Lesson plan:
Creative biography. Main themes and motives of the lyrics (with a summary of what was previously studied)
The evolution of the theme of freedom. Romantic and freedom-loving lyrics from the periods of the southern and Mikhailovsky exiles
Themes of love and friendship in Pushkin's poetry
Theme of the poet and poetry of Pushkin. Philosophical lyrics
The problem of personality and state in the poem “The Bronze Horseman”. The image of Peter I as a transforming tsar
The significance of A.S. Pushkin’s work in the history of Russian and world literature
Creative biography. Main themes and motives of the lyrics (with a summary of what was previously studied)
In literary criticism, it is customary to divide the creative biography of Alexander Sergeevich Pushkin into periods associated with changes in his fate. The young poet of the Lyceum period (1813-1817) surprised his contemporaries with poems that contained civic and historical motives. He considered Zhukovsky, Batyushkov, and Karamzin to be his literary teachers, but he was looking for his own path, giving his poems a naturalness of language and inner freedom, combining ease, irony with seriousness and solemnity. At the public exam, he aroused Derzhavin’s admiration by reading the ode “Memories in Tsarskoe Selo.” And Zhukovsky sent him his portrait, signing: “To the victorious student from the defeated teacher.”
Then - the St. Petersburg period (1817-1820). After completing his studies at the Lyceum, Pushkin served in the Collegium of Foreign Affairs and wrote mainly on social and political topics. At the same time, poems of a private nature appear: light, playful, glorifying the cult of friendly feasts and entertainment. Finishes the poem “Ruslan and Lyudmila”, which brought fame. At the beginning of 1820, Pushkin was sent into exile for his poems glorifying freethinking. For the first time, the authorities saw in the poet, if not a rebel, then an opponent[1].
Lyceum in Tsarskoe Selo (Pushkin)
During the period of southern exile (1920-1824), romantic themes predominated in poetry. At this time, Pushkin visited the Caucasus, Crimea, Moldova and Odessa, four poems were created: “Gypsies”, “Prisoner of the Caucasus”, “Bakhchisarai Fountain”, “Robber Brothers”, many poems on various topics, work began on “Eugene Onegin” "
The next stage is exile in Mikhailovsky (1824 -1826). It was a time of complete isolation from loved ones and friends. As a result of two years of rural seclusion, the tragedy “Boris Godunov” appeared, lyrics about love, nature and creativity. After the execution of the Decembrists, among whom Pushkin had friends, in September 1826, Nicholas I summoned the disgraced poet to Moscow, where the coronation was to take place. After having a long conversation with the disgraced[2] poet, the emperor allows him to return from exile and appoints himself as his personal censor[3]. There has never been such attention from the authorities to writers before.
The period after exile until the Boldino autumn (1826 - 1830) Travels a lot: St. Petersburg, Moscow, Mikhailovskoye, the Caucasus. At this time, he wrote the poem “Poltava”, “Arap of Peter the Great”, and many lyrical texts, including those dedicated to the Decembrists (“In the depths of the Siberian ores...”, “Arion”). The three autumn months in Boldino, where he went due to hereditary concerns, were especially fruitful, but due to cholera quarantine he was forced to stay. In such a short time, he completed the novel “Eugene Onegin”, wrote more than 30 poems, “Little Tragedies”, several fairy tales, “Belkin’s Tales” and other prose works.
The period of late creativity (1830-1837) During these years he became interested in historical research, wrote “The History of the Pugachev Rebellion”, the stories “The Captain’s Daughter”, “Dubrovsky”, “The Queen of Spades”. The lyrics of the 30s are mainly about eternity, the meaning of life, moral values, etc. These are the most dramatic years of the poet’s life. The conflict with the court environment and the authorities ended in a fatal duel with Baron Dantes.
Pushkin was not only a poet, but a prose writer, playwright, satirist, and publicist. He was interested in almost all aspects of social and spiritual life. The themes in Pushkin's lyrics are striking in their diversity: these are the themes of the Motherland, patriotism, nature, creativity, love and friendship, and the main one is the theme of freedom, it sounds in civil, love, landscape and philosophical lyrics.
