) and internal (to oneself). Evaluative, generalizing, causal questions, etc. (8th grade - N.V. Gogol "The Overcoat", 9th grade - N.V. Gogol "Dead Souls", etc.).
The work of the reader after reading. Understanding the text.
Types of text information. Reader installation. Blocking understanding. Factual information. Subtext and concept, direct and allegorical ways of expressing them. Multi-stage understanding of the text. Role in the process of comprehending the reader's imagination. Imagination, recreative and creative. Notes and notes while reading. (8th grade - A.P. Chekhov "Gooseberry", 9th grade - A.P. Chekhov "The Man in a Case", etc.).
Processing of text information.
Plan. Dividing the text into semantic parts and paragraphs. Types of plans. Detailing. Plan as a support for text reproduction. (8th grade - L.N. Tolstoy "Prisoner of the Caucasus", (9th grade - L.N. Tolstoy "After the Ball", etc.).
Abstracts. Highlighting significant information in the text. Substantiation and evidence are the main requirements for the formulated theses. Simple and complex theses. Thematic entry. Main theses (main conclusions). Thesis presentation of the scientific text. (9th grade - Yu.N. Tynyanov "The plot" Woe from Wit ", etc.).
Abstract. Appointment of the abstract. Types of abstracts: plan-compendium, textual abstract, free abstract, thematic abstract. Text reduction techniques. Chronological summary as a special kind of records. A reference summary as an opportunity to reflect information in a diagram. Signs, symbols, conditional abbreviations. Use of graphics and color to classify material by level of significance. (9th grade - V.G. Belinsky "Works of Alexander Pushkin", etc.).
Citation. Citation methods. Types of quotations. Proper use of quotation material from the point of view of one's own statement. (9th grade - V.G. Belinsky "Poems of M. Lermontov", etc.).
Extracts. Highlighting the most significant in the text. Working with cards. Registration of records. Symbols, system of abbreviations. (9th grade - I.A. Goncharov "A Million of Torments", etc.).

On the way to your own text.

Literature Program Grades 5-11*

Elizabeth Babanova

29551

Stephen King (King - translated from English., King) can be called the king of literature in the genre of fantasy and horror.

I'm not a King fan, but I couldn't get past his how-to guide/autobiography, How to Write a Book? for one simple reason: I was interested in trying to crack the chip code of this outstanding contemporary writer.

How did he develop his talent?

Thanks to what unique abilities does he publish book after book with enviable regularity?

What is the secret of his hyperproductivity?

Why did most of his books become bestsellers?

Stephen King has published over 160 works, including books, film scripts, and collections of short stories.

Whether you're just dreaming of starting to write or want to develop an already obvious talent for writing, why not learn the principles of literary craftsmanship from one of the most popular and sought-after writers of our time?

Even if you do not plan to work in his genre, he has a lot to learn.

Lesson #1: Learn to read and write before watching TV

“If it didn’t work out, then turn off the TV and just read. And then write.

Television came to the Kings' house relatively late, and I'm glad about it. Come to think of it, I belong to a very select group: the last handful of American writers who learned to read and write before swallowing their daily dose of video bullshit. Maybe it doesn't matter. And yet, if you want to be a writer, then not the worst option is to strip the TV cord, wind it around a steel crutch and poke the plug into the outlet - see what flies out and where.

Lesson #2: Your job is not to look for these ideas, but to know them when they come up.

“Let’s get one thing clear right now, okay? There is no Dump of Ideas in the world, no Central Repository, no Island of Lost Bestsellers. Good story ideas come literally from nowhere, falling right on your head from a clear sky: two completely separate thoughts cling together, and something new emerges under the sun. Your job is not to look for those ideas, but to know them when they come up.”

Lesson #3: Optimism. Believe in the best!

“Having received a rejection sheet from Hitchcock, I hammered a nail into the wall, wrote “Happiness Coupons” on the sheet and fastened it to the nail. Then he sat on the bed and listened to Fats sing "I'm ready" ... When you're too young to shave, optimism is a natural reaction to failure.

By the time I was fourteen (and I was shaving twice a week, whether I should or not), the nail in the wall couldn't support the weight of the rejection papers. Replacing the nail with a carpenter's crutch, I continued to write. By the age of sixteen, I began to receive refusals with handwritten notes somewhat more encouraging ... The first such note came from Algis Badris, then editor of Fantasy and Science Fiction. He read my story “Night of the Tiger”… and wrote: “Okay. It won't work for us, but it's good. You have talent. Send more."

Four short sentences, written with a fountain pen that left uneven blots, illuminated the winter of despair of my sixteen years. Ten years later, having already sold a couple of novels, I found "Night of the Tiger" in a box of old manuscripts and decided that it was still a great story, although it was written by a person who was still learning the trade. I rewrote it and sent it for the sake of interest to the same Fantasy and Science Fiction. Bought it this time. I noticed this thing: if you have achieved some kind of success, magazines are much less likely to write "We will not fit."

Lesson #4: Your story is not yours

“When you write a thing, you tell it to yourself,” he said. “When you rewrite, your main job is to remove everything that does not belong to the thing.”

