How to do text analysis: plan and steps. Algorithm for conducting complex text analysis How to do complex analysis

recommended along with reading fiction as the leading form of independent work of students; is the basis for work in practical classes, preparation of reports, abstracts and written work of all kinds.

A comprehensive analysis of a literary text is aimed at comprehending the author's intention: at commenting on the directly perceived layers of the text and revealing its implicit (hidden) meanings, at establishing internal connections, echoes between its components, at forming students' special attitude towards the literary work under study - as a "single , dynamically developing and at the same time internally complete world” 4 .

A complex (philological) analysis of a literary text is carried out taking into account the reader's direct perception and is based on the methods of literary, linguistic and linguo-stylistic analysis, which allows to overcome the subjectivism and impressionism of the initial conclusions and observations on the text.

Literary analysis involves the identification of the genre nature and problems of the text, its system of images and the nature of the composition of the work;

Linguistic And linguistic and stylistic analysis considers the linguistic elements that form the text, as well as the phenomenon of combining linguistic elements into a single artistic image, i.e. studies “how the figurative structure is expressed in the artistic speech system of the work” 5 .

The work on the implementation of a complex (philological) analysis involves the “shuttle” (L.Yu. Maksimov) nature of the study: constant transitions from content to form and vice versa, constant fixation of multidirectional connectionsbetween different aspects of content and different aspects of form. For this reason, the proposed analysis plan is purely schematic, preliminary in nature and involves repeated reference to each item of the work.

The main points of a comprehensive analysis of a literary work:

Genre of the text (“as a kind of canon of the work, which determines the reader's expectations and features of the form of the text”) 6 .

Image Subject (“the theme of the work” in the narrow sense of the term, the range of phenomena and events that form the lifeblood of the work).

The subject of artistic comprehension (“the theme of the work” in the broad sense of the term, “everything that has become the subject of the author’s interest, understanding and evaluation” 7).

When working with this item, it should be remembered that the subject matter of truly artistic works is multifaceted, as a rule, is not limited to any one position.

V.E. Khalizev names in this regard the following possible aspects of the topic:

1. So-called. eternal themes- moments that are explicitly or implicitly present in the works of all countries, eras, aesthetic systems. Eternal topics include:

Ontological universals– ideas about certain universal and natural principles, properties and states of Being, the universe (chaos and space, movement and immobility, life and death, etc.);

Anthropological universals– ideas about the fundamental properties and states of a person and the human world, namely:

about the spiritual principles of human existence (pride and humility, a tendency to create or destroy, alienation and involvement, etc.);

about the spiritual and bodily aspirations of a person (love attraction, thirst for power, craving for material goods, etc.);

about the features of consciousness and the unconscious, determined in people by their gender (masculinity and femininity);

about the age periods of human life (the phenomenon of childhood, old age, etc.);

about historically stable forms of human existence (work and leisure, weekdays and holidays, peaceful life and periods of social upheaval, life at home and in a foreign land, etc.)

2. Topics defined the specifics of a particular historical moment(i.e. the specifics of various mentalities and cultural traditions, the peculiarities of the way of life of peoples, the phenomena of historical time and modernity).

3. Themes defined by the phenomenon the presence of the author in the text (this aspect of the topic includes: the author's re-creation of his own personality and fate in the text of a work of art, his understanding of his own presence in the world, concrete historical reality and relations with them). 8

Determine the ratio of possible aspects of the topic in the analyzed text (which of the topics are most important for the author, which ones receive less attention?), comment on the arrangement of semantic accents in the work.

The direction of artistic comprehension (problematics of the work: what questions does the author raise in connection with the topics of interest to him?).

The specifics of the conflict of the work : What components of the artistic world are in opposition? "External" / "internal"; does the single/multiple character have conflict, does its quality change as the story progresses? How does the conflict manifest itself (in plot clashes / confrontations of characters, life positions / off-plot: in compositional contrast, stylistic antithesis)? What is the structure of the plot of the work in its correlation with the conflict (outset, climax, denouement)? What is the nature of the conflict resolution and the type of reader reaction expected to the denouement?