Prisoner
Now let's look at another poem by Pushkin - the famous "Prisoner" (1822), but let's not forget that for each poem the author creates a new lyrical hero. So:
- I'm sitting behind bars in a damp dungeon.
- A young eagle raised in captivity,
- My sad comrade, flapping his wing,
- Bloody food is pecking under the window,
- He pecks and throws and looks out the window,
- It’s as if he had the same idea with me.
- He calls me with his gaze and his cry
- And he wants to say: “Let’s fly away!”
- We are free birds; it's time, brother, it's time!
- There, where the mountain turns white behind the clouds,
- To where the sea edges turn blue,
- Where we walk only the wind... yes me!..."
And again a mystery. The poem is written from the perspective of a man imprisoned, but the author never condemns the lyrical hero. On the contrary, Pushkin endows his character with such intense and deep emotions that we immediately understand: the prisoner is clean before the law. But when do innocent people end up in prison?
There are also several options here:
• the hero actually committed a crime, but by an absurd accident (for example, Satin from M. Gorky’s drama “At the Lower Depths” unwittingly killed a man who encroached on the honor of his sister);
•the hero was slandered by ill-wishers;
•the hero went to prison for something that is considered a crime in his country, but is not such from the point of view of universal justice.
After mature reflection, we will come to the conclusion that the third option is most likely. Because, no matter what troubles befall a person, he must reflect on them. If our hero were an unwitting killer or a victim of circumstances, like the Count of Monte Cristo, all he would do is “replay” what happened in his head. And, most likely, he thirsted for revenge. However, Pushkin's prisoner thinks about only one thing: freedom. But what did he do?
But now it would be useful to recall Pushkin’s biography - and especially the fact that in 1820, two years before the writing of “The Prisoner,” he was sent into exile for, let’s say, public criticism of the authorities. Alexander Sergeevich, among other things, was a supporter of the abolition of serfdom. So his lyrical hero, most likely, expressed freedom-loving ideas - and paid the price.
Fortunately, Pushkin himself never spent time in any prison. And although the authorities advised sending him to Siberia or Solovki, Nikolai Mikhailovich Karamzin (author of “Poor Lisa”) stood up for the young genius, so Alexander Sergeevich “only” wandered around the Caucasus and Ukraine for four years. And this is another proof that the lyrical hero and the author are not at all the same thing.
The evolution of the theme of freedom. Romantic and freedom-loving lyrics from the periods of the southern and Mikhailovsky exiles
Pushkin said that he was “a peace-loving friend of freedom.” Back in 1815, Pushkin expressed the idea of the destructive essence of tyranny. In the poem “Licinius” he writes: “Rome grew by freedom, but was destroyed by slavery.” This idea will further permeate the “outrageous verses” that served as the reason for the exile. In the ode “Liberty” (1817), seditious[4] calls were made for a slave uprising “to defeat vice on the thrones,” for the permissiveness of monarchs gives rise to despotism and lawlessness. The message “To Chaadaev” (1818) expressed the belief in the collapse of the autocracy. In the poem “The Village” (1819), behind the idyllic pictures of village landscapes, the “wild lordship” and the oppressed position of the peasants appear. But now there is hope that the slavery of serfdom will fall “according to the tsar’s mania.”
This was the evolution of the theme of freedom in Pushkin’s lyrics: the initial calls for uprising and overthrow of the autocracy are replaced by thoughts about the possibility of change through government reforms.
The poet felt like a slave during the southern and Mikhailovsky exiles, he longed for personal, creative and civil freedom. That is why one of the leading themes of this period is the theme of freedom, which permeates the poem “The Prisoner” (1822), although the word itself is never mentioned in the text. The poem, which begins with a description of gloomy imprisonment, ends with a call to a free life. The author expressed the idea that a person should feel free, like a bird. This feeling is a natural desire of any living being.