Gould said something else that was interesting to me on that day of my first two notes: write with the door closed, copy with the door open. Your writing begins for itself, in other words, but then it goes out into the world. When you understand what a thing is and do it the right way—at least the best way you can—it belongs to everyone who wants to read it. Or criticize. If you are very lucky (this is already my idea, but I think John Gould would subscribe to it), there will be more of the first than the second.

Lesson #5: Have no pity on children in their youth. A busy schedule is hardening

“The last weeks of my studies at the Lisbon School, my day looked like this: wake up at seven, school at seven thirty, last call at two, take off to the third floor of Warumbo at 14.58, then eight hours of stuffing fabric into bags, leaving at 23.02, at home about at a quarter past twelve, a bowl of cereal, plop in bed, get up in the morning, all over again. Sometimes I worked double shifts, slept in my 1966 Ford Galaxy (Dave's old car) for about an hour before school, then on the fifth and sixth shift I slept at school."

And specific lessons on how to write popular novels:

Lesson #6: Vocabulary

“Put the dictionary on the very top [figuratively] of the toolbox and make no conscious effort to improve the vocabulary. (Of course, when reading it, it turns out by itself ... but that will be later). You can really mess up your writing if you rape the dictionary in search of long words, because short ones are somehow embarrassing to use. It's kind of like dressing up a house mongrel in evening dresses. A mongrel is embarrassed, and a person who performs such an act of deliberate affectation should be even more embarrassed. Make a solemn promise to yourself never to write "precipitation" when you can say "rain", and not to say "John delayed to perform an act of excretion" when it means that John was delayed to f*ck. If you think “f*ck” is an indecent word or not appropriate for your audience, calmly say “John stopped to relieve himself” or “make it bigger”, at worst. I'm not trying to persuade you to speak dirty - just plain and direct. Remember the main rule of the dictionary: take the first word that comes to mind if it is suitable and bright. If you hesitate and reflect, there will be another word - that's for sure, because there is always another word, but it is unlikely to be as good as the first, or as close to what you wanted to say.

Lesson #7: Description and importance of reading

“Description is what makes the reader a perceptive participant in your story. Writing well is an acquired skill, one of the main reasons why you can't learn to write unless you read a lot and write a lot. And the question is not only how, the question is also how much. Reading will help you find out how much, but only reams of scribbled paper will tell you how. You can only learn this at work.

The description begins with a visualization of what the reader is supposed to experience. It ends with your translation of what you see with your inner vision into words on the page. I said before that we often hear: “You know, this is so amazing (or so terrible / strange / funny) ... I just can’t describe!” Now, if you want to be successful as a writer, you have to be able to describe, and in a way that gives your reader goosebumps in recognition. If you can, your work will be paid, and deservedly so. If not, you'll collect rejection sheets and perhaps pursue a career in the exciting world of telemarketing.

A stingy description leaves the reader feeling confused and myopic, an overly detailed description buries him under an avalanche of details and images - the trick is to find the middle ground. It is also important to know what to describe and what to leave aside while you are doing your main job - telling a story.

Description begins in the imagination of the writer, but must end in the imagination of the reader. When it comes down to it, the writer is luckier than the filmmaker, who is almost always doomed to show too much...

Very often the reader puts the book aside because he is "bored". And the boredom arose because the writer, fascinated by his own ability to describe, forgot about the most important thing: the ball must roll on.

Lesson #8: What to write about

“These are just interests that have grown out of my life and thoughts, from my experiences as a boy and as an adult, from my roles as husband, father, writer, lover. These are the questions that occupy my mind when I turn off the light before going to bed and I am left alone with myself, staring into the darkness and putting my hand under the pillow.

You certainly have your own interests and thoughts, and they have grown, like mine, from the events and experiences of your life. Some are probably similar to what I have just named, others are completely different from them, but you have them, and you should use them in your work. That's probably not all these ideas are for, but certainly one of the things they're useful for.

I must close this little sermon with a warning: starting with questions and ideas is a recipe for bad literature. Good literature always starts with a theme and develops towards an idea, almost never the other way around. The only possible exceptions I can think of are allegories like George Orwell's Animal Farm (and I have a secret suspicion that the plot first appeared here too. If I see Orwell in a future life, I'll ask him).

But when the plot has already laid down on paper, you need to think about what it means, and write your conclusions into the following options. To fail to do so is to deprive your work (and the reader, ultimately) of the vision that makes every thing you write yours and yours alone.”

Lesson #9: How to write?

“If you are a beginner, then take my advice: do at least two drafts - one with the office door closed and one with the office door open.

Behind the closed door, unloading the contents of my head on paper, I write at all the speed available to me, but I enjoy it. Making fiction, especially a long one, can be a difficult and lonely job - it's like swimming across the Atlantic Ocean in a bathtub. There are a million opportunities for self-doubt. If I write quickly, writing down the plot as it comes to mind, only checking the names and salient points of the characters' biographies, I manage to maintain the initial enthusiasm and at the same time escape from the self-doubts that are just waiting for the moment.

The first draft - and the whole thing - should be written without anyone's help (or interference).

Now let's say you've finished the first draft. Congratulations! Great job! Have a glass of champagne, order a pizza, do what you usually do when there is something to celebrate.

You have done a great job, and you need time (for each writer - his own) to rest. Mind and imagination - two related things, but not the same thing - must be restored, at least in relation to this particular work.

