ОАНО «Лидеры»

Методический проект Абросимовой Людмилы Викторовны

«Этимологический анализ
неадаптированного художественного текста»

2018-2019 уч.год
 Обучение анализу текста

Знакомство с лучшими образцами английской поэзии и прозы, умение вдумчиво читать

и понимать художественную литературу в единстве содержания и формы способствуют
всестороннему целостному развитию личности, становлению духовного мира человека,
созданию условий для формирования у него внутренней потребности в непрерывном
совершенствовании, в реализации своих творческих возможностей. В связи с этим в нашей
школе уделяется большое внимание выработке у обучаемых глубокого понимания
художественного произведения и привитию навыков его самостоятельного анализа.
Введение элементов аналитического чтения начинается с первых уроков по домашнему
чтению в начальной школе. На этом этапе оно представляет собой организацию беседы
учителя с группой по вопросам, направленным на элементарное толкование контекста:
1) Who is the story about?
2) What do we know about the main character?
3) Do you like him (her) or not? Why?
4) Which character do you like more? Why?
5) What pictures can you imagine while reading the story? What helps you to see them?
6) Do you like the story? Why? Etc.
Ответы на эти вопросы учащиеся включают и в свои пересказы.
На среднем этапе работа с текстом несколько видоизменяется. Уроки домашнего
чтения уже не предполагают непосредственной работы над языковыми средствами и не
содержат языковых и предречевых упражнений. Аналитическая беседа строится на двух
уровнях: уровне значения (умения выделять в тексте основную мысль, деталь,
иллюстрирующую основную мысль, факты, относящиеся к определенной теме, обобщать
изложенные факты, устанавливать связи между событиями) и уровне смысла (умения вывести
суждение на основе фактов, сделать вывод, оценить изложенные факты, понять подтекст, идею
текста, найти художественные средства выразительности и определить их роль и место в
повествовании).
Предварительная беседа является стержнем для основного вида деятельности на этом
этапе — пересказа с элементами анализа. Для этого предлагаю учащимся схему пересказа,
которая используется как основа в V—VI классах и варьируется и усложняется учащимися в
VII—IX классах.

A Plan for Retelling

1. Information about the author and the book from which the passage is taken. E.g.:
1) 1 would like to tell you a story ... written by ... . He/she was a well-known ... .The book is
about... who ....
 2) The story I would like to speak about is written by.... We know that the author ... The book
is devoted to...
3) We've read a very unusual (thrilling, exaggerated, exciting, etc.) story by .... It touches
upon (deals with) the problems or....
2. General characteristics of the text (its slant, type of narration, etc.).
3. Introduction of the main character (appearance, characteristic features, the way he/she is presented
in the text) and opening events.
4. Description of events as they appear in the extract. Pay attention to:
1) the variety of expressive means e.g.: a) the narration begins with ...; b) draw(s) the reader's
attention to ... c)... making the reader believe...; d) serve(s) to stress ...; e)prepare(s) the ground
for .... f) the emotional state or the character is revealed ...;g) the author's presentation of.., etc.;
2) the use of stylistic devices, e. g.: a) epithets; b) similes; c) metaphors: d)
personifications; e) repetitions; their role in the narration (to create the atmosphere of...; to
convey the feelings and emotions of...; to give an explanation to express the idea ...; to
underline ...; etc.).
5. The main idea of the story.
6. Your attitude towards the things described.
На старшем этапе (X—XI классы) умение глубоко анализировать текст является одним
из важных умений.
Работа по развитию навыков анализа художественного произведения начинается с ряда
занятий по стилистике, целями которых являются обучение распознаванию источников
выразительности речи, приобретение умений описывать и точно определять целый ряд
стилистических приемов, существующих в языке, устанавливать их сравнительные
характеристики и функции, находить взаимозависимость между функциями и контекстом, а
также описывать функциональные стили языка и определять их системообразующие черты.
Учащимся предлагается ознакомиться с художественными средствами выразительности и
выполнить ряд упражнений, направленных на их использование.