In the poem “The Desert Sower of Freedom” (1823), the plot of which was based on a parable from the Gospel, he compares freedom-loving calls with “life-giving seed” thrown into “enslaved” peoples accustomed to their slavery.
The love of freedom was reflected in the elegy [5] “To the Sea” (1824). The sea, “the soul’s desired limit,” is presented as a boundless, capricious “free element,” not subject to anyone’s will. Turning to the sea, he remembers his idol Byron and Napoleon, who became an exile on the island. Pushkin says goodbye not only to the sea, but also to the romantic period of wanderings during his southern exile.
Themes of love and friendship in Pushkin's poetry
In Pushkin's lyrics, the theme of love occupies a special place. The poet's life included many romantic interests and attachments. His love experiences were reflected in poems dedicated to Ekaterina Bakunina, Maria Raevskaya, Anna Kern, Anna Olenina, Elizaveta Vorontsova and others.
In December 1828, Pushkin met his future wife Natalya Nikolaevna Goncharova at a ball, with whom he married in February 1831. But when his first proposal in 1829 was rejected, Pushkin left for the Caucasus and there wrote the poem “On the hills of Georgia lies darkness of the night”, imbued with sad love memories. The image of his beloved lives in the poet’s soul, thanks to him, sadness becomes lighter, sadness becomes lighter, the darkness of the night recedes.
Pushkin, having once seen the painting “Madonna and Child” by the Italian painter Pietro Perugino, was struck by the resemblance to his bride, which he wrote to her in a letter. This is how the sonnet “Madonna” (1830) appears, in which he will create the “purest example” of his divine ideal.
Pushkin and Goncharova
The poem “I loved you” (1829) shows a high and selfless feeling, a willingness to forget oneself for the sake of the happiness of someone who is worthy of love. The sincere wish in the last line reveals the greatness of the hero’s soul. Love lyrics are distinguished not only by a high artistic, but also by a moral level; for a poet, a real feeling cannot be selfish or petty.
Pushkin perceived friendship not just as affection, but as a kinship of souls and a community of “boil of minds,” which he knew from his lyceum days and carried with him until the end of his days. He dedicated many messages to his lyceum friends Pushchin, Delvig, Gorchakov, Küchelbecker and others, imbued with the theme of friendship. “October 19” (1825) is an autobiographical monologue-memoir addressed to friends whom fate separated. But the poet believes that their friendly union is “inseparable and eternal.”
Theme of the poet and poetry of Pushkin. Philosophical lyrics
In 1814, the poetic debut of fifteen-year-old Pushkin took place in print, the poem “To a Poet Friend” was published, the line from which: “good poetry is not so easy to write” - can determine the poet’s attitude to creativity. Pushkin will reflect a deeper understanding of the poet’s purpose in many works.
While in Mikhailovskoye, Pushkin receives news that 5 Decembrists have been executed and more than 120 participants in the uprising have been exiled to hard labor in Siberia. Reflecting on the fate of the Decembrists, who accepted martyrdom and suffering for the sake of serving the people, he wrote the poem “The Prophet” (1826), in which he allegorically[6] depicts a biblical episode from the life of the prophet[7] Isaiah. Pushkin believes that the poet must also fulfill a prophetic mission and serve people with his talent.
The abundance of Old Church Slavonicisms in the text and the solemn style make the poem look like a biblical legend[8]. The lyrical hero is tormented by spiritual thirst, dragging through a spiritless desert. At a crossroads, the six-winged angel Seraphim appears to him, who, touching his eyes and ears with light fingers, gives him a prophetic gift, capable of learning the secrets of the universe. Having touched his lips, he pulls out an idle and crafty tongue, putting a wise serpentine sting into the hero’s mouth, instead of a trembling heart, he puts a flaming coal into the chest cut by a sword. Thus, a person, through torment and death in a sinful life, will rise, having acquired the divine gift of prophecy, being reborn for the mission of spiritual service, in order to “burn the hearts of people” with the word, make them see, hear and perceive the world around them differently.
