If we simply consider the word PERSONALIZATION itself, then, of course, the root PERSON stands out, which by itself prompts us to decipher this concept.

This word has an ancient Latin analogue "personification", which means: persona - face, facio - I do. And again, here we meet the word "face". And this is something that is inherent in living beings.

Personification - giving, transferring the properties that a living object possesses to inanimate objects and phenomena. For example, inanimate objects and phenomena endowed with these properties acquire the ability to laugh, be sad, think, worry, etc.

For example, clouds can come in, the sky can frown, and the rain can cry.

Knowledge of the world through personification

• If we turn to antiquity, it is clear that personification was an integral part of the knowledge of the world and natural phenomena, when all phenomena were given the images of gods and endowed them with human abilities.

Personification in literature

• In literature, personification is used as an artistic technique to enhance expressiveness.

“And groaned, brothers, Kyiv from grief, and Chernigov from adversity. Longing has spread over the Russian land, abundant sadness flows among the Russian land.

“The night is long. The evening dawn dropped the light. So the darkness covered the field. Finally, the nightingale's tickle fell asleep; the morning talk of the jackdaws has awakened.

All nature is endowed with feelings, so the singing of the nightingale does not just stop, but falls asleep, and the dawn drops its light.

2.1. Personification - the artistic trope of literature

Personification (personification, prosopopoeia)- tropes, the assignment of the properties of animate objects to inanimate ones. Very often, personification is used in the depiction of nature, which is endowed with certain human features.

Examples:

And woe, woe, grief!
And the bast of grief was girded,
Feet are entangled with bast.

In folk song

State, as if stepdad angry,
from whom, alas, do not run away,
because it is impossible to take
Motherland - a suffering mother.

personification was widespread in the poetry of different eras and peoples, from folklore lyrics to poetic works of romantic poets, from precision poetry to creativity (from the materials of the INTERNET network: teachers-innovators).

personification, like allegory, is based on metaphor. In a metaphor, the properties of an animate object are transferred to an inanimate one. Transferring one by one the properties of animate objects to an inanimate object, we gradually, so to speak, bring the object to life. The message to an inanimate object of a complete image of a living being is called personification.

Examples of personifications:

And woe, woe, grief!

And grief girded itself with a bast,

Feet are entangled with bast.

(Folk song)

The personification of winter:

There is a gray-haired sorceress,

Shaggy waves his sleeve;

And snow, and scum, and frost pours,

And turns water into ice.

From her cold breath

Nature's gaze is numb...

(Derzhavin)

After all, autumn is in the yard

He looks through the curtain.

Winter follows her

In a warm coat goes

The path is covered with snow

It crunches under the sleigh...

(Koltsov)

personification - endowing inanimate objects with human feelings and the ability to speak; stylistic device, very common for all ages and peoples. This definition is given by the author-compiler of the dictionary of poetic terms, literary critic A.P. Kvyatkovsky (17).

personification, prosopopoeia (from Greek prósōpon - face and poiéō - I do), personification (from Latin persona - person, person and facio - I do), a special kind metaphors: the transfer of human features (more broadly - the features of a living being) to inanimate objects and phenomena. You can define gradations personification depending on the function in artistic speech and literary creativity.

1) personification as a stylistic figure associated with the “instinct of personification in living languages” (A. Beletsky) and with the rhetorical tradition inherent in any expressive speech: “the heart speaks”, “the river plays”.

2) personification in folk poetry and individual lyrics (for example, in G. Heine, F. Tyutchev, S. Yesenin) as a metaphor, close in its role to psychological parallelism: the life of the surrounding world, mainly nature, attracted to participation in the mental life of the hero, is endowed with signs humanoid.

3) personification the assimilation of the natural to the human goes back to mythological and fairy-tale thinking, with the essential difference that in mythology the “face” of the elements is revealed through “kinship” with the human world (for example, the relationship between Uranus - Heaven and Gaia - Earth is clarified through likening marriage), and in folklore and poetic creativity of later eras, on the contrary, through the personified manifestations of spontaneous natural life, the “face” and spiritual movements of a person are revealed.

4) personification How symbol, directly related to the central artistic idea and growing out of a system of private Personification. The poetic prose of A.P. Chekhov's story "The Steppe" is permeated personification- metaphors or comparisons: a handsome poplar is burdened by his loneliness, half-dead grass sings a mournful song, etc. From their totality arises the supreme personification: the “face” of the steppe, aware of the vain loss of its wealth, heroism and inspiration, is a multi-valued symbol associated with the artist’s thoughts about the homeland, the meaning of life, the passage of time. personification kind of close to the mythological about personification in its general significance, “objectivity”, relative unrelatedness to the psychological state of the narrator, but nevertheless does not cross the line of conventionality that always separates art from mythology (18).

personification- this is a kind of metaphor based on the transfer of signs of a living being to natural phenomena, objects and concepts.
Most often, personifications are used to describe nature:

Less commonly, personifications are associated with the objective world:

Personification as a means of expression is used not only in art style, but also in journalistic and scientific (the X-ray shows, the device speaks, the air heals, something stirred in the economy).