I would suggest taking a couple of days off - going fishing, kayaking down the river, laying mosaics - and then start working on something else. Preferably something shorter and a complete change of direction and pace from the finished work. How long you let the book rest is up to you, but I think it should be at least six weeks. All the while, the manuscript has been securely locked away in a drawer, aging and (hopefully) maturing. You often mentally return to it, and dozens of times you are tempted to take it out, even to read this or that place, which is remembered as especially successful, which you want to re-read and rejoice at, what a good writer you are.

Don't be tempted. If you can't resist, you will probably decide after reading that the place is not as good as it seemed, but it is better to rewrite it right there. Is that bad. Only one thing could be worse: if you decide that the passage is even better than you remembered, and why not re-read the whole book at once? Resume work? Damn, it's about time! Yes, I'm just Shakespeare!

But you are not Shakespeare, and you are not ready to go back to your old job, unless, of course, you are so engrossed in your new job (or your daily life) that you have almost forgotten that fictional realm that took you three hours every morning or afternoon for three, or five, or seven months.

When that very evening arrives (which could be planned in advance on the desk calendar), take the manuscript out of the drawer. If it looks like an archaeological find, bought at a flea market or garage sale, and you can't even remember where, then you're ready. Close the door (soon it will have to be opened to the world), take a pencil and put a notepad next to it. Now read the manuscript.

Do everything in one sitting, if possible (of course, this will not work if the book has four hundred to five hundred pages). Take any notes, but focus on routine chores like correcting typos and noting inconsistencies. And there will be many of them; only God does everything right the first time, and only gouging will allow himself to say: "Oh, okay, that's what editors are for."

If you have never done this before, you will see that reading your own book after a six-week delay is a strange experience, often even intoxicating. She is yours, you will recognize her as your own. You can even remember the music that sounded from the speakers when you wrote this or that, and still you seem to be reading someone else's work, some kind of soul twin, perhaps. So it should be, for this it was necessary to wait. It's always easier to kill someone else's loved ones than your own.

After a six-week recovery period, you will also be able to notice all the gaping holes in the plot and character development. I'm talking about the holes that the tractor will go through. It's amazing how some things escape a writer's attention when he's busy with the daily routine of writing. And remember; when you find those big holes, don't get upset or beat yourself up. Bursting happens to even the best of us.

As I read, the top layer of my mind focuses on the plot and the toolbox: kicking out pronouns with vague antecedents (pronouns I hate and don't believe in, they're all slippery like cheap lawyers), adding explanatory phrases where they're needed, and, of course, crossing out all the adverbs that I can part without crying (you never manage to cross out everything, and never enough).

And on a deeper level, I ask myself the Big Question. Most important: does the story link into a whole? And if so, how to make a song out of this connection? What are the recurring elements here? Do they intertwine into a leitmotif, into an idea? In other words, I ask myself, "Stevie, what is this all about?" and “How to clarify these deep ideas?” What I want most of all is to create a resonance, something in the mind (and heart) of my Regular Reader when he closes the book and puts it on the shelf. I'm looking for a way to do this without spoon-feeding the reader and selling my birthright for weaving the message. All these messages and morals shove yourself where the sun did not shine. I want resonance.

In the spring of my senior year at Lisbon School (it was 1966), I received a handwritten note that changed the way I transcribed my writing once and for all. After the printed signature of the editor was the following motto:

“Good, but overblown. It needs to be reduced. Formula: second option = first option - 10%. Good luck".

Lesson #10: Background

“Backstory is everything that happened before the beginning of your story, but affects the plot. Background helps to set the characters of the characters and indicate their motives. I think it's important to get the backstory out as quickly as possible, but it's also important to do it with some finesse. As an example of lack of finesse, consider the following line in dialogue:

Hello, ex-wife, - Tom said when Doris entered the room.

Maybe it really matters to the plot that Tom and Doris are divorced, but there has to be a better way to say it than the one above that rivals a cleaver in grace. For example:

Also not for the Pulitzer Prize, and much longer than "Hi, ex!", But speed is not the main thing, as I have already tried to point out. And if you think that the main thing is information, stop writing fiction and take up instructions - they will not wait for you at Dilbert.

As a reader, I am much more interested in what will be than what was. Yes, there are brilliant novels that contradict this preference (or prejudice). It's Daphne Du Maurier's Rebecca or Barbara Vine's Eyes Accustomed to Darkness, but I prefer to start at the beginning, even as an author. I like it when everything is in order: serve me an appetizer first, and dessert after dinner.

The main thing to remember about backstory is: a) everyone has their own story and b) there is little interesting in it. Stick to the parts that are of interest and don't touch the rest. Long life stories are best heard in bars, about an hour before closing time, and that's if you believe them."

Lesson #11: Write for your Ideal Reader

“Let's call the person you're writing for an Ideal Reader. He or she will be constantly present in your office: in the flesh when you open the door and let the light of the world fall on the bubble of your dreams; invisibly in the restless and often joyful days of writing the first version, with the door closed. And you know what? You'll catch yourself reworking things before the Ideal Reader even sees the first sentence. I.Ch. will help you to go a little beyond the limits of your personality, to re-read your thing in the process of work. This is perhaps the best way to not deviate from your storytelling, the way to play for the public when there is no public and everything depends on you. When I write a scene that I find funny (like the pie-eating contest in Corpse), I also imagine that my I.C. will find it funny too.”