If in the poem “The Prophet” the hero pronounces a lyrical monologue about his destiny, then in the poem “The Poet and the Crowd” (1828) there is a dramatic scene with dialogue, an argument between the priest-poet and the crowd about the benefits of poetry. Pushkin here relies not on the biblical tradition, but on the ancient, ancient Greek one. The poet sees the goal of poetry not in eradicating the vices of humanity, but in enjoying the beauty of words and thoughts, accessible to few. Poetry is self-sufficient and no proof of its usefulness is required for the unenlightened crowd. If in “The Prophet” the poet must go to people and “burn their hearts”, i.e. to be a public figure and express a civic position, then this poem has a diametrically opposed view of the role of the poet and poetry. This view will subsequently become the basis for the creation of a poetic school of “pure art”.
These different points of view will be united in the ode “Monument” (1836), which became Pushkin’s poetic testament. This is a philosophical reflection on the divine purpose of poetry, given to awaken “good feelings” among the people, glorify freedom and cry for mercy to the fallen.
Many of Pushkin's works were philosophical revelations, and from the late 1820s themes of life and death were often touched upon. In the poem “A gift in vain, a gift fortuitous...” (1828), reflection is built from rhetorical questions to which answers can never be found. Undoubtedly, life is a divine gift, its meaning is not to make existence aimless, idle and monotonous, emptying the heart with passions, succumbing to doubts and melancholy. In the poem “Do I wander along the noisy streets...” (1829), the poet sadly observes the signs of the inevitable departure of all living things. But the poem ends with the wise acceptance of the laws of existence: “at the entrance of the grave, the young one will play life.” The poem “Elegy” (1830) contains deep reflections on “the past, filled with sadness,” but there are no illusions about the future. Life is accepted in all its manifestations and should be filled with spiritual content. A philosophical understanding of existence is also heard in the message “Autumn” (1833); in the hero’s lyrical monologue, the cycle in nature and changes in human life are inextricably linked.
The problem of personality and state in the poem “The Bronze Horseman”. The image of Peter I as a transforming tsar
During the second “Boldino Autumn”, in 1833, a poem was written, the plot of which was based on the story of one of the most terrible floods of St. Petersburg in November 1824, with numerous destructions and victims. Nicholas I, who became Pushkin’s “personal censor”, allowed For publication only part of the text, which is a hymn to St. Petersburg. The poem was published in full after the poet's death in 1937. The main theme can be defined as the role of the personality of Peter I, whose reforms and transformations strengthened the statehood of Russia, but did not improve the situation of the people.
Compositionally, the poem consists of a rather impressive exposition[9] and 2 parts. The introduction begins with the thoughts of Peter the Great about the future capital. Then Petersburg is described and glorified a century later. But the Northern capital, created by Peter, is not only “the beauty and wonder of the midnight countries,” but also the squalid huts of the poor quarters. The beauty of “slender and austere” St. Petersburg is contrasted with terrible pictures of the consequences of the flood. The story ends with a brief message about the death of the hero. This prosaic ending disrupts the composition; despite the presence of a voluminous, solemn introduction, there is no epilogue in which one could justify the death of the heroes of the poem, who became victims of the majestic plans of Peter and his creation. Thus, Pushkin showed that the contradictions between the interests of the state and the common man are insoluble.
Bronze Horseman
The work has genre features. The praise of St. Petersburg is written in the genre of an ode, but Pushkin signed it when publishing it as “an excerpt from a poem.” Later, the subtitle “Petersburg Tale” will appear in the full work. Leading the reader to the story of the main character, Pushkin writes that this will be a sad story.