Development tasks:

1. Find examples in the texts when inanimate objects are presented as living.

1) The wind is sleeping, and everything is numb,
Just to sleep;
The clear air itself is shy
Breathe in the cold. (A. A. Fet)

2) Paths hidden, deaf,
Twilight is coming into the forest thickets.
covered with dry leaves,
The forests are silent - waiting for the autumn night. (I. A. Bunin)

3) In severe frost, birch firewood crackles merrily, and when it flares up, they begin to buzz and sing. (I. S. Shmelev)

2. Find personifications in the texts. Explain their use and expressive role.

1) Spring days are minute thunderstorms,
The air is clean, fresh sheets...
And quietly shed tears
Fragrant flowers. (A. A. Fet)

2) A cloud stretches to the homeland,
Just to cry over her. (A. A. Fet)

3) Sultry and stuffy afternoon. There is not a cloud in the sky... the grass scorched by the sun looks dull, hopeless: even though it will rain, it will no longer turn green... The forest stands silently, motionless, as if peering somewhere with its tops or waiting for something. (A.P. Chekhov)
4) The sun is entangled in greyish-yellow clouds behind a silver river. A transparent mist swirls sleepily over the water.
The quiet city sleeps, sheltered in a half ring of forest. Morning, but sad. The day promises nothing, and his face is sad. (M. Gorky)
5) Malice hissed like a snake, writhing in evil words, alarmed by the light that fell on her. (M. Gorky)
6) Every night, melancholy came to Ignatiev ... with her head bowed, she sat on the edge of the bed, took her by the hand - a sad nurse with a hopeless patient. So they were silent for hours - hand in hand. (T. N. Tolstaya)

3. Find cases of combining personification with other means of artistic representation: comparison, rhetorical appeal, parallelism.

1) In the distance, the windmill still flaps its wings, and it still looks like a little man waving his arms. (A.P. Chekhov) 2) In the morning he woke up with light, and longing, disgust, hatred woke up with him. (ME Saltykov-Shchedrin) 3) Ah, my fields, my dear furrows, you are good in your sadness. (S. A. Yesenin) 4) Native land! Name me such a monastery... (N. A. Nekrasov)

Chapter III Methodological organization of lessons for the study of theoretical and literary concepts in groups with the Russian language of instruction in professional colleges

Lesson Objectives :

1. 
   Acquaintance with the lyrics of F.I. Tyutchev.
2. 
   Developing the skills of literary analysis of a poetic text with an emphasis on the theoretical and literary concept of "personification".
3. 
   Development of communication skills of students.

The first learning situation: the teacher's introductory remarks.

Today we will reflect on the poems of Fyodor Ivanovich Tyutchev, try to express our feelings, catch the mood, the music of his poems .. The task is not easy: Tyutchev is a poet-thinker. The most ordinary things, phenomena in his lyrics are endowed with the deepest meaning.

The second learning situation: expressive reading and commenting on Tyutchev's poems about nature.

Students expressively read and comment on Tyutchev's poems about nature, characterizing different seasons. After reading by the whole group, we try to uncover the meanings of the poet's poetic images.

The third educational situation: analysis of the poem "Spring Thunderstorm".

Poem "Spring Storm" conveys the sublime in Tyutchev's beauty of the world. We see “the sky is blue”, “pearls of rain”, “Suns of golden thread”, a forest washed by rain; we hear “the first thunder rumbles”, “peals rumble”, “bird din”, “forest din”, “mountain noise”, “everything echoes merrily with thunders”, “a loud-boiling goblet” spills onto the ground. So spring action, unfolding in heaven, touches the earth.

The fourth educational situation: analysis of the poem "Reluctantly and timidly."

Summer. Tyutchev’s summer is also very often thunderous: “Silence in the stuffy air”, “How cheerful the roar of summer storms”, “reluctantly and timidly” ... The poem “Reluctantly and timidly” creates a personified image of nature. The scene of action is the earth and the sky, they are also the main characters, the thunderstorm is their complex and contradictory relationship. Nature is full of movement (gusty wind, volatile lightning flame, dust flies like a whirlwind, the earth is in turmoil), full of sounds (thunder rumbles, thunder peals), colors (green fields, blue lightning, white flame, earth in radiance). And again, the poet makes you feel the approach of the holiday. Although the sun looks “reluctantly and timidly”, “frowningly” looks at the fields and thunder “everyone is angry”, and the earth “frowns”, but still this anger paints nature - “green fields are greener under a thunderstorm”, and the thunderstorm brings the bliss of radiance: “And the whole troubled earth drowned in radiance.”

Fifth educational situation: analysis of the poem "There is a short but wonderful time in the initial autumn ..."

Autumn. Pictures of autumn are drawn in a poem. “There is a short, but marvelous time in the initial autumn...” and again we see the action on earth and the astonished vertical movement from the sky.

The sixth training situation: analysis of the poem "The forest is bewitched by the enchantress in winter."

Winter. Tyutchev depicted the winter nature in the poem "The forest is bewitched by the enchantress in winter." The winter "miracle" takes place in a state of magical sleep of nature. The music of the verse imitates the magical action of the Enchantress, who draws magical circles, rings, charming, hypnotizing, plunging into sleep, which is especially emphasized by the repetitions: “bewitched ... bewitched ... enchanted ... all entangled ... all shackled ... motionless ... mute.

Seventh learning situation: heuristic conversation.

What is the peculiarity of the image of nature by Tyutchev, how does his view differ from ours? - Tyutchev depicts nature not from the outside, not as an observer and photographer. He tries to understand the soul of nature, to hear her voice. Tyutchev's nature is a living, intelligent being.

Eighth learning situation: analysis of the poem "What are you howling about, night wind?" Analytical polylogue.

Questions and tasks:

1) What is the central image of the poem?