In my work, lesson #11 is perhaps one of the key ones. Every time I write an article or develop the structure and content for a new program, I imagine someone who can use my content to improve their lives.

For my new module, which will take place live on Saturday, June 28 at 12:00 Moscow time, I imagined my Ideal Client in this way: this is a person who feels undiscovered and unclaimed creative potential in himself. Whether it's a musician, writer, designer, financial analyst, teacher, or accountant, we all have a creative streak. Without a developed ability to activate it, we very often mark time in our careers and remain unfulfilled in various areas of life.

And there is nothing more important for enhancing career growth than developing creative thinking. Research confirms this:

A recent IBM survey of 1,500 CEOs found creativity to be the most important management competency.

In another Adobe systems survey of 5,000 people around the world, the results showed that 80% of the people surveyed see unleashing creativity as a key to economic development. However, only 25% of people feel they are making the most of their creativity at work.

What percentage of your potential are you using today?

If you feel like it's time to work on this area and you need a push and a range of proven tools to do it, then I'm waiting for you on June 28th. Together, we'll pave the way for you to unleash your creativity live. As always, there will be a recording of the master class if you wish to rework the material.

METHODOLOGICAL AIDS

TEXTBOOKS,

ANALYSIS OF SCHOOL PROGRAMS,

IN A MODERN HIGH SCHOOL

Lecture

1. Literature is a basic academic discipline that forms the spiritual image and moral guidelines of the younger generation. Literature as a school subject cognizes literature as an art and as a science at the same time.

In developing the methodology of teaching literature, "developing education" is taken as the basis. In the construction of programs, preference is given to the idea of ​​concentric construction.

Already in grades 1-4, the teacher seeks to educate a reader capable of personal perception, sensitive to the word of the author. Diverse tasks, including those of a creative nature, are aimed at developing the cognitive and emotional spheres of younger students.

In the middle level (grades 5-9) literature is an independent subject. There are 2 links: 5-7 and 8-9 classes. In grades 5-7, a literary work is studied as a result of the writer's work, as a result of an aesthetic understanding of life. A culture of speech, a culture of thinking and communication are brought up, emotional responsiveness, the ability to experience and empathize are formed. In grades 8-9, the material on the theory of literature is complicated, great works of art are given, this creates a readiness to study the course of grades 10-11. Programs of grades 5-9 are built chronologically in combination with genre and thematic.

The material of grades 10-11 is built on a historical and literary basis.

The development of reader activity is one of the most important tasks of the school. The existence of various programs and manuals in the presence of the state standard of literary education helps to establish the content of the subject "literature", its core, which is preserved with a variety of teaching options. It includes a description of the levels of literary development of schoolchildren at the end of the basic (9-year) and secondary (11-year) schools and the means by which these levels can be achieved.

2. Checking homework.

Reading the goals of studying literature written out from the Federal Component of the State Standard for General Education in Literature at the level of basic general education.

Students provide comments.

3. Homework

To give an analysis of programs in literature, textbooks, teaching aids.

Lab #1

Analysis of school programs in literature

Questions for program review

1. What is the purpose, objectives, concept of the program?
2. What are the principles of structuring the program (chronological, historical-literary, linear, concentric, thematic, genre, linear-step)?
3. What are the principles for selecting literary works (studying exemplary authors, including literature of the second and third series, artistic indicators, etc.), theoretical and critical material?
4. What are the principles of studying literary works?
5. Monographic and review topics in the program.
6. What are the functions of the sections of the program (literature theory, extracurricular reading, etc.)?
7. To what extent the program contributes to the formation of knowledge, abilities, skills of students, reading and literary and creative abilities, the implementation of intra-subject and inter-subject communications, the choice of ways to master the text, the study of literary theory, the development of speech, etc.
8. Program apparatus: explanatory note to the program, explanatory notes to each class, annotations to topics, lists for extracurricular reading, thematic planning, questionnaires for pedagogical diagnostics, tests, lists for memorization, lists of textbooks and manuals, a list of the main types of oral and written works, a list of general requirements for students of a particular age, etc.).
9. The systemic nature of the program.
10. Compliance of the program with the requirements of the standard.

Practical task

Get acquainted with school programs in literature; perform an analysis of one of the programs;

Literature

1. School programs in literature.
2. General educational standard for basic and complete general education in literature (Literature (Supplement to the newspaper "September 1", No. 7/2004) (compare with previous standards).

Program in Literature, ed. G. I. BELENKY

• 5 - 7 cells.
• 8 - 9 cells.
• 10 - 11 cells.

This allows students to develop a holistic view of the development of Russian literature by the end of the basic school on the basis of available material, which is facilitated by the 8-9 grade program, built as a kind of completion of the course of the previous classes and a prologue to the study of literature on a historical and chronological basis in the senior level.