Although the title indicates a monument to Peter I, popularly nicknamed the “Bronze Horseman,” the main character of the poem is a poor official Eugene without a surname, i.e. devoid of family history; Although he is from a noble, but impoverished noble family. The reforms of Peter I changed the status of the nobles, they began to be attracted to public service. That’s why the hero serves as an official somewhere and lives in Kolomna. He does not think about high service to the Fatherland, like his ancestors, he dreams of a place with a decent salary, a family, children and grandchildren. But his unassuming dreams are not destined to come true; the city is suddenly overtaken by the elements. He managed to escape by climbing onto a sculpture of a lion near the house on the square, in the middle of which stood a monument to Peter I on a granite block. When the water began to subside, he hurried to the house of his beloved girl. Shocked by the horror of the flood, Evgeniy realizes that the bride’s house was demolished by the elements, and she and her mother died. His mind becomes clouded, he leaves home and wanders deliriously through the streets of St. Petersburg. A year later, finding himself on Peter's Square, a protest flares up in his soul; he considers the Bronze Horseman to be the culprit of his misfortune. The distraught Eugene threatens the king, who created a disastrous city in which the poor inhabitants are not protected from the elements. It seems to him that the monument begins to pursue him, and he runs away in horror. Some time later, Evgeniy is found dead near the ruins of a house.
The image of the Bronze Horseman personifies the indifference of the state to the personality of the common man. Eugene is depicted as a “small” person, on whom nothing depends, but he has a loving and vulnerable soul, he is not indifferent to the death of other people.
Pushkin created a dual image of Peter I. On the one hand, he has the glory of the emperor-worker Iorn the Creator , reformer, on the other hand, he is a despotic ruler and tyrant, ready to sacrifice human lives for the sake of realizing his own ideas. At the beginning of the poem, he appears in the guise of a statesman planning to implement the construction of a new capital at the mouth of the Neva, a place convenient for the country in military and commercial terms. But for the hero of the poem, he is a soulless “idol”, reminiscent of a statue[10] and an idol[11].
This is a heroic apotheosis poem[12] about Peter the Great and his creative contribution to the history of Russia, and a tragic story about the “sorrowful fate of the individual” of an ordinary person.
Bronze Horseman
How to write a term paper on speech therapy
07.09.2010 230068
These guidelines are compiled to help students gain an understanding of the content and structure of coursework in speech therapy.
Logopedia of pedagogical science that studies anomalies of speech development with normal hearing, explores the manifestations, nature and mechanisms of speech disorders, develops the scientific basis for overcoming and preventing them means of special training and education.
The subject of speech therapy as a science is speech disorders and the process of training and education of persons with speech disorders.
The object of study is a person suffering from a speech disorder.
The main task of speech therapy as a science is the study, prevention and elimination of various types of speech disorders.
Coursework in speech therapy is a student's scientific and experimental research. This type of educational activity, provided for by the educational and professional program and curriculum, contributes to the acquisition of skills in working with literature, analyzing and summarizing literary sources in order to determine the range of insufficiently studied problems, determining the content and methods of experimental research, processing skills and qualitative analysis of the results obtained. The need to complete coursework in speech therapy is due to the updating of knowledge concerning the content, organization, principles, methods and techniques of speech therapy work.
As a rule, during their studies, students must write two term papers - theoretical and practical.
The first course work should be devoted to the analysis and synthesis of general and specialized literature on the chosen topic. Based on this analysis, it is necessary to justify and develop a method of ascertaining (diagnostic) experiment.
In the second course work, it is necessary to provide an analysis of the results obtained during the ascertaining experiment, as well as determine the directions and content of speech therapy work, and select adequate methods and techniques of correction.
So, let’s present the general requirements for the content and design of coursework in speech therapy.
The initial and most important stage of working on a course project is the choice of a topic, which is either proposed by the supervisor or chosen by the student independently from a list of topics that are consistent with the areas of scientific research of the department.
Each topic can be modified, considered in different aspects, but taking into account a theoretical and practical approach. Having chosen a topic, the student needs to think through in detail its specific content, areas of work, practical material, etc., which should be reflected both in the formulation of the topic and in the further construction of the study. It should be recalled that the chosen topic may not only have a purely theoretical orientation, for example: “Dysarthria. Characteristics of the defect”, “Classification of dysgraphia”, but also take into account the practical significance of the problem under consideration, for example: “Speech therapy work on speech correction for dysarthria”. It should also be taken into account that when formulating a topic, excessive detail should be avoided, for example: “Formation of prosodic components of speech in preschoolers of the sixth year of life attending a preschool institution for children with severe speech impairments.”