Stylistic Devices

Epithet is a word or a group of words giving an expressive characteristic of the object described. E.g.:
fine open-faced boy; generous and soft in heart; wavy flaxen hair.
Simile is a comparison of two things which are quite different, but which have one important quality in
common. The purpose of the simile is to highlight this quality. E.g.: Andrew's face looked as if it were
made of a rotten apple.
Metaphor compares two things which are quite unlike one another by identifying one with the other
or replacing one with the other. E.g.: The doctor wrapped himself in a mist of words; He's a brick. He's
a snake. He’s a tiger. He's a mule. (Here metaphor consists in the use of a word or a phrase to describe
an object with which it is not commonly associated.)
Personification is a description of an object or an idea as if it were a human being. E.g.: The long arm
of the law will catch him in the end.
Metonymy is a transfer of the name of one object to another with which it is in some way connected.
E.g.: The hall applauded.
Hyperbole is a deliberate exaggeration of some quantity or quality. E.g.: I would give the whole world
to know.
Irony is the clash of two opposite meanings within the same context, which is sustained in oral speech
by intonation. Bitter, socially or politically aimed irony is called sarcasm. E.g.: Stoney smiled the
sweet smile of an alligator.
Represented speech renders the character's thoughts which were not uttered aloud. It is a purely
literary phenomenon never appearing in oral speech. E.g.: He looked at the distant green wall, it would
be a long walk in this rain, and a muddy one. Anyway what would they find? Lots of trees. Antithesis
is a structure consisting of two steps, the lexical meanings of which are opposite to each other. E.g.: In
marriage the upkeep of a woman is often the downfall of a man.
Inversion is broken word order. E. g.: Into a singularly restricted and indifferent environment Ida
Zobel was born.
Rhetorical question is a statement in the form of a question which needs no answer. E. g.: Why do we
need refreshment, my friends? Why can we not fly? Is it because we are calculated to walk? Elliptical
sentence is a sentence where one of the main members is omitted. E. g.: "Very windy, isn't it? —
"Very." — "But it's not raining." — "Not yet." — "Better than yesterday."
Repetition is observed when some parts of the sentence or sentences are repeated. It is employed as a
means of emphasis. E.g.: A smile would come into Mr. Pickwick's face; the smile extended into a
laugh; the laugh into a roar, and the roar became general.
Parallel constructions (or parallelism) present identical structure of two or more successive
clauses or sentences. E..g.: Passage after passage did he explore; room after room did he peep into.
Chiasmus is a pattern of two steps where the second repeats the structure of the first in a reversed
manner. E. g.: Mr. Boffin looked full at the man, and the man looked full at Mr. Boffin.
Pun is play on words. E.g.: "Did you hit a woman with a child?" — "No Sir, I hit her with a brick."
Zeugma — the context allows to realize two meanings of the same polysemantic word without the
repetition of the word itself. E.g.: Mr. Stiggins ... took his hat and his leave.
Oxymoron joins two antonymous words into one syntagma. E.g.: She Eivas a damnednice woman.

