Literature test “Solzhenitsyn A.I. "Matryona Yard"

1. Indicate the term that figurative definitions are called in literary criticism: “dense, impenetrable forests”, “melancholic wit”, etc.

2. What is the name of the compositional component that describes the village: “A village was randomly scattered between the peat lowlands - monotonous poorly plastered barracks of the thirties and, with carvings on the facade, with glazed verandas, houses of the fifties ...”?

3. What artistic trope(figurative and expressive means of the language, based on the transfer of the properties of one object to others by similarity) is used by the author of the text, creating images of the "canvas railway»?

4. What are the names of the words (“desirable”, “sweat”, etc.) that Solzhenitsyn uses in the text of the story to create the so-called “local flavor”?

5. What is the term used in literary criticism for the artistic technique repeatedly used by Solzhenitsyn in this fragment of the story to contrast the image of the homeland that arose in his dreams, the Russia that the writer saw in reality?

Literature test “Solzhenitsyn A.I. One day of Ivan Denisovich

1. Indicate the correct version of the original title of the work.

1) "Ivan Denisovich"

2) "One day of one convict"

3) “Sch-854. One day for one convict"

4) "Gulag Archipelago"

1) "New World"

2) "Roman-newspaper"

3) "Krugozor"

4) "Young Guard"

3. What problem is not raised in the work?

1) the problem of human dignity 2) the problem of ecology

3) the problem of relations between a person and the state 4) the problem of attitudes towards work

4. How old is the main character?

1) 45 2) 38 3) 39 4) 40

5. What was Shukhov convicted of?

1) for theft 2) for murder 3) for treason 4) for desertion

6. Which composition element do the following lines refer to:

“At five o'clock in the morning, as always, the rise was beaten - with a hammer on the rail of the headquarters barracks. The intermittent ringing weakly passed through the panes, which were frozen two fingers thick, and soon died down: it was cold and the warder was reluctant to wave his hand for a long time.

1) start

2) climax

3) interchange

4) development of action

7. Who was Shukhov in the camp?

1) bricklayer 2) copyist 3) shoemaker 4) carpenter

8. What did Shukhov's wife dream about when she talked about life on the collective farm in her letters?

1) that the husband will work on the collective farm after his return

2) that they will leave for the city 3) that he will paint carpets 4) she did not write to him

9. Who is the proposal talking about? “There are no half of the teeth and there is a bald spot on the head, I never gave or took from anyone and I didn’t learn in the camp.”

1) about Tyurin

2) about Kildigs

3) about Shukhov

4) about the "tall silent old man"

10. Why did Ivan Shukhov always wake up an hour and a half before the wake-up call?

1) I wanted to carefully prepare before work. 2) He couldn't sleep.

3) It was his responsibility. 4) At that time he felt like a free man.

11. Recognize the hero by the description: "... a boy of about sixteen, pink as a pig."

2) Kilgas Johann

3) Gopchik

4) Alyoshka the Baptist

12. Recognize the hero by the description: “The face ... in large mountain ash, from smallpox. It stands against the wind - it does not frown, the skin on the face is like oak bark.

1) Shukhov

2) Brigadier Tyurin

3) Fetyukov

4) Caesar Markovich

13. Who are we talking about? "He wasn't a jackal even after eight years general works- and the further, the more it was approved”; “He would not go to meanness, to betrayal even under pain of death.”

1) Stenka Klevshin

2) Ermolaev

3) Ivan Denisovich

4) Gopchik

14. What quality is not inherent in Shukhov?

1) common sense

2) worldly wisdom

3) high morality

4) laziness

15. What compositional element of the work does the following passage form?

“Shukhov fell asleep completely satisfied. During the day he had a lot of luck today: they didn’t put him in a punishment cell, they didn’t send the brigade to Sotsgorod, at lunch he mowed down the porridge, the brigadier closed the percentage well, Shukhov laid the wall cheerfully, didn’t get caught with a hacksaw on a raid, worked part-time with Caesar and bought tobacco in the evening. And I didn't get sick, I got over it. The day passed, nothing marred, almost happy. There were three thousand six hundred and fifty three such days in his term from bell to bell. Because of leap years- three extra days were added ... "

1) opening 2) climax 3) denouement 4) ending

This year, graduates do not take the compulsory examination in literature. Whether this is good or bad, time will tell. The USE in Literature is needed by a very small number of applicants, but almost every linguist working in the 11th grade has at least one student who takes the USE. We print materials to help colleagues - their requests for advice have recently become more insistent. You will find training blocks for the exam in all issues of April-May. If the Unified State Examination in Literature continues next year, we will open a special section from September. Follow our publications.