2) How does it change? (The central image of the wind changes its characteristics throughout the poem: it moves from the image of a natural phenomenon to the transmission of that mysterious push that causes storms in the “mortal ... chest”)

3) What sound is heard in stanza 1?

4) Is it possible to say that the poet uses assonances?

5) What is the lyrical hero aware of? (The howling of the wind. For a lyrical hero, it is either a “deaf” complaint, or a “noisy” indignation. The main thing is that it is in tune with the “crazy “complaints” of his soul. His strange voice resonates in the heart, but the meaning is incomprehensible to consciousness. This contradiction strikes the lyrical hero .

6) Name the verbs that determine the nature of the action of the language of the wind on the lyrical hero. (howling, lamenting, digging, blowing up) We have come to the abyss, to the subject of the song of the wind - chaos.

7) What do the combinations “ancient chaos”, “native chaos” mean? (About the pre-order beginning of the world, about the generic proximity of chaos to man).

8) Read the lines:

From the mortal breast he is torn, He longs to merge with the boundless! ..
What phrase is grammatically related to the pronoun "he"? What is the point in this connection? The pronoun "he" can grammatically correlate only with the "night world of the soul." “Peace” still means a certain way, harmony. And this world is torn towards chaos, they are related. The unity of the world and chaos, man and nature is possible because they are connected by one basis: the origin of the world from chaos. In the poem, nature mediates between higher powers and the human soul.

The ninth learning situation: the work of students in an interactive mode in small groups.

A) Analysis of the poem "Shadows of gray mixed ..."

What is the meaning of color and sound in a poem? How is the feeling of disharmony of the lyrical hero conveyed? What is the meaning of the poem?

The mood of the lyrical hero is expressed in a confessional form. However, in order for it to become audible, the whole movement of life had to fall silent, contradictions are smoothed out in the twilight. Unity with the world turns out to be unattainable for the lyrical hero. The impression of harmony is deceptive. The feeling of disharmony is emphasized by the fact that an instantaneous phenomenon is depicted. Landscape characteristics fade - the soul awakens. The desire to dissolve in nature is one of the main in man.

B) Analysis of the poem "Spring Waters" ("Even in the fields snow is whitening ...").

What mood do the lines of the poem convey? What does Spring look like? What visual means create the image of Spring?

The poem creates a picture of the approach of a bright, festive season, which nature, awakening from its winter sleep, meets cheerfully. Spring is a fairy-tale queen, surrounded by a retinue - a round dance of days. The feeling of magic that fills the soul of a lyrical hero. Spring is the embodiment of vitality. "Spring waters" running from the fields to bring the news of the approach of spring - a metaphor that allows you to bring landscape and level closer subjective perception.

C) Prove with examples that nature in the poet's poems is alive, thinks, feels, speaks.

Comment on the poems (themes, moods, images, music of the verse) “Day and Night”, “Autumn Evening”, “Not what you think, nature ...”, “Not cooled from the heat ...”, “Nature - sphinx. And the more she returns ... ". (The landscape created by the poet is inside and outside a person. A person is a meeting place of two abysses, a border between worlds, this determines the catastrophic nature of life. Turgenev: “Each of his poems began with a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression ; as a result ... the thought is never naked or abstract to the reader, but always merges with the image taken from the world of the soul or nature ... ")

Tenth learning situation: We think, reflect, draw conclusions ....

For poetry F.I. Tyutchev is characteristic:

1. 
   Creation of changeable, contrasting pictures of nature (especially "day" and "night").
2. 
   An attempt to penetrate the secret of the contradictory unity of nature and man.
3. 
   Reflections on the divine beginning of the universe.
4. 
   The feeling that a natural phenomenon or event is similar to what is happening in the soul of a person.
5. 
   Simplicity of verbal embodiment, polished poetic phrases in lyrics.
6. 
   Landscape-philosophical lyrics.
7. 
   Man in the world and his destiny.
8. 
   The lyrics are imbued with delight before the greatness, beauty, infinity, diversity of nature.
9. 
   The unexpectedness of epithets and metaphors that convey the collision and play of natural forces.

Educational materials to work in small groups

A). Analysis of the poem “Shadows of gray mixed ...” What is the meaning of color and sound in the poem? How is the feeling of disharmony of the lyrical hero conveyed? What is the meaning of the poem?

B). Analysis of the poem "Spring Waters" ("Snow is still whitening in the fields ..."):

c) What mood do the lines of the poem convey? What does Spring look like? What visual means create the image of Spring?

Do you agree with the words of N.A. Nekrasov about the lines from this poem “Spring is coming, spring is coming / We are young spring messengers / She sent us forward”: “How much life, gaiety, spring freshness in the three verses we underlined! Reading them, you feel the spring, when you yourself don’t know why it’s fun and easy on the soul. It is as if several years have fallen off your shoulders - when you admire the barely visible grass, and a tree that has just blossomed, and you run, you run like a child, drinking in the life-giving air to the fullest and forgetting that it is completely indecent to run, not to fly, but to go sedately, and that there is absolutely nothing and nothing to rejoice at all ... "

G). Prove with examples that nature in the poet's poems is alive, thinks, feels, speaks.

Comment on the poems (themes, moods, images, music of the verse) “Day and Night”, “Autumn Evening”, “Not what you think, nature ...”, “Not cooled from the heat ...”, “Nature - sphinx. And the more she returns ... ".