Exercises on the Use of Stylistic Devices

1. The laugh in her eyes died and was replaced by something else.
2. For every look that passed between them, and the word they spoke, and every card they played, the
dwarf had eyes and ears.
3. "If there's a war, what are you going to be in? — "The Government, I hope, "Tom said. “Touring
the lines on an armoured car, my great belly shaking like a jelly. Hey, did you hear that? That's poetry."
4. Her family is one aunt about a thousand years old.
5. The girl gave him a lip sticky smile.
6. The silence as the two men stared at one another was louder than thunder.
7. There comes a period in every man's life, but she is just a semicolon in his. -
8. "I'm going to give you some good advice." — "Oh! Pray don’t One should never give a woman
anything she can't wear in the evening."
9. Up came the file and down sat the editor, with Mr. Pickwick at his side.
10. Gentleness in passion! What could have been more seductive to the scared, starved heart or that
girl?
11. Poor boy ... . No father, no mother, no anyone.
12. It were better that he knew nothing. Better for common sense, better for him, better for me.
13. The coach was waiting, the horses were fresh, the roads were wet and the driver was willing.
14. There are so many sons that won't have anything to do with their fathers, and so many fathers who
won't speak to their sons.
15. The mechanics are underpaid, and underfed, and overworked.
16. I hear your voice — it's like an angel's sigh.
17. He held the cigarette in his mouth, tasting it, feeling its roundness, for a long time before he lit it.
Then, with a sign, feeling, well, I've earned it, he lit the cigarette.
18. And then in a moment she would come to life and be as quick and restless as a monkey.
19. The sky was dark and gloomy, the air damp and raw.
20. "Our father is dead!" — "I know." — "How the hell do you know?" — "Station agent told me.
How lone ago did he die?" — "About a month." — "What of?" - "Pneumonia." — "Buried here?" —
"No. In Washington."
21. She had her breakfast and her bath.
22.... whispered the spinster aunt with true spinster-aunt-like envy ....
23. A team of horses couldn't draw her back now; the bolts and bars of the old Bastille couldn't keep
her.
24.1 have only one good quality — overwhelming belief in the brains and hearts of our nation, our
state, our town.
25. It was you who made me a liar, — she cried silently.
26.1 looked at the gun, and the gun looked at me.
27. England has two eyes, Oxford and Cambridge. They are the two eyes of England, and two
intellectual eyes.
Работа над произведением начинается с беседы об авторе и произведении, из которого
заимствован отрывок. Она позволяет узнать основные проблемы, некоторые важнейшие
идейно-художественные особенности произведения, обнаружить понимание его связи с
эпохой написания, самостоятельно оценить его значение для нашего времени.
Данные задания к текстам дают основу для всестороннего и систематизированного
обсуждения изучаемого отрывка. Их цель — помочь глубокому проникновению в содержание
текста через наблюдение над его художественными и языковыми особенностями.
Непременным видом деятельности является творческое задание, например:
1) Write a letter to Olivia warning her about Malvolio's actions (use Shakespeare's phrases where
possible) ("Twelfth Night").
2) You are Robinson Crusoe: a) describe one of your first days on the island; b) try to comfort
yourself comparing good and bad things.
3) Write an appeal to Lilliputians in a critical form ("Gulliver's Trayels").
4) Your advice to Childe Harold.
5) What would you ask Ivanhoe on meeting him?
6) Reading Byron (Bums, Wordsworth)
7) Your favourite character, etc.

В качестве примера анализа и комментирования отрывка приведено задание к главе I романа В.

Скотта «Айвенго» («Хрестоматия по английской литературе»).

Walter Scott. "Ivanhoe" (Chapter I)

1. Memorize the following words and expressions:

to oppress; to flourish; to be impending; inferior gentry; hostile; to be extirpated; inveterate;
subsequent; a serf; despondency; to forsake; to be converted; to expound: treason.

2. Explain the following:

1) The country is ruled by a cruel oppressor.
2) And here also flourished in ancient times the bands of gallant outlaws.
3) The national convulsions appeared to be impending.^
4) Four generations had not sufficed to blend the hostile blood of the Normans and Anglo-
Saxons.
5) French was the language of honour, of cMvalry and even of justice
6) To give their conversation in the original would convey but little information to the
modern reader.
7) This herd will be converted into Normans before morning.
3. Paraphrase the following:
1) The dark clouds suggest an approaching storm.
2) The town was surrounded by enemy troops.
3) Constant romantics are always falling in love.
4) The tyrant despotized the conquered people.
5) This dry-cleaning business really grew this year,
6) A continuous problem kept him out of the army.
7) The feudal landowners had many slaves bound to the land at their service.
8) Fox hunting is a sport associated with the English country gentlemen.
9) The first ticket cost 10 dollars, but all the following ones were 8 dollars.
10) He held her close and swore never to leave her.