Unified State Examination in Literature: Checking Yourself

The 2009 Literature Examination Work consists of three parts. It takes 4 hours (240 minutes) to complete it. Parts 1 and 2 include an analysis of a literary text (a fragment of an epic / dramatic work and lyrical work).Analysis of the text of an epic (or dramatic) work has the following structure: 7 tasks with a short answer(B), focused on the basic level and requiring the answer to write a word or a combination of words, and (C1-C2) an increased level of complexity, requiring a response in the amount of 5-10 sentences. Analysis of a lyrical work includes 5 tasks with a short answer(B, baseline) and 2 tasks with a detailed answer(С3–С4 - elevated level) in the amount of 5–10 sentences. Tasks of type B are evaluated with a maximum of one point, tasks C1–C4 - with a maximum of 3 points.

To complete the tasks of part 3 (C5 - high level difficulty) must be selected one of the three proposed problematic questions and give a written detailed reasoned answer to it in the genre of the essay (in the amount of at least 200 words). Task C5 can be given a maximum of 15 points. The maximum amount of points that a graduate can receive is 39 points.

Options training tasks for preparing for the exam in literature and self-examination, as well as other materials necessary for the teacher, can be found on the Internet on the portals of information support for the experiment on the introduction of the exam www.ege.edu.ru and the Federal Institute of Pedagogical Measurements www.fipi.ru. In addition, a number of teaching aids, which both the teacher and students can use in preparing for the exam, for example:

We rent a single State exam. Literature / Auth.-comp. S.A. Zinin, E.A. Krasnovsky, L.N. Gorokhovskaya. M.: Bustard, 2007.
Literature: USE-2008: real tasks / S.A. Zinin, O.B. Maryina, N.A. Popov. M.: AST-Astrel, 2008.
Unified state exam: literature: test materials: 2009. M .: Education; St. Petersburg: branch of the publishing house "Prosveshchenie", 2009.

The graduate can determine the level of his preparation for the exam on his own right now by completing tasks similar to the demo version examination work 2009. We offer one of these tasks - according to the epic text.

Part 1

Matrona's hut was filled until spring, and I moved to one of her sister-in-laws, not far away. This sister-in-law later, on various occasions, recalled something about Matryona and somehow illuminated the deceased for me from a new side.

Yefim did not love her. Said: I love to dress culturally, and she - somehow, everything is rustic. And at the same time, we went to the city with him, to work, so he got himself a sudarka there, and didn’t want to return to Matryona.

All her comments about Matryona were disapproving: she was also unscrupulous; and did not chase the equipment; and not careful; and she didn’t even keep a pig, for some reason she didn’t like to feed; and stupid, helped strangers for free (and the very reason to remember Matryona fell out - there was no one to call the garden to plow the plow on themselves).

And even about Matryona's cordiality and simplicity, which her sister-in-law recognized for her, she spoke with contemptuous regret.

And only then - from these disapproving reviews of the sister-in-law - did the image of Matryona emerge before me, which I did not understand her, even living side by side with her.

Indeed! - after all, a piglet is in every hut! And she didn't. What could be easier - to feed a greedy pig that does not recognize anything in the world but food! Boil him three times a day, live for him - and then slaughter and have fat.

And she didn't have...

I didn’t chase after the factory ... I didn’t get out to buy things and then take care of them more than my life.

Didn't go after the outfit. Behind clothes that embellish freaks and villains.