M.N. Epstein notes the following options in this regard:

“reconciliation or collapse of opposing forces, forcing the reader to rise above their one-sidedness (denouement-catharsis);

the victory of one of the forces, which makes one believe in its rightness and viability (“tendentious” or “engaging” denouement”);

the impossibility of reconciliation or victory, leaving forces in mutual isolation and bringing the conflict beyond the limits of the work into life, raising the question of the possible outcome of the conflict before the reader himself (problem denouement)” 9 .

What is the author's attitude to the various sides of the conflict and the nature of its resolution? How does the conflict determine the aesthetic content of the work, its pathos (tragic, comic, heroic, satirical, idyllic)?

Important: when working with this paragraph of the analysis of a work of art, pay special attention to generic text(the term "Conflict" certainly applies to the epic and dramatic genres of literature, while lyrical works can in some cases be characterized by a weakened or even absent conflict), as well as its relation to the cultural and historical era, aesthetic system(works united on these grounds have a certain similarity of conflicts, ways of resolving them, and author's intentions in this regard).

Plot works:

The source of the plot of a work of art (traditional / based on autobiographical or other events / individual author's fiction); plot type (concentric / chronicle / multi-line). The plot as the main area for the realization of characters characters works: plot And plot works, their correlation, structural parts of the plot (outset, climax, denouement) and plot (prologue, framing the plot, ups and downs, epilogue); internal division of the plot as a reflection of the dynamics of life circumstances / the inner life of the hero. The plot as the main form of expression conflict; intra-plot (local and transient, resolvable) conflicts and stable (unresolvable) conflict states 10 .

Important: when working with this point of analysis, pay special attention to the generic affiliation of the work: in lyrics the role of the plot can be weakened.

Temporal and spatial organization of the text:

Important: this item does not imply analysis of the nature of the depicted era (its main components, its influence on human life, social groups, etc.), as well as the semantic load of the details of the subject environment (as the beginning that characterizes the characters, the era, etc.). It is dedicated to the analysis tricks, allowing the author to construct the artistic world of the work as more or less lifelike, accessible to the reader,– i.e. with temporal and spatial characteristics.

Artistic space of the work: the number of spatial spheres, the exponent of each of them (from whose point of view this or that spatial sphere is depicted?), in the case of the coexistence of several spatial spheres within one work - the type of their interaction (are they isolated / not isolated from each other, which of the characters and how does he make contact between them?) and the nature of their relationship in the work (rapprochement, opposition, etc.). Elements that create an image of a space (or several spaces), the nature of the connection of elements among themselves (mosaic / holistic picture of the world; open / closed space; expanding / narrowing in relation to the character), degree of lifelikeness / conventionality of the artistic space;

Artistic time of the work: "calendar" time of the text; its one-dimensionality / multidimensionality;

(one-dimensionality of time is a phenomenon in which the time of depicted events and the time of telling about them, their perceptions are equal or close to each other, it takes place, for example, in some lyric poems, structural parts of dramatic works; a more common case is multidimensional artistic time: period , which is described in the work, is not equal to the time of storytelling, perception).

In the case of the multidimensionality of artistic time: variants, methods of temporary displacements ( display time reduction: informative “omissions”, highlighting central events to close-ups to the detriment of creating a complete picture, etc.; display time stretch: description of simultaneous events, comparison of events, increase in artistic imagery when depicting events); linear (sequential) / non-linear nature of the depiction of events, the division of a literary text into periods and the nature of the relationship between them (causal, linear, associative), the speed of the passage of time in each of the periods.

The figurative structure of the work:

Character system of the work: central characters and characters of the second plan; individual characters and collective characters. Characters in the artistic world of the work (the semantic load of the images of literary heroes, their point of view on reality, themselves and other characters; varieties of artistic functions of literary characters: double characters, antagonist characters, reasoning characters, anti-heroes, characters-bearers of aspects of the author's worldview etc.). The characters of a literary work as self-valuable images: their inner world and value orientation, ways of its expression: forms of behavior, speech, portrait characteristics; psychologism of the image of characters.

Images of reality outside of man: nature, everyday life, historical, political, social, cultural reality, etc.: artistic details, as well as central and secondary characters (their statements, actions, characters) that determine the specifics of these images. Objective-dispassionate or subjective-emotional, consistent or selective nature of the image of these areas. The episodic or constant nature of the presence of images of reality outside of a person in a work. Artistic load of images in the work. Self-valuable nature of the images in the work: questions, reflections and experiences of the author in their connection.