The course work includes such mandatory parts as: introduction, three chapters, conclusion, bibliography and appendix.
The text of the term paper begins with the title page . An example of its design can be seen here.
Then the content of the work is given, in which the names of chapters, paragraphs, and sections are formulated in strict accordance with the content of the thesis. An example of its design can be seen here.
In the text, each subsequent chapter and paragraph begins on a new page. At the end of each chapter, the materials are summarized and conclusions are formulated.
The introduction reveals the relevance of the problem under consideration in general and the topic being studied in particular; the problem, subject, object, and purpose of the study are defined. In accordance with the goal and hypothesis, objectives and a set of research methods aimed at achieving the objectives must be defined.
The relevance of the topic lies in reflecting the current level of pedagogical science and practice, meeting the requirements of novelty and usefulness.
When defining the research problem, it is important to indicate what practical tasks it will help to implement in training and educating people with speech pathology.
The object of research is understood as certain aspects of pedagogical reality, perceived through a system of theoretical and practical knowledge. The ultimate goal of any research is to improve this object.
The subject of research is some part, property, element of an object, i.e. the subject of research always indicates a specific aspect of the object that is to be studied and about which the researcher wants to gain new knowledge. An object is a part of an object.
You can give an example of the formulation of the object, subject and problem of research:
– The object of the study is the speech activity of preschool children with phonetic-phonemic speech disorders.
– The subject of the study is the features of intonation speech of children with phonetic-phonemic speech disorders.
– The research problem is to determine effective directions for speech therapy work on the formation of intonation expressiveness of speech in the system of correctional intervention.
The purpose of the study contributes to the specification of the object being studied. The goal of any research is to solve a specific problem. The goal is specified in tasks taking into account the subject of research.
The research objectives are formulated in a certain sequence, which determines the logic of the research. The research objectives are set on the basis of a theoretical analysis of the problem and an assessment of the state of its solution in practice.
The first chapter is an analysis of literary sources, which examines the state of this problem in historical and modern aspects, and presents the most important theoretical principles that formed the basis of the study.
When writing the first chapter, you should pay attention to the fact that the text of the course work must be written in a scientific style. When presenting scientific material, it is necessary to comply with the following requirements:
– Specificity – a review of only those sources that are necessary to disclose only a given topic or solve only a given problem;
– Clarity – which is characterized by semantic coherence and integrity of individual parts of the text;
– Logicality – which provides for a certain structure of presentation of the material;
– Reasoning – evidence of thoughts (why this and not otherwise);
– Precision of wording, excluding ambiguous interpretation of the authors’ statements.
A literary review of the state of the problem being studied should not be reduced to a consistent presentation of literary sources. It should present a generalized description of the literature: highlight the main directions (currents, concepts, points of view), analyze in detail and evaluate the most fundamental works of representatives of these directions.
When writing a work, the student must correctly use literary materials, make references to the authors and sources from which the results of scientific research are borrowed. Failure to provide required references will reduce your coursework grade.
As a rule, in coursework on speech therapy, references to literary sources are formatted as follows: the number of the cited source in the general list of references is placed in square brackets. For example: General speech underdevelopment is a speech pathology in which there is a persistent lag in the formation of all components of the language system: phonetics, vocabulary and grammar [17].
When using quotations, in square brackets, in addition to indicating the source number, the page number from which this excerpt is taken is indicated, for example: Speech rhythm is based on a physiological and intellectual basis, since, firstly, it is directly related to the rhythm of breathing. Secondly, being an element that performs a communicative function, “correlates with meaning, i.e. controlled intellectually” [23, P.40].
However, course work should not be of a purely abstract nature, so you should not abuse the unreasonable abundance of citations. Quoting should be logically justified, convincing and used only when really necessary.