Not understood and abandoned even by her husband, who buried six children, but did not like her sociable character, a stranger to her sisters, sister-in-law, funny, stupidly working for others for free - she did not accumulate property to death. Dirty white goat, rickety cat, ficuses…

We all lived next to her and did not understand that she is the same righteous man, without whom, according to the proverb, the village does not stand.

Neither city.
Not all our land.
(A.I. Solzhenitsyn. Matryonin yard.)

IN 1 What is the name of the character on whose behalf the story is being told?

AT 2 What epic genre does Matryonin Dvor belong to?

AT 3 What place does this fragment occupy in the plot of the work?

AT 4 In the third paragraph of the fragment (disapproving reviews of the sister-in-law about Matryona) and in its final part (“... there is no village. Not a city. Not our whole land”), the same stylistic device is used, in which each subsequent phrase or sentence enhances the meaning of the previous one, which allows you to recreate actions, thoughts and feelings in development - from small to large, due to which the emotionality of speech increases. What technique is used by the author?

AT 5 What is the name of the exclamatory constructions used by the author in the sixth paragraph of the fragment and enhancing the emotionality of the statement?

AT 6 What is the name of the reduced colloquial vocabulary (“behind the factory”, “sudarka”, “one-time”, “call”, etc.), which serves for the speech characteristics of the sister-in-law and is used by her in reviews of Matryona?

AT 7 The content of the fragment shows us that the images of Matryona and her sister-in-law differ sharply in their attitude to life values. What is the name of this contrast of characters?

C1 Why did the disapproving comments about Matryona that the narrator heard after her death, on the contrary, convinced him that she was “the same righteous man”?

C2 What traditions of Russian literature XIX century followed A.I. Solzhenitsyn, raising the moral problem of righteousness? (When comparing, indicate works and authors.)

Check the answer What term does modern literary criticism call a number of works of the 1990s that tell about the problems of the Russian village, about rural residents? "Village prose"

Check the answer What is the name of the compositional component that describes the village: “A village is randomly scattered between the peat lowlands - monotonous poorly plastered barracks of the thirties and, with carvings on the facade, with glazed verandas, houses of the fifties ...”? Scenery

Check the answer What is the name in literary criticism of the artistic device repeatedly used by Solzhenitsyn in this fragment of the story to oppose the image of the motherland that arose in his dreams, the Russia that the writer saw in reality? Antithesis

Where are you from? I brightened up. And I learned that not everything is around the peat extraction, that there is a hillock behind the railroad track, and a village behind the hillock, and this village is Talnovo, from time immemorial it has been here, even when there was a "gypsy" lady and there was a dashing forest all around. And then the whole region goes villages: Chaslitsy, Ovintsy, Spudni, Shevertni, Shestimirovo - everything is quieter, from the railway at a distance, to the lakes. A wind of calm drew me from these names. They promised me horse-drawn Russia.

C 2. What, in your opinion, is the main idea of Solzhenitsyn's story "Matryona's Dvor" and what works of Russian literature have a similar theme?

From 5.3. What do you think is the essence of the relationship between man and power? (according to the story of A. I. Solzhenitsyn "Matrenin Dvor").
From 5.3. What is the righteousness of Matryona and why is it not appreciated and not noticed during the life of the heroine? (According to the story of A.I. Solzhenitsyn "Matrenin Dvor".)

From 5.3. What does it look like" small man"Russian writers of the twentieth century (based on the works of A. Solzhenitsyn "Matrenin Dvor", "One Day in the Life of Ivan Denisovich", etc.)?

Solzhenitsyn Alexander Isaevich

Alexander Isaevich SOLZHENITSYN (born in 1918-2008)