Compound individual images of a work of art into images fate, world, life(formation of an artistic model of the world), the nature of the artistic concept of the work:

What are the principles that form being?

What is its appearance? (is being chaotic or orderly? accessible or inaccessible to objective reconstruction? does it have or does not have meaning, purpose? has an aesthetic or anti-aesthetic appearance?)

What place among them does the human world occupy?

What is the relationship between man and the universe? (is a person rooted in being or is he torn away from it? Are the laws of existence, the realization of being, clear to a person, or are they incomprehensible to him? )

Narrative structure - as the number and nature of the organization of narrative "points of view" in the depiction of events and objectivity.

By "points of view" we mean the bearer/carriers of artistic consciousness and speech, whose monologues form the text of the work. Such carriers of consciousness can be narrator(acts as one of the characters of the artistic world: an eyewitness, a participant in events, a bearer of memories), narrator-commentator(acts as a beginning, external in relation to the artistic world, as a rule, takes the position of "omniscience", offers the reader his own interpretation of events), as well as literary characters.

Important: when working with this item, pay special attention to the generic affiliation of the work. The epic and dramatic kind of literature suggest a distance between the consciousness of the author of the work and the "points of view" of the narrator, the narrator, the voices of the characters; while the lyric and related forms of literature, such as lyrical prose, are based on a greater convergence of these principles.

Features of the organization of each of the narrative "points of view": the type of narration (from the first person / from the third person), the nature of the vision and reproduction of the world by the carrier of each of the points of view: reliable / unreliable, detailed-specific / generalized-speculative; limited by space-time limits / free from these restrictions; external in relation to the narrator, character / close to his inner world, personally significant for him.

The nature of the intended addressee of the text: what aspects of the reader's personality does the text address? For a person of what mental warehouse is it designed? Are there any methods of establishing direct contact with the reader in the text of the work, what are they?

Philological structure of the text - linguistic elements that form each of the narrative "points of view":

Lexical organization of the text: What is the ratio of neutral and emotional words in the text? Are the words of limited use of lexical groups used in the text (historicisms, archaisms, dialect vocabulary, slang vocabulary, colloquial vocabulary, words marked by belonging to a certain functional style)? Does the text follow the rules of lexical combinability of words?

Phonetic organization of the test: Presence / absence of alliterations and assonances, repetitions and echoes of sound sequences.

Grammatical organization of the text: Words of what parts of speech prevail and why? In what forms are the words of the prevailing parts of speech? What is the predominant use of tense forms of verbs? What is the relationship of participles and gerunds with them? What is the role of adjectives and adverbs in concretizing the subject of speech, its action, state named by nouns and verbs?

Syntactic organization of the text: What is the ratio of complex and simple sentences in the text? Are they of the same type / different type in structure? What types of sentences (by the purpose of the statement, by emotional coloring) are used in the text? Presence / absence of unions and their role in the text? Are there any repetitions or omissions of words, sentences?

Use of tropes, rhetorical figures, stylistic figures.

Use the method of stylistic experiment to determine the specifics of the style of narrative "points of view": artificially replace, suggest your own version of the word / phrase / speech figure / grammatical construction, etc. to prove the expediency of the author's selection of language means, to determine their semantic load in the embodiment of artistic intent.

The system of verbal images of the work - as a set of aesthetic units that form each of the narrative "points of view".

This paragraph involves the identification of key images for the work and the analysis of their existence in the work: the connection of each image with other elements of the text, the “deployment” (“increment”) of the meaning of each of the images and their mutual correlation.

The origin of images - through what artistic device images appear: artistic transfer of names (paths) / special emotional, semantic load of an artistic detail, the author's attitude to its special status in a work.

The nature of the images - how they are motivated in the text: the depicted reality / literary tradition / consciousness of the bearer of the narrative “point of view”.

Do verbal images correlate with the plot of the work (precede it / perform a prospective function 12 , i.e. refer to the omitted links of the narrative)?

What is the correlation of verbal images with the depicted world, which of its aspects do they reveal: the visually perceived side / the inner essence of its phenomena, events / the susceptibility of all components of the world to subjective perception?

The verbal images of the text have a single character, or they are correlated with each other; How is their correlation manifested (significant repetitions of images)?