In the second chapter , devoted to experimental research, the organization should be described and the program of the ascertaining experiment should be presented. The survey methodology, as a rule, consists of a description of several series of tasks, with detailed instructions, visual and lexical material, the procedure for completing tasks by experiment participants, and scoring criteria. This chapter also provides a qualitative and quantitative analysis of the results obtained.
When analyzing the results of an experiment, it is necessary to use a scoring system. Examples of various criteria for quantitative and qualitative assessment are presented in the following works:
– Glukhov V.P. Formation of coherent speech in preschool children with general speech underdevelopment. - M.: Arkti, 2002. - 144 p.
– Fotekova T.A. Test methodology for diagnosing oral speech of primary schoolchildren. - M.: Arkti, 2000. - 56 p.
– Levchenko I.Yu. Pathopsychology: Theory and practice. - M.: Academy, 2000. - 232 p.
In order to visually present the results obtained during the experimental study, it is recommended to use tables, graphs, diagrams, etc. Histograms can be used in a variety of ways - columnar, cylindrical, planar, volumetric, etc. An example of the design of tables, figures, and histograms can be found here.
The third chapter provides a rationale for the proposed methods and techniques and reveals the content of the main stages of correctional work.
The conclusion contains a summary of the material presented and the main conclusions formulated by the author.
The bibliography must contain at least 25 sources. The list includes bibliographic information about the sources used in preparing the work. An example of its design can be seen here.
In the application you can present bulky tables or illustrations, examination protocols, observation records, products of activity (drawings, written works of children), notes from speech therapy classes, etc.
The volume of one course work must be at least 30 pages of typewritten text.
In general, coursework in speech therapy is the basis for a future thesis, in which the study of the begun problem can be continued, but from the standpoint of a different approach or a comparative analysis of the disorders being studied in different age categories of people with different types of speech disorders.
The content and format of theses in speech therapy can be found here.
Literature:
1. How to write a term paper on speech therapy: Methodological recommendations. Educational and methodological manual / Comp. Artemova E.E., Tishina L.A. / Ed. Orlova O.S. – M.: MGOPU, 2008. – 35 p.
2. Research work of students in the system of higher professional pedagogical education (specialty 031800 - Speech therapy). Methodological recommendations for completing the thesis / Compiled by. L.V. Lopatina, V.I. Lipakova, G.G. Golubeva. - St. Petersburg: Publishing house of the Russian State Pedagogical University named after. A. I. Herzen, 2002. - 140 p.
The significance of A.S. Pushkin’s work in the history of Russian and world literature
Pushkin's work was innovative; many of his works were not understood by his contemporaries. Gogol wrote that Pushkin is an “extraordinary phenomenon”, which reflected everything Russian: soul, language, nature, and the Russian man appeared in the poet’s personality as a “prototype of the future.” Having absorbed the culture of previous generations, he transformed it, creating a new literary language, daring to expand the boundaries of book vocabulary with colloquial and colloquial expressions. This language, devoid of grandiloquence, became understandable not only to the educated nobility, but also to the people. Pushkin opened the Renaissance of Russian literature. His work served as a source of inspiration for subsequent generations. He became the founder of Russian realism; the images of the “extra” or “small” person he created were continued in the works of Lermontov, Gogol, Nekrasov and many others.
Frivolity or true relationships
Researchers of the theme of love in Pushkin’s works and his fans see how many novels Alexander Sergeevich had. But was he flighty and unfaithful? The poet knew how to love and wanted to experience this feeling. His soul demanded constant saturation with these sufferings, joys, jealousies, experiences and confessions.
He loved as widely and multifacetedly as he created. Contemporaries note that each of his relationships, even small affairs or light flirtations, looked like the beginning of something great, permanent, bright . He burned in love, but burned more without it. Pushkin was a poet and, with the romanticism characteristic of his nature, he saw in relationships the fullness and diversity of feelings.
The works of Alexander Sergeevich are still recognized by writers and readers as examples of world love poetry. It is impossible to be indifferent to his work; it reflects everything that was important to the author himself.