The famous German writer Heinrich Belle wrote that Solzhenitsyn's civic and literary activities produced "a revolution in consciousness, a revolution of universal significance, which resonated in all parts of the world". Solzhenitsyn is the most significant writer and person of our time. His fate, which he never considered as a private phenomenon, and his work are tightly soldered by the idea "life is not a lie". The most characteristic feature of Solzhenitsyn is the sharpness and criticality of thought, which gives rise to distrust of the accepted political and social attitudes and dogmas. In his youth, he sincerely accepts Soviet reality and romanticizes the revolution (it is typical that the idea of a youthful novel about the First World War is called “Love the Revolution”), at the end of the war, he sees the world already in a different way (not yet doubting the foundations of Bolshevism, he believes that Stalin departed from Lenin's precepts) and shares his "political indignation" in letters to a friend who fought on another front. He was arrested "for anti-Soviet agitation" and sentenced to 8 years in the camps. The significance of these years spent in prison (near Moscow, in the Moscow special prison, in Rybinsk, and then in Kazakhstan, in Ekibastuz) is enormous: they determined his entire future writing life. “It’s scary to think what I would become as a writer if they didn’t put me in prison”, - writes Solzhenitsyn in the book "The calf butted with the oak" (compare with the meaning that hard labor had for Dostoevsky). Then the "eternal exile" in Central Asia, and after rehabilitation in 1956 he worked as a teacher in a rural school, and then in Ryazan. But his main business is writing. He realizes it as a spiritual mission - to carry the word of truth (not limited by the exposure of the cult of personality) about the life of the Russian people in the 20th century. In 1962, during the era of Khrushchev's "thaw", Tvardovsky published "One Day in the Life of Ivan Denisovich" in Novy Mir (the original title was "Shch-854 (One Day of a Prisoner)"). The story brought the author worldwide fame. But the novels "In the First Circle" and "Cancer Ward" could not be published - they were distributed in samizdat. By the end of the 1960s, the atmosphere around Solzhenitsyn became more and more hostile: he was expelled from the Writers' Union, in 1974 he was deprived of his citizenship and forcibly expelled from the country, and only as a result of perestroika in 1989 he was reinstated in the Writers' Union, his works began to be widely published, citizenship was returned with public apologies, and in 1894, after twenty years of living abroad, Solzhenitsyn returned to Russia. These twenty years (in Zurich, then in Vermont) were years of colossal work - work on the epic "Red Wheel".

Solzhenitsyn's writing interests are unusually wide - in fact, this is the whole tragic history of the life of the Russian people from the First World War to the present day; the genre range is very large - from a short story to a huge epic. A special role in his work is played by the camp theme, the central work of which is "The Gulag Archipelago" - by the author's definition, "artistic research" that combines literature with documentary evidence, artistic beginning with journalistic. This is not only the history of repressions in our state since 1918, it is a huge monument to all those who went through the camp path.

The very title "One Day in the Life of Ivan Denisovich" contains a certain feature characteristic of Solzhenitsyn's artistic thinking: it is a condensation of time and space (one day, a camp). The day becomes a unit of measure for the hero's camp life. The whole story is compositionally introduced into the framework of the day: the beginning coincides with the beginning of the day ( “At five o’clock in the morning, as always, the rise broke through ...”), the end - with the evening lights out. In the first sentence, the words "as always" indicate the unchanging constancy camp life, in the final, an unimaginable number of days for a person is given, of which the term of Ivan Denisovich is formed: “There were three thousand six hundred and fifty three such days in his term from bell to bell. Because of leap years - three extra days were added ... "

And this respectful allocation to a special, and besides, the last paragraph of only three days - such a small amount compared to three thousand - determines the attitude towards a day as the concentration of a whole life.