The landscape created by the poet, inside and outside of a person. Man is the meeting place of two abysses, the boundary between the worlds, this determines the catastrophic nature of being. Turgenev: “Each of his poems began with a thought that, like a fiery point, flared up under the influence of a deep feeling or a strong impression; as a result of this ... the thought is never naked or abstract to the reader, but always merges with the image taken from the world of the soul or nature ... ".

3.2. Fragments of a lesson on the study of S. Yesenin's lyrics. "Impersonation" function (symbol - impersonation)

DURING THE CLASSES

Introductory speech of the teacher:

It is not enough to see the word. We must for sure

Know what kind of soil the word has,

How it grew and how it grew stronger

How it sounded sounded

What should swell and pour,

Before becoming a name,

In rank, in a name or in a nickname, just ...

The beauty of the word is in the chronicle of growth.

These lines are written by the Polish poet Julian Tuwim (1894 - 1953). The word lives in us, the words of the native language form a person's view of the world. Language is the spiritual force that unites the people and strengthens its creative energy.

Our thought is directed to the general, we strive to understand this world in thought. But the thought slips away, every moment it is different. Eternity is only in the idea, which within the boundaries of the word can be represented by a symbol.

Repetition of what has been learned

1. Student's message.

A symbol (from Greek - a sign, a sign) is one of the types of tropes-words that receive in a literary text, in addition to their basic (dictionary, subject) meanings, also new (figurative) ones. The symbol forms its new figurative meanings on the basis of the fact that we feel kinship, the connection between the object or phenomenon that is denoted by some word in the language or phenomenon to which we transfer the same verbal designation.

The symbol is endowed with a huge variety of meanings.

Where does the symbolic meaning of images come from? The main feature of symbols is that they, in their mass, appear not only in those texts where we find them. They have a history of tens of thousands of years, going back to ancient ideas about the world, to myths and rituals.

2. What literary movement considered the main symbol in their poetry? Name the most famous representatives of this movement.

Theme formulation. Goal setting. Epigraph work.

Each language contains a certain number of personifications. From generation to generation they were passed down in songs, epics, and later began to appear in the works of poets and writers. These are the words we are going to talk about in class today. Write down the theme: "Incarnation" in the lyrics of Sergei Yesenin.

Reading a poem by Y. Smelyakov

I'm late thank you

The one who was in front of me

And who is the evening dawn

Called the evening dawn.

The one who first heard

Drops of April, screech of frost

And this tree is called

So intoxicating - birch.

Later already, later

Sergey Yesenin came here

Warm up with a broken mouth

Her cold knees.

Ya. Smelyakov.

Smelyakov formulates the idea of ​​continuity in poetry. Find these lines.

What image is the poem talking about?

About the natural world

What image does he highlight in the natural world?

Birch.

What poet is named?

Sergei Yesenin.

A birch is an image of one row with such images-symbols: flying cranes, an endless road, a wide field, deep river. What power is hidden in all these images familiar to Russian poetry?

They have a feeling of the Motherland, its spaciousness, signs of the native land.

In Russian poetry of the 19th century, the names of trees are very often used when depicting the native landscape. Let's remember them.

Oak - a symbol of strength and strength, is associated with the theme of the "big Motherland", i.e. states; with the theme of a noble family, symbolizing the power and strength of the family, the connection of generations. Linden is a symbol of a noble estate, home, comfort.

But Russian poetry has a special passion for birch. Her poetic cult begins in the first half of the 19th century and culminates in the work of the twentieth century poet Sergei Yesenin. Let's see how it was.

Message from one of the students

All the artists of the word felt the unconditional charm of the birch.

A.S. Pushkin wrote to P.A. Vyazemsky in the rainy summer of 1825: “I enjoy the stuffy smell of resinous birches ...”, and in his travel notes from the time of the first exile he left a poignant remark about a birch met in the Crimea: “We moved the mountains, and the first object, what struck me was a birch, a northern birch! My heart sank…”

In the minds of poets, birch, love, longing, heartfelt excitement are closely connected, and although Vyazemsky, among other trees, birch still seemed prosaic, he also recognizes charm in it:

... dear soul prose

He speaks in a living language.

For him, birch is a symbol of the homeland in a foreign land, warming the soul with its warmth and light:

Of us who could coolly

See the Russian brand.

We are here and you, birch, as if

Letter from dear mother.

M.Yu. Lermontov’s idea of ​​​​the motherland is firmly connected with the feeling of the widespread sadness of Russian villages with their trembling night lights, and a daytime picture, dear to the heart, stood next to it:

I love the smoke of the burnt stubble,

In the steppe, an overnight convoy

And on the hill among the yellow

A couple of whitening birches.

After Pushkin and Lermontov, the image of a birch entered the work of each of the poets. ON THE. Nekrasov in his poem "Who Lives Well in Rus'" more than once mentions birch. In the chapter “Governor”, ​​the case helped Matryona Korchagina to save her husband from soldiering. Exemption from the royal service and the image of a spring birch merged into a symbol of peasant happiness:

Spring has begun

The birch blossomed

As we went home.

A.K. Tolstoy wrote about love, happiness, and also with the mention of birch:

That was in early spring

It was in the shade of birches.

That was in the morning of our years

Oh happiness! Oh tears!

Work with poems by S. Yesenin based on homework

A generous poetic shower of bizarre personifications and comparisons spilled over the theme of birch by Sergei Yesenin:

Birches!

Girls are birches!

Only he can not love them,

Who even in an affectionate teenager

The fetus cannot be predicted.