Composition of the work - "as the mutual correlation and arrangement of the units of the depicted and artistic and speech means of the work" 13 .

External composition of the work- dividing it into structural parts: the main text (which includes - depending on the type of literature - chapters, paragraphs, stanzas, acts, actions, phenomena, etc.) and the frame of the work (the total designation of the components surrounding the main text: name / pseudonym of the author, title and subtitle, epigraphs, dedications, preface, afterword, notes, table of contents, date and place of creation of the work). The semantic load and the interconnectedness of the elements of the external composition of the work or their significant absence.

The internal composition of the work- organization of the text as a string of techniques that guide the perception of a literary work and reveal the specifics of the author's intention. Artistic load of the main compositional techniques:

Repetitions (at different language levels: phonetic, semantic, syntactic, compositional, etc.), comparisons and contrasts in the structure of the work.

Motives (as repeating literally or approximately “details, figurative turns, intonations that arise as a way of characterizing a character, position, experience” 14).

"Distribution and correlation of detailed images and generalized (summing up) descriptions" 15 (subject matter, external circumstances and events of a person's internal life) in the structure of the work.

Narrative structure: the order of "points of view" in the depiction of events and objectivity.

The number, sequence and correlation with each other and with the plot of the work of extra-plot elements (inserted short stories, lyrical digressions, etc.).

The leading principle of connecting significant parts of the text: causal (dictated by the logic of the depicted circumstances) / montage.

Ways of expressing the author's position in a work: key (repeating) units of the text, combining them into motives, dominants (thematic, emotional) of the text, the nature of the title of the text, the semantics of proper names in the work, remarks in dramatic works, verbal motives and features of lyrical intonation in poetic works.

Intertextual connections of the work (references to various kinds of literary sources stated in the analyzed text).

Elements of a literary text that establish intertextual connections:

Title referring to another work /

Epigraphs /

Marked and unmarked quotations included in the text, reminiscences(as references to works of literature, their authors, characters, motifs, etc. outside of direct quotation) and allusions(as mentions of non-literary, most often historical, socio-political facts without direct quotation) as a kind of literary intertextuality /

so-called. "point quotes" - the names of literary heroes or mythological characters included in the text /

Plot or stylistic parody of someone else's text /

Retelling of someone else's text included in the work in question /

The genre of the work - in the event that it refers to the facts of previous literature.

Type of literary citation: conscious reference to a literary source / unconscious reproduction of a literary template / random coincidence 16 .

Character of a literary citation: self-sufficient-playful / dialogic (in this case, the author purposefully creates a kind of "roll call" between his own and someone else's text, emphasizing certain emotional and semantic aspects of each of them).

Artistic results of the work: a work as an embodiment of aesthetic values, a work as an embodiment of the author's ideas about the world and a person in it, a work as an embodiment of the author's emotional attitude to the world and a person in it.

TOPICS OF LECTURES, BASIC CONCEPTS OF THE COURSE

(grades 9-11)

7. Determine the topic of the text.

Find paraphrases. For what purposes are they used? K Find polysemantic words and words used in the text in a figurative sense.
Pay attention to the stylistic affiliation of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, colloquial or, conversely, an elephant of a sublime style. Why are they used by the author? V Select phraseological units. Why are they used?
Pay attention to the means of artistic expression and figures of speech, if they are used by the author (epithets, metaphors). (KL 9-11)
1. Read the text. When reading, use intonational underlining, highlighting both individual words and semantic segments.
2. Recall what you know about its author. (When did he live, in what era? What literary movement did he belong to? What did he become famous for?) If you don’t know, try to find out from the reference literature.
3. What functional style of speech does the text belong to? (To artistic, journalistic, scientific / popular science.)
4. What type of speech is the text? (Description, narrative, reasoning.)
5. What genre does the text belong to (an episode of a work of art, an essay, a memory, a parable, a legend, a poem in prose, etc.)?
6. What mood prevails in the text?
7. Determine the topic of the text.
8. If the text does not have a title, title it. If there is already a title, think about its meaning (why the author chose such a title).
9. Divide the text into semantic parts, draw up a text plan for yourself.
10. How are the parts of the text connected? Pay attention to lexical and syntactic means of communication (repetitive words, syntactic parallels or, conversely, a sharp change in syntactic constructions and intonation, on the order of words in sentences).
11. How do the beginning and end of the text relate?
12. What method(s) is the text based on (comparison, opposition; gradual strengthening of feeling, gradual development of thought; rapid change of events, dynamism; unhurried contemplation, etc.)?
13. Mark the main images of the text (do not forget about the image of the author).
14. Watch the vocabulary of the text:

Find unfamiliar or incomprehensible words and set their meanings according to the dictionary. Pay attention to the spelling of these words.
Find key words in each part of the text. Are people driven by their choice?
Watch for various repetitions (anaphora, epiphora, lexical repetitions, repetitions of cognate words). What are they due to?
Find lexical and contextual synonyms and/or antonyms in the text.
Find paraphrases. For what purposes are they used?
Find polysemantic words and words used in the text in a figurative sense.
Pay attention to the stylistic affiliation of the vocabulary, the use of archaisms, historicisms, neologisms of terms; into evaluative words, colloquial, colloquial or, conversely, an elephant of a sublime style. Why are they used by the author?
Highlight phraseological units. Why are they used?
Pay attention to the means of artistic expression and figures of speech, if they are used by the author (epithets, metaphors).

SCHEME OF ANALYSIS OF A LYRICAL (POETIC) WORK

Analysis of a lyrical work is one of the options for writing. As a rule, topics of this kind look something like this: “The poem by A.A. Blok "The Stranger": Perception, Interpretation, Evaluation. The wording itself contains what you need to do to reveal the ideological and thematic content and artistic features of the lyrical work: 1) tell about your perception of the work; 2) to interpret, that is, to approach the author's intention, to unravel the idea embodied in the work; 3) express your emotional attitude to the work, talk about what affected, surprised you, drew your attention. Here is a diagram of the analysis of a lyrical work.

facts from the author's biography related to the creation of a poetic work
to whom is the poem dedicated (prototypes and addressees of the work)?

2. The genre of the poem. Signs of the genre (genres).

3. The title of the work (if any) and its meaning.

4. The image of a lyrical hero. Its closeness to the author.

5. Ideological and thematic content:

leading theme;
idea (main idea) of the work
development of the author's thought (lyrical hero)
emotional coloring (orientation) of the work and ways of its transmission

6. Artistic features:

artistic techniques and their meaning;
key words and images associated with the idea of the work;
sound recording techniques;
the presence / absence of division into stanzas;
features of the rhythm of the poem: poetic size, rhymes, rhymes and their connection with the ideological intent of the author.

7. Your reader's perception of the work.

SCHEME OF ANALYSIS OF AN EPIC WORK (STORY, STORY)

1. The history of the creation of the work:

facts from the author's biography related to the creation of this work.
connection of the work with the historical era of its creation;
the place of the work in the work of the author.

2. The genre of the work. Signs of the genre (genres).

3. The title of the work and its meaning.

4. From whose face is the story being told? Why?

5. Theme and idea of the work. Issues.

6. The plot (story lines) of the work. Conflict. key episodes.

7. The system of images of the work:

characters of the work (main, secondary; positive, negative;
features of the names and surnames of the characters;
the actions of the characters and their motivation;
subject-household details that characterize the character;
connection of the character with the social environment;
attitude towards the hero of the work of other characters;
self-characterization of characters;
the author's attitude to the characters and ways of expressing it.

8. Composition of the work:

division of the text of the work into parts, the meaning of such division;
the presence of prologues, epilogues, dedications and their meaning;
the presence of inserted episodes and lyrical digressions and their meaning;
the presence of epigraphs and their meaning;
the presence of lyrical digressions and their meaning.

10. Artistic means, techniques that reveal the idea of the work.

11. Features of the language of the work.

Text analysis is not the easiest thing. In order to comprehensively study and understand a complex literary text or a philosophical treatise (we omit scientific, sectoral texts), even the most careful reading is not always enough. You need the right tools. Such tools are hermeneutics and semiotics. Hermeneutics is the art of interpreting texts, both ancient manuscripts and complex philosophical treatises. What can we borrow from this science on a simple, philistine level, forgive us Gadamer and Ricoeur, - the method of "getting used to", try to identify yourself with the characters, transfer yourself to the situation. Although it is difficult, it requires some preparation, but it is a very effective way. Find information about the author, about the era, make a brief of historical events, a political map of the world - this will help you calculate the correct meanings.