4. Define the passage under study. Comment on the epigraph.

5. Speak on the place and time or the action. What gives local colour to the scenes described? What
characteristic features of the Early Middle England are described by the author? How does the
description of nature convey the atmosphere of that period? What makes the narration vivid and
natural? (Speak on the choice of words and syntactical peculiarities.)
6. Compare the positions of the nobles with those of the inferior gentry. How does the use of, parallel
constructions underline the contrast between them?
7. Why are the Normans and Anglo-Saxons called "hostile races"? What were the results of one
nation's triumph and all the consequences of another one's defeat?
8. What was the royal policy? How did French spread over the country?
9. How are the two serfs presented in the passage? What are they talking about? What is Wamba's
attitude towards his position? Does the author describe him directly or indirectly? What helps the
reader feel the author's sympathy towards these people?
10. The existence of pairs of words like "swine — pork", "ox — beef is very significant because it
shows the relations between the Saxons and the Normans. Explain it. How does the linguistic talk
characterize the language problem and social situation in the country?
11. Comment on Gurth's words:"... little is left to us but the air we breathe, and that appears to have
been reserved- with much hesitation, solely for the purpose of enabling us to endure the- tasks they lay
upon our shoulders. The finest and the fattest is for their board; the loveliest is for their coach; the best
and bravest supply their foreign masters with soldiers, and whiten distant lands with their bones,
leaving few here who nave either will or the power to protect the unfortunate Saxon."
12. As well as in the beginning, at the end of the chapter the author gives a nature description. Why
does he? What stylistic means create the tense atmosphere?
13. Summarize your notes on the passage.
Программа по английской литературе предусматривает также знакомство с лучшими
поэтическими произведениями. Для работы с ними предлагаются учащимся «Правила для
анализа поэтических произведений»:

1. What does the poem deal with? What does it describe? What is the main idea?
2. What executive task would you put up while reading the poem?
3. Do any pictures arise in your imagination? What are they?
4. What bright details help you to see the picture meant by the author?
5. What are the artistic means which help to disclose the ideas of the poem? (the author's
characteristics; mutual characteristics; portraiture; landscape; thoughts, actions; the character's actions
and speech; the role of details)
6. Comment on the use of stylistic devices. Indicate their relevance with the context.
7. Comment on the author's position towards the things described.
8. Speak on your attitude towards the poem.

Каждый учащийся получает примерный план литературного обсуждения и анализа

литературного произведения с набором специальных терминов, фраз, слов и выражений в
качестве опорных для анализа текста.

PLAN FOR LITERARY ANALYSIS

INTRODUCTION. Introduction may include information about the author, his life and creative
work. Here you are to speak about the genre of the story.
THE MAIN PART. The main part may consist of the following items:
THE DESCRIPTION OF THE PLOT. Keep in mind that the description shouldn’t be too long. Use 10-15
sentences.
CHARACTER DRAWING. Speak about the characters who appear in the story. Don’t forget that as a
rule all of them are of certain importance and each of them plays his/her own part.

THE MESSAGE OF THE STORY. Try to understand what the author wants to show or tell his readers.
Remember that not everything is evident, learn to read between the lines.
THE AUTHOR’S STYLE. Each author has his/her own style of writing. Here draw your attention to
the expressive means that are used in the story. The main of them are epithets, metaphors,
similes, hyperboles.
CONCLUSION. The main idea of this part of your analysis is to express your point of view on
the moral of the story. Show that you’ve got the bottom of the matter.
N.B. Remember that all the words you say should reveal your feelings towards the story. Be
ready to explain why you have an attitude like that.