What is the image of the world in "One day ..."? In what space and time do his characters exist? Solzhenitsyn willingly uses the technique of antithesis, and the space and time of this world show their peculiarity, or rather, make themselves aware of themselves in contrast with another world or other worlds. So, the main properties of the camp space - its fenced off, closeness and visibility (the sentry standing on the tower sees everything) - are opposed to the openness and infinity of the natural space - the steppe. The most characteristic and necessary feature of the camp space is the fence, the story details the details of its construction: a solid fence, pointed poles with lanterns, double gates, wire, near and far towers. When developing a new facility, Ivan Denisovich notes, “before doing anything there, you need to dig holes, put up poles and pull barbed wire from yourself - so as not to run away”. The structure of this phrase accurately reproduces the order and meaning of the image of space: first, the world is described as closed, then as not free, and it is on the second part (dash - a sign of intonational emphasis) that the main emphasis falls. We are faced with a seemingly clear opposition between the camp world with a set of its inherent features (closed, visible, not free) and the external world with its features of openness, infinity and, consequently, freedom, and they call the camp a “zone”, and Big world"will". But in reality there is no such symmetry. “The wind whistles over the bare steppe - dry windy in summer, frosty in winter. From birth, nothing grew in that steppe, and even more so between the four wires.. The steppe (in Russian culture, the image-symbol of the will, reinforced by the equally traditional and equally meaningful image of the wind) turns out to be equated with the unfree, barbed space of the zone: there is no life here and there - “nothing ever grew”. Moreover: external world endowed with the properties of a camp: “From the stories of free drivers and excavators, Shukhov sees that the direct road to people was blocked<...>". And, on the contrary, the camp world suddenly acquires alien and paradoxical properties: “What is good in a hard labor camp is freedom from the belly here” (italics by A. Solzhenitsyna. - T.V.). We are talking here about freedom of speech - a right that ceases to be a socio-political abstraction and becomes a natural necessity for a person to speak as he wants and what he wants, freely and without restriction: “And in the room they yell:

The mustachioed father will take pity on you! He won’t believe his brother, let alone you mugs!”

Words unthinkable in the wild.

The confrontation between the big world and the camp world turns out to be imaginary.

What is the character system in the story? Antithesis, the main artistic principle in One Day..., also determines the system of oppositions in the world of people. First of all, this is the most predictable and natural confrontation between the prisoners and those who are assigned to manage their lives, from the head of the camp to guards, guards and escorts (hierarchy is not very important - for prisoners any of them is a “citizen boss”). The confrontation of these worlds, socio-political in nature, is reinforced by what is given at the natural-biological level. Not random constant comparisons guards with wolves and dogs: Lieutenant Volkova ( "God marks the rogue", - Ivan Denisovich will say) "otherwise, like a wolf, does not look"; guards “they lashed out, rushed like animals”, “just look out so that they don’t rush at your throat”, “here are the dogs, count again!”

Zeki is a defenseless herd. They are counted by head: «<...>even from behind, even from the front, look: five heads, five backs, ten legs ”; "- Stop! - noises the watchman. - Like a flock of sheep. Figure it out in five! ”; they say about Gopchik - “a tender calf”, “he has a thin little voice, like a kid”; Cavalier Buinovsky "locked the stretcher like a good gelding".

This opposition of wolves and sheep is easily superimposed in our minds on the usual fable-allegorical opposition of strength and defenselessness (“The Wolf and the Lamb”) or, as in Ostrovsky, prudent cunning and innocence, but here another, more ancient and more general semantic layer is more important - the symbolism of the victim associated with the image of a sheep. The symbol of sacrifice, which combines the opposite meanings of death and life, death and salvation, turns out to be extremely important for the camp theme, the general plot of which is life in the realm of unlife and the possibility (Solzhenitsyn) or impossibility (Shalamov) for a person to escape in this unlife. It is especially significant that this opposition is not mechanical, it is connected with the freedom of human choice: whether to accept "Law of the Wolves", depends on the person, and the one who accepts it acquires the properties of dogs or jackals serving the wolf tribe (Der, “A foreman from prisoners, a good bastard, drives his brother a prisoner worse than dogs”, a prisoner, the head of the dining room, who, together with the warden, throws people away, is defined by the same word with the warden: “They manage without guards, polkans”).

Prisoners turn into wolves and dogs not only when they subdue following the camp law of the survival of the strong: “Whoever can, he gnaws at him,” not only when, betraying their own, they serve the camp authorities, but also when they give up their personality, becoming a crowd - this is the most difficult case for a person, and no one is guaranteed here from transformation. The prisoners waiting in the frost for the recount turn into an angry crowd ready to kill the culprit - a fallen asleep Moldavian who overslept the check: “Now he (Shukhov) is chilly with everyone, and lusty with everyone, and it would seem that this Moldavian would hold them for half an hour, but would give him to the escort to the crowd - they would tear like wolves a calf!”(for a Moldovan - a victim - the former name remains "calf"). The cry with which the crowd meets the Moldavian is a wolf's howl: “A-ah-ah! yelled the zeks! Woo!".