Semiotics is the science of signs. From the point of view of semiotics, culture is the world of sign systems. How can this help? At the most primitive level, the phrase encountered and very typical for an American detective: "he showed his thumb or middle finger" - without understanding the interpretation of signs, can mislead the reader. A deeper level of semantic analysis, Yu.M. Lotman, - understanding the relationship between signs, the culture of interpretation, characteristic of a particular era, country, environment. In other words, we need to understand "who" tells us - the position of the author in society, the obligations that he had to society, for example, often in modern texts, refer to Aristotle as the founder of the ideas of democracy, herald of freedom and equality, that's all partly true, but when we read this, we should always remember that he was also one of the ardent apologists for slavery, when he spoke about a man, it should be understood that this is only an adult Hellenic man, all the rest were not even people according to the great Aristotle. Yaroslav the Wise, who many years later became acquainted with the works of Aristotle, laying the foundations for our understanding of truth and justice, in the eyes of his teacher would be nothing more than a barbarian, an animal.

The second illustrative example of semantic relationships is an old experiment with which culturologists often surprise their audiences in Russia. If you ask the audience to shout the first noun that comes to their mind after what you said, and say "cat", most people will shout "mouse" - in Russia this clear relationship can always be traced, as well as the fact that the fox is cunning, and the bear is stupid, but armed with this semantic apparatus, trying to understand the tales of the Ancient East, America, you will most likely encounter misunderstanding.

Let's summarize the above. To understand the text, you need to: have information about the author, historical era, culture, language (especially if you are reading a work in translation and can only guess about the true nature of the original meaning), try to let it all through yourself, get used to the resulting image, so you may get a little closer to the original meaning or idea.

But there is another approach, which says that the text is created by the reader. There are as many versions of each piece as there are insatiable pairs of eyes that have skimmed over it. If you follow this approach, then it does not matter at all what the author was trying to say, what is important is what you heard. The interpreter generates a new text, new meanings, a new sign system, perhaps this is the reason for evolution))

It all depends on who is analyzing. At this stage of its development, the science of literary criticism has already accumulated vast experience, which cannot be forgotten when analyzing works. For example, let's take a philologist who gave 20 years of his life to this field. He will never be able to just do a complex analysis, as you put it, because, in his opinion, a complex analysis must necessarily include the search for hidden meanings, allusions, associations, and so on. Secondly, it all depends on the author and the work you are analyzing. If this is Dostoevsky or Bulgakov, then it is simply stupid to refuse to search for "hidden meanings", because the authors themselves wanted the readers to look for these hidden meanings. But if it comes to your mind to analyze Daria Dontsova, then the search for hidden meanings and associations clearly speaks of paranoia :)

Text is a very complex phenomenon. There is no single, final, correct analysis of a literary work. You can do analysis all your life, from very different points of view, getting more and more new results. In addition, the main keys to understanding a work lie not inside it, but outside - in the context of its creation, in culture, historical era, social processes, the personal fate of the author, etc. It is these two facts that are not visible in the approach to literature that many of us are familiar with thanks to the Soviet secondary school, where literary criticism to a large extent served ideological and political goals. From there, with a high probability, the very formulation of the question of "complex analysis" comes.

In science, there are concepts "object", "subject" and "subject" of research, without the definition of which any analysis will float in a boundless (literally) space. Without going into details and definitions, I will give several possible options.

For the object of study (what we are considering), we can take the original text of the work, but with no less success (albeit with a different set of possibilities for analysis), we could use its oral forms, or the totality of the material incarnations of this text from the moment it appeared, or a set of different forms of presentation of a given text in a certain era, or reflection and reproduction of a given text in various forms of culture over a certain period.

For the subject (what we study) - the psychology of the author or era; some psychological aspects in a historical perspective; the structure of the work; variants of messages that it conveys to various recipients of different eras without involving a special analysis and ways of interpreting from different positions; some ideological, historical, historiographic, linguistic, literary, psychological, social, semiotic, aesthetic, cultural aspects in various contexts, etc.