At home, you read poetry, wrote out lines where the word "birch" occurs. What attracts the poet's attention?

Birch attracts Yesenin's attention with its slenderness, whiteness of the trunk, dense decoration of the crown.

The dim, but elegant birch outfit evokes a number of associations in the mind of the poet. Name them.

Branches - silk braids, like well-aimed hands, green earrings ...

Birch - a bride, a girl, a candle ...

The color of the trunk is birch milk, birch chintz ...

How does Yesenin feel about birch? Why does the poet bring her to life?

The poet loves this tree: “cute birch thickets”, “Here, almost every birch leg is glad to kiss.” He most often names a tree using the diminutive suffix -k-: birch. It expresses a sincere human attitude to the world. Nature revives along with Yesenin's lines.

Group work. Comparative analysis poems.

From Yesenin's many poems, for a more detailed discussion, we will take two: "Birch" (1913) and "Green Hairstyle, Maiden's Breasts ..." (1918).

Questions for Benchmarking

How are the poems structured? What person are they talking about?

What kind of birch do we see in these verses? How does the author feel about her?

What types of tropes does the poet use?

Note the compositional features of the poems.

What features of Yesenin's lyrics are reflected in these verses?

What do these poems have in common?

Sample Analysis

"Birch" (1913) A poem is a picture of nature, akin to a picturesque landscape. In the center of attention is a birch in winter dress: a snowy border, white fringe, snowflakes are burning. With the help of epithets and metaphors, Yesenin conveys the beauty of modest Russian nature. Birch, like other objects and phenomena, lives its own special life. This becomes clear from the final stanza, where Yesenin uses his favorite technique - personification. The image of the dawn arises in it - a worker who constantly renews the outfit of her favorite:

A dawn, lazy

Walking around,

Sprinkles branches

New silver.

The poem is constructed as an entertaining episode from the life of spiritualized nature. There is no man in the picture, but he is invisibly present: a birch stands under his window, with his eyes we see this beauty, the charm of a modest Russian, birch as a symbol of Russia. And although in this poem there are no words - sounds, but an abundance of sounds c and p (in 8 lines they are repeated 7 times), hissing and sonorous sounds convey us sounds: the quiet rustle of frost falling from disturbed branches. Color associations evoke epithets and comparisons: “covered with snow, like silver”; "Snowflakes burn with a snowy border in golden fire." Winter sparkles, sparkles, creating a joyful mood, bringing peace and tranquility to the soul.

And in this poem, as in many others, in Yesenin's composition, using the form of a ring:

covered with snow,

Exactly silver.

Sprinkles branches

Target : give an idea of ​​the new thin. reception in conjunction with other visual means of the language;develop thin. speech and figurative thinking;to cultivate love for nature on the material of texts.
a) An epithet is an artistic definition.curly birch
b) Comparison is art. technique when one object is compared with another.
Eyes like flowers in a field (N.A. Nekrasov)
c) Personification is the transfer of human properties to inanimate objects and natural phenomena. eg:The bowler hat gets angry and mumbles
d) Speech styles: scientific, colloquial, journalistic, artistic.
2) Design of the board: number, topic of the lesson, quatrain by I. Bunin:
The plain of waters on the horizon fades,
And in it the moon is reflected by a column,
Bending the transparent face, brightens
And sadly she looks into the water.
H) Handout: excerpts from poems containing personifications.
The path is dark, forest,
Where bluebells bloom
Under the light and transparent shadow
The bushes lead me . I. Bunin. "In the forest".

With deliberate uniformity

Like an ointment, deep blue
Lies like bunnies on the ground
And dirty our sleeves. B. Pasternak. "Pines". Golden clouds are walking
Above the resting earth
The fields are spacious, mute
Shine, doused with dew. I.S. Turgenev. "Spring evening".

^ LESSON PLAN
1. CHECK HOMEWORK
^ 2. PREPARATION FOR THE PERCEPTION OF THE NEW LEARNING MATERIAL
A) Teacher: What artistic techniques does the author use in the texts of the story “Meshcherskaya Side”?
What is an epithet? Comparison?
B) Teacher: In what style of speech are these artistic techniques used? - table "Speech styles".
^ 3. STUDYING NEW MATERIAL
1. Teacher: Today we are studying another artistic technique - personification. With its help, artistic images are created by writers.

Even the poets of antiquity noticed that various natural phenomena, their character, features have a lot in common with human behavior, phenomena and attributes of people's life. Suffice it to recall the many superstitions regarding, for example, weather conditions. After all, it was not in vain that rain was compared with the tears of the sky, and thunder and lightning with his anger. Over time, science, nevertheless, managed to convince mankind that during a downpour the sky does not feel sad and does not cry, and thunder is just a sound that is emitted by atmospheric gases heated by a lightning strike. But the desire to endow inanimate objects, objects or abstract concepts with the qualities of living beings has not disappeared anywhere. This unique property of the human psyche created all the prerequisites for the emergence of personification, a figurative means of language used in fiction and conversation. speech.

Definition and examples of personifications

In a broad sense, personification is the transfer of characteristics, properties, skills inherent in animate, living beings to inanimate objects or abstract concepts.

An example of personification can be such phrases familiar to our hearing as:it's raining (actually the rain can't walk) the sky is crying (n he can't cry the way a living person does)the wind is howling (the noise of the wind only looks like the howl of an animal, in reality the wind cannot howl),the clouds are frowning .