Another system of relations is between prisoners. On the one hand, this is a hierarchy, and camp terminology - "Nerds", "Sixes", "Goners"- clearly defines the place of each category. “Outside, the brigade is all in the same black pea jackets and in the same numbers, but inside it’s very unequal - they walk by steps. You can’t make Buinovsky sit with a bowl, and Shukhov won’t take any job, there’s less.”.

Another case is the allocation of informers, who are opposed to all campers as not quite people, as some separate organs-functions, without which the authorities cannot do. Therefore, the murders of informers, which are mentioned several times, do not cause moral protest.

And, finally, the third and, perhaps, the most tragically important case of internal opposition for Solzhenitsyn is the opposition of the people and the intelligentsia. This problem, cardinal for the entire nineteenth century - from Griboedov to Chekhov, is by no means removed in the twentieth century, but few people raised it with such acuteness as Solzhenitsyn. His point of view is the fault of that part of the intelligentsia, which does not see the people. Speaking of the terrible stream of arrests of peasants in 1929-1930, which was hardly noticed by the liberal Soviet intelligentsia of the sixties, who focused on the Stalinist terror of 1934-1937. - on the destruction of his own, he pronounces like a sentence: “Meanwhile, Stalin (and you and I) didn’t have a worse crime”. In One Day... Shukhov sees the intelligentsia ("Muscovites") as a foreign people: “And they murmur quickly, quickly, who will say more words. And when they mutter like that, Russian words are so rare to come across, listening to them is the same as Latvians or Romanians.. The sharpness of the opposition is especially felt because Solzhenitsyn's traditional national alienation has been practically removed: a common destiny leads to human closeness, and Ivan Denisovich understands the Latvian Kildigs, the Estonians, and the western Ukrainian Pavlo. Human brotherhood is created not in spite of, but rather thanks to national distinction, which gives fullness and brightness to a great life.

"Educated conversation" - a dispute about Eisenstein between Caesar and the old convict X-123 (he is heard by Shukhov, who brought Caesar porridge) - models a double opposition: firstly, within the intelligentsia: the esthete-formalist Caesar, whose formula "Art is not what, but how", is opposed to the supporter of the ethical understanding of art X-123, for whom “to hell with your “how”, if it doesn’t awaken good feelings in me!”, And “Ivan the Terrible” is “the most vile political idea - the justification of one-man tyranny”, and, secondly, the opposition of the intelligentsia - the people, and in it Caesar and X-123 are equally opposed to Ivan Denisovich. In the small space of the episode - the whole page of the book text - the author shows three times - Caesar does not notice Ivan Denisovich: “Caesar smokes a pipe, lounging at his table. His back is to Shukhov, he does not see.<...>Caesar turned around, stretched out his hand for porridge, at Shukhov and did not look, as if the porridge itself had arrived through the air<...>. <...>Caesar did not remember him at all, that he was here, behind his back.. But the "good feelings" of the old convict are directed only to their own - to the memory of "three generations of the Russian intelligentsia", and Ivan Denisovich is invisible to him.

This is unforgivable blindness. Ivan Denisovich in Solzhenitsyn's story is not just main character- he has the highest authority of the narrator, although, due to his modesty, he does not at all claim this role. Solzhenitsyn uses the technique of improperly direct speech, which allows us to see the depicted world through the eyes of Shukhov and understand this world through his consciousness. And therefore the central problem of the story, coinciding with the problems of the whole new (with early XIX century) of Russian literature - gaining freedom - comes to us through a problem that Ivan Denisovich recognizes as the main one for his life in the camp - survival.