And finally, the subject is the person who conducts the analysis. The most obvious is from the standpoint of what science he approaches the study of the text. Is he a philologist within the framework of this analysis? Historian? Historiographer? Semiotic? Culturologist? Psychologist? Costume designer? Playwright? etc. What specific questions from his field does he study in this analysis? In addition, his own culture, language, history of his people and state, life experience, level of training in various issues, interests, motives. All of these can lead to very different conclusions when analyzed. For example, some works, even those belonging to one's own culture, are very difficult to understand without going through certain events, choices, situations in one's own life. Well, or, I suppose, a phenomenon familiar to you, when, after 10 years, you return to reading the same book, you suddenly perceive it in a completely different way.

Now another example to illustrate the infinity of the concept of "analysis of a literary work." Take a text about human life in the ancient Near East, written by a Dutch author in the 16th century, translated in the 19th century. into Russian by a Russian translator, and read by you in the 21st century. These are four very differently organized cultural positions in interaction! Each of which has all that huge number of aspects, examples of which are listed above! And if from the standpoint of modern anthropology or paleontology this text may not be of interest, then, for example, from the point of view of historiography or cultural studies, it is a real storehouse! The humanities are myriads of mirror-spotlights directed at each other and repeatedly reflecting each other.

If we do not take highly specialized views and dwell on some everyday understanding of the work (which can also be very complex, diverse, change over time: this is just another point of view that is not diminished at all), then it is worth briefly familiarizing yourself with the era in which the author lived , way of life, the structure of society, social processes at that time, the personal history of the author; and also to know your language and history well, to have more of your own acquaintances with various people and accomplishments in your own life.

Every time you pick up a book, ask yourself, “What for? For what purpose am I taking this book? Thus, the approach to analysis will form by itself in the proper way, that is, correspond to very specific goals and objectives, and will not become a formal “analysis in general”. After all, the analytical approach depends on many circumstances: goals, properties of the material, properties of the recipient (reader).

In general, it is interesting to read, it is fascinating to read. Reading is generally helpful. After all, what is reading? Receiving the information. Just like observing the pictures of the world around us. Just like listening to the sound of the world around us. Receiving and processing information is directly related to the ability to survive. The overwhelming majority of the population of "developed" countries, living, as they themselves think, in comfortable conditions, have long forgotten about this.

19:31 20.06.2013

Experienced traders note that discipline is one of the most important components of successful trading. Work in the Forex currency market will be much easier and more successful, if a trader has a properly drawn up plan, a kind of pattern of behavior that the trader adheres to in any situation.
A trading plan summarizes the trader's knowledge of the market, gives a clear understanding of the situation, and defines a trading strategy. To draw up a trading plan, a trader needs to analyze the market. It can be both fundamental and technical analysis. In this article, we will consider an example of compiling complex analysis.
The analysis is carried out on several timeframes, in descending order. For example, first H4, on H1 and M30. Remember that in technical analysis, the line drawn on the higher timeframe chart is stronger and more significant than on the lower one.

1. Analyze the movements of the selected currency according to the chart of the older time period, e.g. H4. Remember the rule - "The trend is your friend." Therefore, transactions in the direction of the current trend are always priority.
Draw trend and channel lines, support and resistance lines on the chart. Fix for yourself separately the values of the three resistance levels closest to the current price and, accordingly, the three support levels.
Next, turn on the indicators that are included in your trading system on the price chart, and determine the types of signals that the indicators give. Remember, indicators only provide confirmation of your trading intentions. You formulate your intentions based on the trend analysis of the chart.

2. Switch to a smaller time interval chart, e.g. M30. Also build trend and channel lines, support and resistance lines on it. Fix for yourself separately the values of the three resistance levels closest to the current price, respectively, the three support levels. Determine the direction of the trend. If the strong levels and trend direction of the higher and lower timeframes coincide, then this strengthens the signal.

3. Analyze fundamental data, both those released before the start of trading, and those that will be released during the day. Assess their possible impact on the movement of the currency.

4. Write a script for yourself when the price reaches some price area you selected, where you plan to open a deal.
Immediately outline for yourself the opening price of the position and the expected target (take profit), as well as the possible closing price of the position at a loss (stop loss). When setting goals for both profit and possible loss, consider whether a trade follows the money management rule: "Potential profit must be greater than possible loss." Those. do not open a position if the expected profit is comparable to or less than the intended risks.

5. After drawing up a trading plan, implement it. Remember, good decisions should only be based on logical principles. Do not deviate from the planned plan, do not allow the dominance of emotions.

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