Q words for show and tell

Show and Tell Letter Q [40 Ideas!] – Mary Martha Mama

By: Author Cat

Posted on Last updated: March 22, 2022

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Hello!  I’m back today with more show and tell letter of the week ideas and today I’m sharing all my show and tell letter Q ideas with you all! Q is definitely a harder one but I’ve hopefully got you covered with 40 ideas below!

Beyond just giving you letter Q show and tell ideas I wanted to be sure to mention a few show and tell tips that apply for every letter.

• Look through your kid’s stuffed animals and action figures.  Sometimes you can find a character whose name starts with the letter that you need.
• Look through your child’s books.  You might find a book with a title that begins with the letter that you need
• When all else fails have your kiddo take in an alphabet block with the letter on it or a an alphabet letter magnet.
• My son once took in a picture that he colored from a coloring book.  The picture was of something that started with the letter of the week and he loved showing off his artwork during share time.

And this won’t help you think of anything but this last tip will help keep you out of a bind- 

My #1 Show and Tell Tip

Set a reminder on your phone for the night before show and tell. 

That way you won’t forget and scramble to find something for Q show and tell in your car while you wait in the drop off line for school.  Yes, yes that did happen to me.  Don’t be me.  You’re better than that!

Show and Tell Letter Q Ideas:

1. queen doll
2. queen bee
3. Queen Poppy (Trolls)
4. Queen of Hearts (playing card)
5. Queen of Hearts (from Alice in Wonderland)
6. Queen Iduna (from Frozen & Frozen 2)
7. Queen Elsa (from Frozen & Frozen 2)
8. Queen Anna (from Frozen 2)
9. evil queen (from Snow White and the Seven Dwarfs)
10. queen from a chess set
11. Q*Bert (from Wreck-It Ralph)
12. quarter
13. quilt
14. quail
15. quart (quart of cream, juice, etc from toy food set)
16. Q-tip
17. Queen Miranda (from Sofia the First)
18. Quasimodo (from the Hunchback of Notre Dame)
19. quill
20. quarterback (maybe you have a toy football player or a football card of a quarterback?)
21. Quaker Oats
22. quinoa
23. quote (maybe something with a famous or favorite quote on it?)
24. quince
25. quiche
26. quesadilla
27. Quest Protein Bar
28. question mark (draw a picture of one and have your child color it in)
29. quartz (maybe you have a rock collection?)
30. Quirkle
31. quarter horse
32. quiet book
33. quadcopter
34. Quick Cups game
35. Brain Quest set
36. Quelf Jr. board game
37. Q-bits Jr. board game
38. Quiddler card game
39. Qwixx game
40. Queen Domino board game

Have any other show and tell letter Q ideas?  Please be sure to share them in the comments below!  Need show and tell ideas for another letter?  Check out my full post of Show and Tell Ideas for letters A to Z.

More Fun with Letter Q

Letter Q Tracing Worksheets

I also came across this super fun Sesame Street Letter Q video on youtube that your kiddo might enjoy for their show and tell Q week.

33 Quick Show and Tell Letter Q Ideas

ByAmanda Last updatedJune 24, 2022

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I created all of my Show and Tell A-Z lists when I realized I was struggling to think of things for my preschooler to share each week. Here are all of my show and tell ideas for letter Q – so you don’t have to scramble at the last minute too!

Tips for Finding Show and Tell Items

When I try to think of items for show and tell, I try to go through various categories of things we have in our house:

• animals
• books
• food/drinks (real or pretend)
• TV/movie characters
• family member names (to send a picture)

If all else fails, I send a foam letter from our bathtub toys or a letter from a wooden alphabet puzzle.

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Ideas for Show and Tell Letter Q

Here are all of my ideas for things that begin with Q (that you may find in your home):

Animals that begin with letter Q

You may have stuffed animals, plastic animals, or books with these creatures:

• Queen snake
• Queen Bee
• Quail
• Quagga (species of zebra)
• Qinling Panda

Books that feature the letter Q

• Giggle, Giggle, Quack by Doreen Cronin
• Quick, Quack, Quick! by Marsha Arnold
• Little Quack by Lauren Thompson

Food and drinks that begin with the letter Q

Celebrate the letter of the week with yummy snacks and drinks that start with that letter! Check with your child’s teacher before sending real food or drinks to school.