The simplest survival formula: "own" time + food. This is a world where “two hundred grams rule life”, where a scoop of cabbage soup after work occupies the highest place in the hierarchy of values (“This ladle is dearer to him now than will, dearer than the life of all past and all future life”) where it says about dinner: “Here it is a short moment, for which the prisoner lives!” The hero hides the solder near the heart. Time is measured by food: “The most satisfying time for a camper is June: every vegetable ends and is replaced with cereals. The worst time is July: nettles are whipped into a cauldron". Attitude to food as a super-valuable idea, the ability to focus entirely on it determine the possibility of survival. “He eats porridge with an insensible mouth, it is not for him for the future”, - it is said about the old convict intellectual. Shukhov really feels every spoonful, every bite he swallows. The story is full of information about what magara is, why oats are valuable, how to hide rations, how to eat porridge with a crust, etc.

Life is the highest value, human duty is saving oneself, and therefore the traditional system of prohibitions and restrictions ceases to operate: bowls of porridge stolen by Shukhov are not a crime, but a merit, a convict's dashing, Gopchik eats his parcels alone at night - and here this is the norm, "the camp will be right".

What is striking is that even though moral boundaries change, they continue to exist, and moreover, they serve as a guarantee of human salvation. The criterion is simple: you cannot change - neither to others (like informers saving themselves "on someone else's blood"), nor to yourself. The persistence of moral habits, whether it be Shukhov’s inability to “jack off” or give bribes, or “extortion” and conversion “at home,” from which Western Ukrainians cannot be weaned, turns out not to be external, easily washed away by the conditions of existence, but internal, natural stability of a person. This stability determines the measure of human dignity as inner freedom in a situation of its maximum external absence. And almost the only means helping to realize this freedom and - consequently - allowing a person to survive, is work, labor.<...>This is how (my italics - T.V.) Shukhov is arranged in a stupid way, and they can’t wean him in any way: he regrets every thing and every work, so that they don’t waste it in vain. Work defines people: Buinovsky, Fetyukov, Alyoshka the Baptist are judged by how they are in common work. Work saves from illness: “Now that Shukhov has been given a job, it seems that the breaking has stopped”. Work turns "public" time into "own" time: “What the hell is the working day so short?” Work destroys the hierarchy: «<...>now he has equaled his work with the brigadier ”. And most importantly, it destroys fear: «<...>Shukhov, even though there is now an escort with dogs, ran back along the site, looked..

In "One Day in the Life of Ivan Denisovich" freedom is measured not by the height of human achievement, but by the simplicity of the daily routine, but with all the more persuasiveness it is comprehended as the main vital necessity.

Thus, in the story of one day in the life of a Soviet camp prisoner, two great themes of Russian classical literature quite naturally merge - the search for freedom and the sanctity of people's labor.

Option No. 125288

When completing tasks with a short answer, enter in the answer field the number that corresponds to the number of the correct answer, or a number, a word, a sequence of letters (words) or numbers. The answer should be written without spaces or any additional characters. The answer to tasks 1-7 is a word, or a phrase, or a sequence of numbers. Write your answers without spaces, commas, or other extra characters. For tasks 8-9, give a coherent answer in the amount of 5-10 sentences. Performing task 9, select for comparison two works of different authors (in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in the given direction of analysis.

Performing tasks 10-14 is a word, or a phrase, or a sequence of numbers. When completing tasks 15-16, rely on the author's position, if necessary, state your point of view. Justify your answer based on the text. Performing task 16, select for comparison two works of different authors (in one of the examples, it is permissible to refer to the work of the author who owns the source text); indicate the titles of the works and the names of the authors; justify your choice and compare the works with the proposed text in the given direction of analysis.

For task 17, give a detailed reasoned answer in the genre of an essay with a volume of at least 200 words (an essay of less than 150 words is scored with zero points). Analyze literary work, relying on the position of the author, involving the necessary theoretical and literary concepts. When answering, follow the rules of speech.

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Version for printing and copying in MS Word

Name the genre to which the work of A. I. Solzhenitsyn "Matryonin Dvor" belongs.

Answer:

Indicate the name of the literary movement, which is characterized by an objective depiction of reality and the principles of which are reflected in the Matryonin Dvor.