5 - 7 cells. The main educational tasks are to expand and deepen the life and artistic experience of students, to introduce them into the artistic world of the work, raising the perception of schoolchildren from naive-realistic to artistic-aesthetic. In other words, to form the reading culture of students. Getting acquainted with the diversity of the life content of literature and the forms of its display, realizing the conflicts depicted by the writer, life situations, the originality of the characters of literary heroes, students form the level of erudition and literary development, which will become the basis for independent reading and continuing education in the next grades. Programs 5-7 cells. are built on a concentric principle and on a chronological basis (each time from the literature of oral folk art, from the literature of past centuries to our time). However, this does not exclude other principles for combining the works under study: for example, in the 5th grade, the chronological principle is combined with genre and problem-thematic.

8 - 9 cells. constitute the final link of the secondary level of education, united in their goals and objectives: enriching schoolchildren with new life and aesthetic experience, they, as it were, sum up what students have learned and thought about in previous years, and at the same time prepare them for future meetings with Literature - independent or within the framework of high school. Program 8-9 cells. It is built according to the concentric-chronological principle - from antiquity to the present day.

Chronological construction of courses in grades 8-9:

• biographical information about writers;
• generalization (in grade 9) of what is known about their work from previous years of study;
• clarification in a number of cases of the social and literary significance of the works under study;
• complication of analysis and discussed moral and ethical problems;
• creation of prerequisites for the study of the course on a historical and chronological basis in the senior classes.

When studying the theory of literature, special attention is paid to the issues of figurative literature, the structure of a work of art (grade 8) and the personal nature of artistic creativity, in particular, ways of expressing the author's consciousness.

Works of foreign literature are proposed to be studied in parallel with native literature, establishing temporal and problem-thematic connections. (This also applies to the 5th-7th grade class and the 8th-9th grade class.) For example, Pushkin's "Dubrovsky" and Stendhal's "Vanina Vanini" are close in their romantic pathos, in comparable situations.

Brief annotations are given to the main topics and sections of the program. Their purpose is the general orientation of the teacher in the material, which allows him to plan his study and outline the amount of work to be done; the annotations include literary-theoretical concepts.

Program in Literature, ed. T. F. KURDYUMOVOY
for secondary schools

This program has been distributed in Russian schools since 1994.

Achieving this goal, according to the compilers, can contribute to the formation of a humanistic worldview, aesthetic culture and creative response to the environment, will provide real assistance to the reader in understanding the world around him.

This program provides for both the formation of analytical skills and skills related to the development of the recreating imagination and the creative activity of the student himself.

(The course structure model of each of the middle classes is the literary process in its sequence from antiquity to the present day.)

A feature of the program ed. Kurdyumova is a small number of foreign works.

Each topic in the program includes a list of works to study, a brief summary, and those theoretical concepts that must be worked out.

The program is equipped with educational anthologies (for middle classes). At the beginning of each section there is a very brief theoretical article that prepares for the perception of texts and provides the necessary information on the biography of an author, on the theory of literature. In these textbooks, in addition to introductory articles to each section, texts, questions and illustrations, we also find brief dictionaries of literary terms.

Program in Literature, ed. A. G. KUTUZOVA
for secondary schools and humanitarian classes

Created in 1995. The content and structure of the program is based on the concept of literary education based on creative activity. The purpose of literary education is the formation of a reader capable of a full perception of literary works in the context of the spiritual culture of mankind and prepared for independent communication with the art of the word.

The means of achieving the goals and objectives of literary education is the formation of the conceptual apparatus, the emotional and intellectual spheres of thinking of the young reader, therefore, a special place in the program is given to the theory of literature.

The basic theoretical and literary concepts are at the same time the structure-forming principles of the program. In each class, the leading theoretical and literary problem is singled out - the basic concept.

The system of studying the theory of literature proposed in the program, according to the authors of the program, is aimed at forming the reader's qualifications. The derivation of basic literary-theoretical concepts as structural ones is mandatory: it is they that provide LITERARY EDUCATION.

The program determines the practical orientation of training in each class:

• 5 cells - the transition from literary reading to the study of literature (the educational goal is teaching aesthetic analysis);
• 6 - 9 cells. - the study of literature as the art of the word (the educational goal is the interpretation of texts);
• 10 - 11 cells. – the study of literature in the historical-cultural and historical-functional aspects (the educational goal is the assimilation of the writer's artistic world in the historical-cultural aspect).

9 cells occupies a special place in literary education: it integrates the knowledge and skills acquired earlier and prepares for the study of the historical and literary course. Therefore, in the program of 9 cells. top works of Russian and world literature are included.

The program widely presents works of world literature, which is due to the concept of literary education, the genre spectrum of literature is expanded, since the formal and content specificity of native literature can only be understood against a broad cultural background.

A significant place in the program is occupied by the sections "Myths" and "Folklore", without which it is impossible to see the genesis of cultural and mental traditions. A cross-cutting course "Spiritual Literature" has been introduced, representing one of the most important border areas of the art of the word.

Considering literary education as a unity of three components: creativity - co-creation - knowledge and skill, the compilers of the program propose a system of communicative and creative works, designated as "Creative Workshop", "Creative Workshop", "Creative Task", etc.

In the middle classes, literary material is arranged according to the chronological and genre-thematic principle, in the senior classes - according to the chronological principle.

The program is equipped with textbooks-readers "In the world of literature".