Willow is crying ( willow is a tree, and therefore cannot cry, this is just a description of its spreading flexible branches, which resemble tirelessly flowing tears).

guitar playing (the guitar itself cannot play, it just makes sounds when someone plays it).

Nature fell asleep ( the phenomenon when it is quiet and calm on the street is called the sleepy state of nature, although she cannot sleep, in fact, the wind simply does not blow, and it seems as if everything around is bewitched by sleep). Thunder rolled across the sky ( he doesn't have a cart to ride on it, in fact, the sound of thunder was made, which spread in space). The dense forest became thoughtful (in the forest it is calm and silent, which supposedly characterizes his thoughtfulness and gloom).Goats spruce sits in a sheaf ( he eats hay, lowering his head and not tearing it off, and not literally sat down in a sheaf and sits in it).W ima came (In fact, she doesn’t know how to walk, it’s just that another season has come. In addition, the verb “come” is also a personification).

For example, Yesenin has the following lines:"Winter sings, calls out, the shaggy forest cradles." It is clear that winter, as a season, cannot make sounds, and the forest makes noise only because of the wind. Personification allows you to create a vivid image for the reader, convey the mood of the hero, emphasize some kind of action.

Personification in colloquial speech

In live colloquial speech, personifications are so common that many simply stopped noticing them. For example, have you ever thought about the phrase:“Finance sing romances “, is that also an impersonation? This figurative and expressive means of language in colloquial speech is used in order to give it more figurativeness, to make it brighter and more interesting, and therefore extremely popular. But, even despite the widespread use of personification in everyday speech, this trope is in greatest “demand” in fiction. Poets and prose writers around the world constantly use personification in their works. Familiar phrases "the milk has run away", "the heart is beating", are also personified. The use of this literary device in conversation makes speech figurative and interesting.

Personification in fiction

Take any volume of poems by any Russian or foreign poet. Open it on any page and read any poem. You will surely be able to find at least one personification. If this is a work about nature, then impersonations using natural phenomena cannot be avoided.(frost draws patterns, leaves whisper, waves die, etc. .). If this is love lyrics, then personifications are often used using abstract concepts (love sings, joy rings, longing eats ). In social or political lyrics, personifications are not uncommon using such concepts as: Motherland, peace, brotherhood, courage, courage (homeland is mother, the world breathed a sigh of relief).

Personification is often confused with metaphor. But a metaphor is just a figurative meaning of a word, a figurative comparison. For example, "And you laugh with a wondrous laugh, SNAKE IN A BOWL OF GOLD." There is no natural inspiration here. Therefore, it is not difficult to distinguish personification from metaphors.

Examples of personifications :

And woe, woe, grief!

And with a bastgrief girded ,

Bastlegs are entangled . (Folk song)

The personification of winter:

GOING gray-haired sorceress,

Shaggy WAVING SLEEVE;

And snow, and scum, and hoar frost,

And turns water into ice.

From her cold BREATH

NATURE'S LOOKING STUNNED...

(G. Derzhavin)

After all, autumn is in the yard

LOOKING through the thread.

Winter follows her

IN A WARM FUR COAT IS GOING,

The path is covered with snow

It crunches under the sleigh... (M. Koltsov)

Description of the flood in Pushkin's The Bronze Horseman:

“... The Neva all night / rushed to the sea against the storm, / not having overcome their violent foolishness ... / and it became impossible for her to argue ... / The weather became even more fierce, / The Neva swelled and roared ... / and suddenly , like a wild beast, / rushed at the city ... / Siege! Attack! evil waves, / like thieves, climb through the windows, ”etc.

"A golden cloud spent the night..." (M. Lermontov)

"Through the azure twilight of the night

The snowy Alps LOOK

Their dead eyes

RAZYAT with icy horror " (F. Tyutchev)

"The warm wind blows softly,

The steppe breathes fresh life "(A. Fet)

" White birch

under my window

covered with snow,

Exactly silver.

On fluffy branches

snow border

Brushes blossomed

White fringe.

And there is a birch

In sleepy silence

And the snowflakes are burning

In golden fire

And the dawn, lazily

WALKING AROUND,

Sprinkles the branches

New Silver. (S. Yesenin "Birch"):

Among the personifications of true poetry, there are no simple, philistine, primitive personifications that we are used to using in everyday life.

Each personification is an image. This is the point of using personification. The poet uses it not as a “thing in itself”, in his poetry the personification rises above the “worldly level” and goes to the level of figurativeness. With the help of personifications, Yesenin creates a special picture. Nature in the poem is alive - but not just alive, but endowed with character and emotions. Nature is the main character of his poem.

How sad against this background are the attempts of many poets to create a beautiful poem about nature, where the wind always “blows”, “the moon shines”, “the stars shine”, etc. All these personifications are beaten and worn out, they do not give rise to any imagery and, therefore, are boring. But that doesn't mean they shouldn't be used. And the erased personification can be raised to the level of an image.

For example, in the poem "It's snowing" by Boris Pasternak:

It's snowing, it's snowing.

To the white stars in the blizzard

Stretching geranium flowers

For the window frame.

It's snowing and everything's IN CONFUSION

Everything takes flight,

black stairs steps,

Crossroad turn.

It's snowing, it's snowing

As if not flakes are falling,

And in the patched coat

The firmament GOES TO THE GROUND.

Like a weirdo

From the top staircase

SNEAK UP PLAYING HIDE AND SEEK

The sky is coming down from the attic.

Because life DOES NOT WAIT.

Do not look back - and Christmas time.