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

That autumn, Matryona had many grievances. Before that, a new pension law was issued, and her neighbors advised her to seek a pension. She was lonely all around, and since she began to get very sick, they let her go from the collective farm. There were a lot of injustices with Matryona: she was sick, but was not considered an invalid; she worked for a quarter of a century on a collective farm, but because she was not at a factory, she was not entitled to a pension for herself, and she could only get it for her husband, that is, for the loss of a breadwinner. But her husband had been gone for fifteen years, since the beginning of the war, and now it was not easy to get those certificates from different places about his salary and how much he received there. There were troubles - to get these certificates; and so that they wrote all the same that he received at least three hundred rubles a month; and to assure the certificate that she lives alone and no one helps her; and what year is she; and then wear it all to the social security; and re-wear, correcting what was done wrong; and wear more. And find out if they will give a pension.

These worries were made more difficult by the fact that social security from Talnov was twenty kilometers to the east, the village council - ten kilometers to the west, and the village council - to the north, an hour's walk. From the office to the office and drove her for two months - then after a dot, then after a comma. Each pass is a day. He goes to the village council, but today there is no secretary, it’s just that he’s not there, as it happens in the villages. Tomorrow, then go again. Now there is a secretary, but he does not have a seal. Third day go again. And go on the fourth day because blindly they signed the wrong piece of paper, Matryona's papers are all chipped in one bundle.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

Fu-u! your peat! so much more, and so much more - then, it happens, that's enough. Here, as winter spins and a duel through the windows, you don’t drown so much as blow it out. Letos we trained peat teams! Wouldn't I have dragged three cars even now? So they catch. Already one of our women is being dragged through the courts.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

What term denotes words that are far from the literary norm, found in Matryona's speech (“lubota”, “flying”, “gatherings”, etc.)?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

Establish a correspondence between the characters of "Matryonin Dvor" and their characteristics.

For each position in the first column, select the corresponding position from the second column.

Write down the numbers in response, arranging them in the order corresponding to the letters:

A	B	IN

In your answer, list the numbers of the correct options in the appropriate order without spaces or commas.

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

In the above fragment, the spiritual qualities of Matryona are opposed to the soullessness of bureaucrats. What term is used to describe this opposition?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

What is the name of an expressive detail in a literary text (a pack of "important" pieces of paper, Matryona's wicker body, etc.)?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

What technique does the narrator resort to when describing the work of the “cared-for” Matryona (“There were troubles - to get these certificates ... and to certify the certificate ... and then take it all to the social security; and re-wear it, correcting what was done wrong; and still wear it.")?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Answer:

What character traits of Matryona are revealed in the above fragment?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

What works of Russian literature depict the conflict between a “private” person and the state, and what brings these works closer to “Matryonin’s Dvor”?

Read the fragment of the work below and complete tasks B1-B7; C1, C2.

They oppress me, Ignatich,” she complained to me after such fruitless penetrations. - I took care of it.

But her forehead did not remain clouded for long. I noticed that she had a sure way to regain her good mood - work. Immediately she either grabbed a shovel and dug carts. Or with a bag under her arm, she went for peat. And then with a wicker body - berries in a distant forest. And not bowing to the office tables, but to the forest bushes, and having broken her back with a burden, Matryona returned to the hut already enlightened, pleased with everything, with her kind smile.

Now I have laid a tooth, Ignatich, I know where to get it, ”she said about peat. - Well, the place, lyubota one!

Yes, Matryona Vasilievna, isn't my peat enough? The car is complete.

A. I. Solzhenitsyn "Matryonin Dvor"

Solutions to tasks with a detailed answer are not checked automatically.
On the next page, you will be asked to check them yourself.

Name the poetic current in the course of which the early work of A. A. Blok developed.

A. A. Blok, 1908

Answer:

The poem begins and ends with a picture of a formidable heavenly sign. What is the term for this type of composition?

Read the lyric below and complete tasks B8-B12; SZ-S4.

On the Kulikovo field

Again over the Kulikov field

Folder Solzhenitsyn exam in literature. Unified State Examination in Literature: Checking Yourself. Checking homework

Unified State Examination in Literature: Checking Yourself

Solzhenitsyn Alexander Isaevich