Program in Literature, ed. V. G. MARANTSMAN
for secondary school

Authors: A.V. Belova, L. L. Gordienko, O. A. Dmitrienko, M. G. Dorofeeva, N. A. Kolkova, I. B. Kostina, V. G. Marantsman, M. A. Mirzoyan, Yu. Yu. Porinets, T. V. Ryzhova, N. M. Svirina, N. P. Terent’eva, S. V. Fedorov, I. L. Sholpo, S. F. Shchukina.

The authors of this program see the goal of school education in the fact that the school, as a social institution, is designed to help overcome the distance between the biological age of the child and the historical experience of mankind. The school should allow a person to "catch up" with humanity. If you try to literally build courses in the humanities on a direct repetition of historical development and the path of scientific knowledge, this task is impossible, because the periods of child development do not directly repeat the eras of human development.

The school should educate a creator, not a specialist in some narrow field who does not have sufficient information about the world.

The unifying beginning of the lessons of the humanitarian cycle is creativity. The literary creativity of students sharpens their interest in the work of the writer and allows them to realize the analytically obtained ideas about the styles and genres of verbal art. The general goal of the subjects of the humanitarian cycle is to develop in the student the ability to distinguish the real from the imaginary in art, life, science, to form the criteria of high and low in the consciousness and behavior of a person, his value orientations.

In this program, four stages of the student's attitude to the art are distinguished (advanced attention is paid to taking into account age and psychological characteristics):

1. Elementary school is characterized by the attitude to art as to magic game, which in the familiar allows you to see the unfamiliar. Art is a way of free, associative discovery of the world.
2. Naive realism (5 - 6 cells). Pupils at this age are quite objective in relation to the meaning of events, the idea of ​​a work of art, but they lack attention to form, interest in the author's point of view on what is depicted, and this makes it difficult to logically argue impressions.
3. It's time for moral self-deepening (7 - 9 cells). The attitude to a work of art becomes personal and subjective. The focus of a teenager on himself often prevents him from seeing the objective meaning of the work. The author's idea is obscured by his own personal problems, where moral categories are in the foreground. The rapid growth of creative imagination at this age leads to "departure" from the text, its arbitrary interpretation.
4. The era of knowledge of connections, awareness of causes and effects. At this age, a shift in the interests of the student to the general world is noticeable. I and the WORLD are the central problem. Schoolchildren's horizon of vision of life is expanding: not only moral, but also social, aesthetic problems now occupy them, there is a need to understand a holistic picture of the world, its historical development, to see the law behind the fact.

The authors of the program consider the purpose of literary education not only intellectual development, but also emotional appropriation of the humanistic potential of art and science, processing of aesthetic and psychological mechanisms of human communication with art, science, people.

In order to fulfill the tasks of the humanitarian cycle, education must not only be based on the age-specific attitude to art, language, history, which largely determines the composition of the program, but also resist the restrictive age characteristics of the student.

The authors explain the need to create a new program in literature by the modern tasks of education related to the social development of society. This program is based on the following principles:

1. Correspondence of the literary material to the age interests of the student, the problems of age, which determines the attitude to the subject.
2. Orientation of the content of the program and the nature of work in literature on the development of the student, relying on the leading type of activity at each stage.
3. Highlighting in the program the main epochs of the historical development of art, which contributes to the formation of a holistic worldview, a systematic view of the world.
4. Orientation of the program to the social needs of the time, the social psychology of the generation.

Here are the tasks of teaching literature in each class are highlighted in the program:

The program has a special section - "Literary Creativity", which offers to master in an aesthetic action the experience of acquaintance of students with classical texts and, mastering different styles, plastically convey their own impressions of life and art. For example, when studying the topic "M. Yu. Lermontov. "Borodino", "Two Giants" ", students are invited to practice sound writing: "The sound of rain", "The creak of snow", etc. Literary creativity may include elements of artistic activity associated with other art forms.

The most important criteria for literary development, which determine the tasks of the school literature course:

1. Reading of the student, orientation of reading interests.
2. Love of reading, constancy of the need for a book. The social and moral problems of works of art that are relevant for the student, the ability to highlight moral and ideological problems in the text.
3. The volume of historical and literary knowledge and the ability to apply them in the analysis of a literary text, to determine its value in the general flow of literature.
4. Levels of development of different aspects of the reader's perception: emotional responsiveness, activity and objectivity of the reader's imagination, comprehension of the content of the work at different levels, comprehension of the art form at the level of detail and composition.
5. Skills associated with the analysis of a work of art (find an emotional leitmotif; trace the development of the plot, conflict, change of feelings in different types of literature; justify the word-image and determine the stylistic coloring of the narrative, etc.).
6. Abilities and skills associated with the literary and creative activities of students:

• The ability to justify the feelings that arose while reading, and to find in one's own life experience an analogue of the situation of the work;
• The ability to see the situation of the action and mentally draw a portrait of the character;
• The ability to convey the dynamics of the feelings of the hero and the author in expressive reading;
• The ability to evaluate the performance of actors in a separate scene, to compare an episode of an epic work with its film adaptation or illustration;
• The ability to write a screenplay and prepare a dramatization based on a fragment of a literary text. Etc.