Only a short interval

Look, there is a new year.

The snow is falling, thick, thick.

In step with him, FEET those

At the same pace, WITH LAZY TOY

Or with the same speed

Maybe TIME IS PASSING?

Maybe year after year

Follow as it snows

Or like the words in a poem?

It's snowing, it's snowing

It's snowing and everything is in turmoil:

whitewashed pedestrian,

SURPRISED plants,

Crossroad turn.

Notice how many personifications there are. "The sky descends from the attic ”, steps and crossroads that take flight! Alone "surprised plants » what are worth! A refrain (constant repetition) "It is snowing » transfers a simple personification to the level of semantic repetition - and this is already a symbol. The personification "It's snowing" is a symbol of the passing time.

Therefore, in your poems, you should try to USE THE PERSONALIZATION NOT JUST BY ITSELF, BUT TO PLAY A PARTICULAR ROLE.

Personifications are also used in fiction. For example, there is a wonderful example of personification in the novelAndrey Bitov "Pushkin House" ". The prologue describes the wind circling over St. Petersburg, and the whole city is shown from the point of view of this wind. Wind - main character prologue. No less remarkable is the image of the title character in Nikolai Gogol's novel The Nose. The nose is not only personified and personified (i.e. endowed with the features of a human personality), but also becomes a symbol of the protagonist's duality.

A few more examples of personification in prose speech:

The first rays of the morning sun were STEALING through the meadow.

Snow COVERED the ground like a mother of a baby.

The moon WINKED through the clouds.

At exactly 6:30 am, my alarm went off.

The ocean DANCED in the moonlight.

I heard the island CALLING me.

Thunder grumbled like an old man.

Which part of the sentence makes inanimate objects animate? - Predicate.

as personification (a word that gives life to objects) often actsverb, which can be both before and after the noun that it describes, or rather, sets it into action, animates it and creates the impression that an inanimate object can exist just as fully as a person. But this is not just a verb, but a part of speech that takes on many more functions, turning speech from ordinary to bright and mysterious, into unusual and at the same time capable of telling a lot that characterizes impersonation techniques.

4. FIXING
1. Finding personifications in the text:
2. Poetic minute - children, under the guidance of a teacher, work with handouts.
5. MIS-SCENING.
^ 6. CREATIVE FIVE MINUTES
1. Task. Personify the objects of the world around and write examples in a notebook.
Answers: The eraser argued with a pencil on paper.
The floor groaned and groaned as they walked on it.
^ 7. HOMEWORK
1. Everyone - learn the definition of personification.
2. Select and complete a task of your choice:
1st level - retell the theory. mat..
Level 2 - find personifications in texts and write them down.
3rd level - come up with and write down personifications; develop some of them into a fairy tale plot.
^ 8. LESSON SUMMARY: What is personification?

Since ancient times, people have endowed inanimate objects, phenomena and representatives of the animal world with human characteristics. The roots of such actions go back to the beliefs that existed at that time. For example, according to Old Slavic traditions, trees, buildings, household items, weapons, etc. had a soul. Therefore, it was quite natural to address them as if they were alive, and the existence of such phrases: mother earth, Mr. Veliky Novgorod, the wolf says in a human voice, etc. Such phrases have survived to this day. In addition, such techniques are constantly used in modern fiction and in everyday conversations.

This is the personification. Currently, it can be attributed to a literary device that allows you to endow inanimate objects with those properties that are characteristic of living beings. The second name of the technique is personification (translated from Greek literally means "to make a face"). Here are a few examples of how different objects and phenomena are "made a face": a star speaks to a star; somewhere an oriole is crying; Sun is up; dormant harsh northern city. With the help of personification, you can create a vivid image of the described phenomenon, convey emotions and feelings, focus on some action.

Many personifications have become so firmly established in our speech that we use them daily, without realizing that we are “animating” an inanimate object. For example, the Heart went to the heels. Of course, such an organ of the body as the heart cannot walk, especially to another organ. Or Flowers rejoice in the sun's rays - plants cannot experience the emotions inherent in people.

Most of the personifications can be found in poems, fables and fairy tales, where human qualities are attributed to various animals and plants: the pike spoke, the goldfish became sad, the forest woke up, the frost-voivode patrols his possessions, the scarlet light of dawn wove on the lake. Personification refers to one of the types of tropes, that is, special expressions used in literary work in order to enhance the expressiveness and imagery of the narrative.

Creative alliance of personification and metaphor

Linguists consider personification a special kind of metaphor. However, there are clear differences between them, which are as follows:

• personification transfers the qualities of the living to inanimate objects, and the metaphor is based on the similarity of some properties of two similar objects;
• the personification is unambiguous in its structure, it accurately describes a certain quality, and the metaphor has a more complex and multi-valued structure, therefore it can be understood in different ways;
• personification can be part of a metaphor.

In any text and speech, the presence of such a lexical device as personification will help create a memorable image and demonstrate to the reader or listener the entire rich palette of the Russian language.

For the purpose of aesthetically influencing readers through artistic images and expressing their thoughts through symbols, feelings and emotions, writers use various means of artistic expression in their literary works - tropes used in a figurative sense to enhance the figurativeness of language and expressiveness of speech.

Such literary devices include personification, also called personification or prosopopoeia. Often this trope helps to depict nature in lyrics, endowing it with human qualities and properties.

In ancient times, the animation of natural forces among ancient people was a way of understanding and perceiving the world, an attempt to interpret the structure of the world. Most readers perceive poetic works without thinking about what the impersonation technique is used for.