GENRES OF LITERATURE
Fiction: novels, short stories (detective stories, adventure stories, fantasy stories, humorous stories,
spy stories), thrillers.
Non-fiction: popular science, biographies, autobiographies, documentaries, diaries, memoirs. Science
fiction: space adventures, aliens, monsters, timetravel.
Drama -
Poetry: verses, rhymes, odes.
Folklore: folk tales, fairy tales, myths, ballads.
Essay

DESCRIBING THE CHARACTER

the central (main, major) character - the minor character the
round (complex) character - the flat (simple) character the
hero, heroine the villain
ambitious, careless, chatty, cheerful, childish, competitive, considerate, conventional, easy-going,
hard-working, idealistic, impatient, individualistic, kind, likable, moody, outgoing, popular, reckless,
reliable, reserved, romantic, selfish, sensible, sensitive, sentimental, shy, sociable, sympathetic

EXPRESSING YOUR EMOTIONS

to excite (evoke) a feeling, an emotion, a state of mind, the sense of being a witness
to arouse one’s excitement, concern, curiosity, emotions
to excite one’s mind to
touch one’s heart to stir
one’s imagination to evoke
(elicit) response to feel
happy, sad, excited to be in
the mood

DISCUSSING A LITERARY TEXT

Theme

• the story touches upon ... sides of human relationship

• to reveal the contradictions of... with
• to unfold a (sad) story of...
• it is another story of (loneliness of old age, the generation gap, human relations in the family, love,
 love for one's Motherland, the power of beauty and art, etc.)
• thematic words
• to raise a problem
• to deal with the problems of
• to be concerned with
• to be based on the conflict between (two or more people, man and nature, the individual and the
established order, two sets of values, man against himself)
• to reveal different aspects of human nature, human relationships, people's fates, errors, conflict,
heroism
• speech gives a fair characteristic of the speaker

Lexical, lexico-syntactical and syntactical level

• to emphasize through repetition
• to mark the situation as informal, non-official
• the vocabulary includes
• the multiple repetition of
• to evoke an emotional response
• to convey the idea of
• the author's choice of words affects
• to add strength, speed, clarity, wit, humor
• the words are stylistically neutral
• to use a key-word repeated several times

Style and author

• a style devoid of expression
• to have a sharp eye for detail
• objectivity and curtness
• the simplicity of the language
• deliberately dry and dispassionate
• concrete, naturalistic
• abstract
• the capacity for detailed and penetrating psychological analysis

Message
• the main problems
• to raise (pose) a problem
• the writer's views on
• a moving, exciting, impressive story
• to awaken (arouse) interest
• to hold the interest of the reader
• to touch one's heart
• to stir one's imagination
• a traditional symbol
• a true-to life story, a realistic story
• to create the impression of truth
• to represent life
• to reveal different aspects of human nature, human relationship, people's fates, errors, conflict,
heroism, etc.
• to be concerned with
• to be based on the conflict between
• to be especially significant for the understanding of the whole
Plot and plot structure

• Plots may be simple, complex

• a plot (action) short story
• a psychological (character) short story
• climax
• realistic (historical, fantastic, exotic, rural) settings
• the span of time the story covers
• the story inevitably moves to its termination
• the story has an open end

Narrative method

• to be told from the point of view of an onlooker (an observer, a character who participates in the
events)
• to stimulate imagination
• to stimulate the reader to make his own judgement
• to make the reader draw his own conclusion
• to let the reader judge the characters and their actions for himself
• author's remarks
• the story is in hands of an apparently impersonal voice
• the story is presented from the ... viewpoint
• the narration is given in a colloquial style
 Character drawing

• the central (main, major) character

• the hero, heroine
• simple (flat) character
• complex character
• moral, mental, physical, spiritual characteristics
• to depict (to portray, to describe) a character
• to share a character's emotions
• to arouse warmth, affection, compassion, delight, admiration, dislike, disgust, etc
• to emphasize
• to exaggerate
• to be true to life and convincing
• to trace the changes in the character's personality
• explicit (implicit) characterization of the personages
• to describe the character in detail
• to draw one's character in an ironic way
• to be convincing
• to characterize through surroundings

Stylistic devices

Phono-graphical level
• words which sounds imitate
• to supply information about the speaker's origin, social and educational background, physical
or emotional condition
• to convey the atmosphere of authentic live communication