In accordance with the criteria for literary development identified in the program, the forms of questioning and taking into account the knowledge and skills of students should be changed. For example, in grades 5-6, the reading qualities of students can be manifested in the analysis of a separate work, revealing its theme, idea, plot, composition. The literary and creative abilities of students are manifested by essays such as describing an episode based on life impressions. And at 9-11, essays on a historical and literary theme become the main type of verification; literary and creative abilities are tested by essays such as dialogue, writing a story-sketch, a lyric poem, and a review.

The reading circle of students is revealed by holding quizzes, reader conferences, and studying reader diaries.

Extracurricular reading creates the necessary prerequisites for studying literature in the classroom. This, according to the authors of the program, is not a background, but the basis of literary development. Interest in studying literature cannot arise outside of a wide reading experience, so often the extracurricular reading lessons in the program are ahead of the literature lessons.

The theory of literature is associated in the program with a specific study of artistic phenomena. From the microelements of the text (paths) to the development of the structure of a work of art (5-6 cells) - genera and genres, observations of the micro- and macrostructure of a work of art (7-8 cells) - the connection between literature and other types of art (9 cells) - the problem of genre and artistic individuality (grade 10) - accessible historical poetics (grade 11).

The principles of the arrangement of literary material are different: genre-thematic (5th, 7th, 8th, 9th grade), chronological (6th, 10-11th grade).

The program is provided with textbooks. In the middle classes, these are textbooks-readers. Sections devoted to the work of writers include the following:

• Information about the life and work of the writer.
• One or more of the most important works (or excerpts from them).
• Questions and tasks (including creative ones) according to the text placed in the reader or recommended for independent reading.
• "Theory of Literature". A theory related in some way to the learner with the text. For example, in the topic "A.P. Chekhov" in grade 6, this section includes the article "Author's attitude to heroes in epic and dramatic works", where, using the example of the play "Wedding" and the story "Wedding with the General", differences in the ways of expression are revealed author's position in different kinds of literature.

Starting from grade 9, texts of works are not included in the textbook.

Each textbook opens with an article of the same name to a problem that is common to a particular class. For example, in 6th grade. this is "Man and his deed", in 7 cells. - "In search of the meaning of life." Introductory articles allow schoolchildren to direct their perception of literature (both as a subject and as texts) in the right direction.

The section "How to write an essay?" has been added to textbooks for high school, with its help, preparation for the exam in literature is carried out. These sections include samples of different types of analyzes, with elements of a training analysis.

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Software for writers

yWriter5

yWriter is a very handy text editor, a program that was created specifically for writers. Allows you to break the work into separate chapters, chapters into scenes, add characters and comments to them. The program is great for structuring large volumes of texts. In addition, your work is automatically saved and words are counted in chapters and scenes.

But the most excellent news, perhaps, is the support of the Russian language in the yWriter program. In order to enable the Russian language, on the top panel select Localise -> Choose language. If "Russian" will be indicated by marvelous hieroglyphs, select COBECTb`s translate(ru).

You can download yWriter5 we have :

"A fresh look"

"Fresh Look" is a Russian-language software for checking your texts. The program is able to find the same sounding words, which helps to trace the absence of tautologies and make your work smooth and readable. Language and style are the highlights that distinguish works from others. "Fresh Eyes" helps to find those flaws that the writer may miss after repeated proofreading.

The program is free, has a simple and intuitive interface, which allows you to immediately get started. The only drawback is that checking one document takes a lot of time. Otherwise, the check is very high quality, suspicious words are highlighted in different colors.

There is also an online version of this program - http://quittance.ru/tautology.php

You can download "Fresh Look" we have :

yEdit2

This program is simpler, it takes on the functions of an ordinary notepad. But! yEdit2 has the ability to limit the number of characters, which is very convenient for writing articles or texts for contests.

You can download yEdit2 we have :

CELTX

CELTX is a whole field of activity for writers and screenwriters. The program performs approximately the same functions as yWriter, but allows you to work not only with textual information, but also with graphics, audio and video objects. There are no limits for your imagination here. You can add illustrations that will visually depict the characters in your story, or insert an atmospheric musical composition that you associate with a particular fragment of the work. The only disadvantage of CELTX is the difficulty in perception for those who are used to working with text editors such as MS Word.

RHYMES

RHYMES is a program for selecting rhymes. Works on the basis of many dictionaries. Easy to use, in addition to finding rhymes, it can select synonyms and antonyms for a given word.

XMind

XMind is a planning service that is suitable not only for writers, but also for scientists and developers. The program helps in compiling the so-called mental maps, which will help you visualize the idea and bring it to life step by step. As you work on the work, you will add new elements, build whole link diagrams. The resulting document can be exported to any convenient format - text or graphics.

I hope this article has helped you choose writing software for myself. On the site you can also learn about. I wish you creative success and inspiration!

Alena Baltseva 18.01.2016 20096

If there is a schoolboy in your family, this is a great occasion to re-read with him the best books included in the literature program. We can bet that many works will open up to you from an unexpected angle and become an occasion for frank conversations on important topics.

Everyone knows that in the novel "Fathers and Sons" Turgenev touches on the topic of generational conflict, but this work is much deeper. Here is not only the story of the relationship between an eccentric son and elderly parents who do not have a soul in him and at the same time are afraid of him. This small book is about the conflict of worldviews, human values, the meaning of life.