Personification is a literary and linguistic device based on the transfer of human characteristics and signs to inanimate things and phenomena of the surrounding world.

This literary technique is a special case of metaphor, it helps to create unique semantic models that give color and figurative expressiveness to the work.

With the help of this technique, objects in literary works are given:

• the gift of speech;
• talent for thinking
• the ability to feel;
• the ability to experience;
• ability to act.

Even the most common colloquial phrases can be elements of old tropes, when in conversation people say that “the sun rises and sets”, “the stream runs”, “the blizzard howls”, “frost draws patterns”, and “the foliage whispers”.

Here are the most obvious examples of the reception of impersonation in a live oral speech. The ancient Greeks figuratively depicted happiness in the form of the capricious goddess Fortuna.

The term "personification" has a Latin synonym - "personification" (face + I do), among the ancient Greeks it sounds - "prosopopoeia".

Wikipedia interprets personification as a term used in psychology, when the qualities of one person are mistakenly attributed to them by another.

In ancient Greek mythology, the relationship of the gods Uranus and Gaia was interpreted as a marriage bond connecting heaven and earth, as a result of which mountains, vegetation, and wildlife appeared.

Our ancient ancestors correlated Perun with thundering and sparkling natural phenomena, other gods were responsible in mythology for wind, water, and the sun.

It is in mythology that speaking representatives of the animal world initially appear, and things perform actions that are completely uncharacteristic for them.

Important! In the myths specific example it was much easier to interpret and illustrate the essence of things, the motives for the emergence of phenomena and the emergence of mankind.

Many gods embodied in objects deprived of a soul were endowed with living characters. Moreover, the myths were perceived quite realistically, and the listeners believed that this was actually happening.

Often, the literary device of personalization sounds in fairy tales, where objects can move independently, animals are able to speak in human voices and think like people. Fairy tales are not intended to explain incomprehensible phenomena, in them all the characters are fictional.

Appointment in art

The artistic device is quite often used in literary works of prose and lyrical genres to solve various problems. Personifications give emotional shades to the text, riveting the reader's attention to the content of the work and serving its better perception.

In a poem by A.A. Blok, there are examples of personification: “the nurse is silence” in one, in the other - “ White dress sang in the beam”, “winter storms wept”, “starry dreams hovered”, “strings wept”.

The literary device is also presented in the works of B.L. Pasternak: "the forest ... drops sweat in drops", "July, dragging the fluff of dandelions."

Note! The literary technique is often used not only in works of art, but also in popular science literature, and also as one of the marketing principles.

The literary technique is able to stimulate the reader's imagination, give him the opportunity to feel the content of the work more picturesquely and expressively.

Quite often used in game methods of teaching children.

For example, when studying fables saturated with these paths, animals are endowed with various human properties, as in the fable of I.A. Krylov "Quartet".

As a result, children perceive the plot of the work more vividly and understand morality. It is not always possible to determine what impersonation is used for.

Experts note the increasing stages of difference between the trope by their action in a literary work and in conversation:

The conceptual content of trails can have many nuances.

In The Tale of Igor's Campaign, figurativeness and expressiveness are achieved through literary devices that personify natural phenomena. Plants and animals are endowed with emotions, the ability to empathize with the author and characters, and they, in turn, turn to the forces of nature for help and receive it.

In Pushkin's Tale of the Dead Princess, the prince directly questions the animated forces of nature. In the fables of I.A. Krylov's trope means something else, it is used as an allegory: the wolf personifies cruelty, the monkey - stupidity.

Plyushkin is a symbol of an extreme degree of stinginess, Manilov - unreasonable daydreaming.

And A.S. Pushkin's means of expression acquires social and political meaning.

The subtext of ancient personifications is moralistic and interesting to our contemporaries.

The word "zodiac" is translated from Greek as "animals in a circle", and the twelve signs of the zodiac symbolize the key features of human nature.

Such words usually correctly establish the qualities of people, and using them in ordinary conversation makes speech brighter and more attractive.

The everyday speech of people whom everyone is interested in listening to or reading is also usually full of tropes, but people are so used to hearing them that they do not even perceive these phrases as a literary device.

This began with the use of quotations from works of literature in conversation, which became an inseparable part of speech, turning into everyday expressions. A typical trope is the turnover "the clock is in a hurry", but it is no longer perceived as a figurative means.

Impersonation examples

It is from literary works that new personifications appear, which serve for greater expressiveness, and it is not at all difficult to find them.

Personifications in the works of S.A. Yesenin: “the forest is ringing with coniferous gilding”, “the fir trees dream of the hubbub of mowers”, “the willows are listening to the whistle of the wind”, “the golden grove dissuaded”, “the bird cherry is pouring snow”, “in the evening the feather grass whispered to the traveler”, “hemp is dreaming”.

In a poem by N.A. Zabolotsky: “the stream, panting, sings”, “the heart does not hear the correct consonances”, “sad nature lies around, sighing heavily”. These examples show what personification is in literature.

Useful video

Summing up

Personification is considered a wonderful tool that, thanks to its successful use, enhances the expressiveness and emotionality of a literary work or everyday speech.

The technique can be used in many cases - from myths and folklore to popular science texts. Many of them have entered our speech so firmly that they are not even felt as expressive means, they have become everyday and familiar.

Writers and poets regularly create new memorable bright and imaginative personifications, captivating readers with picturesque paintings and conveying their mood.

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