Perhaps, rereading "Fathers and Sons" with your child, you will recognize each other there. Why not a great opportunity to call the child to an open discussion and learn from the mistakes of others, albeit literary ones?

A censored novel written behind bars that caused a real storm in the Russian Empire and beyond - it seems that this is enough to intrigue a teenager, doesn't it?

In many ways, this philosophical work of Nikolai Chernyshevsky is a response to Turgenev's Fathers and Sons. In Notes from the Underground, his ideas were challenged by Fyodor Dostoyevsky. And Lenin and Mayakovsky, for example, admired him.

So what is the mystery behind this book? Is the new society about which Chernyshevsky wrote possible? Try to figure this out together.

“I am a trembling creature, or do I have a right?” - this question tormented not only Raskolnikov, but at certain moments of life it also arises before each of us. Is evil acceptable for good? Does the offender have a chance for redemption and forgiveness? The teenager must find answers to all this first of all with his parents. Read "Crime and Punishment" together.

Be honest: did you master all four volumes of War and Peace at school without missing a single line about the war? If you answered in the affirmative, your endurance can only be envied!

In fact, Tolstoy's epic novel has only two drawbacks that scare away schoolchildren - this is an abundance of quotations in French and an impressive volume. Everything else is all virtues: a fascinating plot (love for girls, war for boys), dynamic narration, bright characters.

Help your child see the beauty of this piece. And to make reading more fun, add an element of competition: who will finish the first volume faster? And second? How about reading the whole book to the end? You will not regret that you decided to re-read the great work.

“The less we love a woman, the easier she likes us”, “We all learned a little something and somehow”, “We honor everyone with zeros, and ourselves with ones”, “But I am given to another and I will be faithful to him forever "- the list of catchphrases from this poem can be continued indefinitely. No wonder Pushkin considered this work one of the most significant works of his own composition.

In this book - the story of the first unrequited love of a romantic girl, the story of the idle life of a young dandy, the story of loyalty and self-denial. All this will appear in colors before your eyes if you arrange family readings on the roles of this masterpiece of Russian literature.

Fonvizin's hysterically funny play about the Prostakov family won instant success on the day of its premiere at the end of the 18th century and continues to amuse readers at the beginning of the 21st. They say that Grigory Potemkin himself praised Fonvizin with the following words: “Die, Denis, you won’t write better”.

Why did this play fall into the category of immortals? Thanks to at least two quotes:

• “I don’t want to study - I want to get married!
• "Here are the worthy fruits of wickedness."

As a maximum - thanks to a biting satire that exposes ignorance. Another brilliant story about the relationship between parents and children.

Quoting Griboedov, "happy hours are not observed." Especially when they hold “Woe from Wit” in their hands, because reading it is a real pleasure. As Pushkin predicted the work, almost half of the poems passed into the category of proverbs.

This brilliant tragicomedy only superficially touches on the love theme, denouncing sycophancy and servility. Important questions for every person, whether he is 15 years old or 40.

Gogol's most famous novel is a reference example of Russian ironic prose, a kind of "Odyssey" describing the journey of the enterprising landowner Chichikov through the Russian provinces, an encyclopedia of archetypes.

To learn how to recognize plush, manila, boxes in life, you should read Dead Souls in your youth. And in order not to “lose your knack” - re-read it in adulthood.

The plot of this ironic, witty novel is obscenely simple: for the most part, the main character lies on the couch in an old dressing gown, occasionally distracted by attempts to arrange a personal life. Despite this, "Oblomov" is read easily and with interest.

Unfortunately, “Oblomovism” strikes not only lazy bachelors at just over 30, but also respectable fathers of the family already over 40, and is born in the minds of spoiled children under 18. In order to prevent this acute disease, read Goncharov with the whole family!

Unlike Ilya Ilyich Oblomov, the heroes of Chekhov's plays are quite active, but the result is the same - indecision and mental anguish, which in the end does not lead to anything good. To cut down the garden or not to cut down? To lease the land or not?

Indeed, what would you do if you were the main character of Ranevskaya's play? Good topic for family discussion.

Orest Kiprensky, "Poor Lisa"

This dramatic novel is a good occasion to discuss with a teenager the ethics of relations with the opposite sex, to talk about male decency and girlish honor. The story of poor Liza, who committed suicide because of the betrayal of the young man who seduced her, unfortunately, is repeated too often in real life in various variations to be considered only a literary fiction.

An epic work, the main character of which is the classic "bad guy", skeptic and fatalist Pechorin. A Hero of Our Time is inspired by the romantic works of Walter Scott and Lord Byron, as well as Pushkin's Eugene Onegin.

The gloomy protagonist will seem in many ways close to a teenager, and to an adult who has seen the views too.

Enrich your vocabulary with Ella Shchukina's concise phrases, learn to beg in several European languages, get a master class on turning skins of dubious quality into Shanghai leopard fur, learn 400 relatively honest ways to extort money? Easy!

While a schoolchild is likely to see only a sparkling humorous story in the novel of a talented writing duo, his parents will appreciate the subtle irony of the authors.

Another work, literally dispersed into quotes. Re-read the brilliant satire of Mikhail Bulgakov to remind yourself and explain to the child that "devastation is not in the closets, but in the heads."