• Quiche
• Quinoa
• Quaker Oats
• Quest protein foods
• Mr. Q. Cumber sparkling cucumber beverage (I tried)
• Quesadilla

TV/Movie characters that begin with letter Q

• Queenie from 101 Dalmatians
• Queen Iduna from Frozen/ Frozen 2
• Queen of Hearts from Alice In Wonderland
• Q*Bert from Wreck-it Ralph
• Evil Queen from Snow White

Names that begin with Q (for photos of family members)

• Qamara
• Quincy
• Quill
• Quentin

Other possible Q words for show and tell

Check your toy box or closets for these items:

• Quilt
• Quarterback football player
• Quill (pen or porcupine quill)
• Quarter
• Question mark
• Quotation marks
• Q-Tips
• Queen (doll or playing card)
• Quart jar
• Quartz

Get a head start on next week! See our full list of Show and Tell Ideas from A to Z here!

Similar Posts

The culture of organizing and conducting excursions around the school museum

The problems of organizing excursion activities have been and remain relevant, in the domestic methodological literature are covered by the authors: Dobrina N. A., Dolzhenko G.P., Ishekova T.V., Leonov E.E. , Savina N.V., Sichinava V.A., Yukhnevich M.Yu.

Excursion work in the school museum has a number of specific differences, since the school museum is a unique phenomenon. It is a special space in which methods, techniques, technologies of interaction between the school and the museum are most effectively honed.

A museum tour is a form of cultural and educational activity of a museum, based on a collective inspection of museum display objects under the guidance of a specialist on a predetermined topic and a special route. [5, p. 763] Organization of excursion is the first stage in its preparation.

When organizing an excursion to the school museum, the following must be taken into account:

1. How many sightseers can feel comfortable in the exposition at the same time.
2. Age features. The time of the excursion, the chosen route will depend on this.
3. Despite the fact that the school museum, as a rule, has more open storage, the rules of conduct are the same as in other museums.
4. Before the tour, remind about the culture of visiting the museum: do not interrupt during the story; we are at a distance from the exhibits for a better inspection; do not push each other; Please don't touch anything with your hands.
5. Students can be known. But remarks: "Ivanov, if you don't listen, you'll get a deuce" are unacceptable.

Since the skills of a guide are determined by the ability to use the excursion methodology, its study is the next stage in preparation.

Almost everyone is able to learn a tour text, but not everyone is able to become a guide, and not everyone can fully master the skills of a guide.

“Excursion methodology is a set of certain requirements and rules for excursions, as well as the sum of methodological methods for preparing and conducting excursions of various types, on various topics and for various groups of people.” [3, p. 107] Excursion technique is associated with such concepts as story and show. To the question about the relationship between showing and telling in a guided tour, the methodology gives an unequivocal answer: from showing to telling. You should start with a show, with visual or other (tactile, olfactory) impressions, and then introduce a story. Showing in a tour is a purposeful process of studying objects, accompanied by an analysis and qualified explanations of the guide. This is a demonstration of sensually perceived objects that reveal the content of the excursion. [7, p. 55] The technique takes into account the ability of the object to attract attention. Uses various means of enhancing the attention of tourists. Another task of the methodology is to suggest the most effective use of methodological methods of conducting excursions. The excursion methodology takes into account the issues of emotional impact on tourists. [4, p. 9] The storytelling technique allows tourists to deepen their knowledge gained during the show. Through the story, the guide reveals the features of a particular topic, reflects the most significant moments in the individual text of the tour, using various forms of oral speech, reference, conversation, explanation, description, commentary, literary montage. A significant part of the methodological techniques in the guide's story is borrowed from the arsenal of lecturer's art. That is why the guide must be a good lecturer in order to use these forms of oral speech in a quality manner in his excursion. [3, p. 110]

Show and tell are the main elements of any tour. But if the demonstration is a major part of the excursion methodology in terms of the volume and complexity of preparation and implementation, then the story can be considered its smaller part, which is subordinate to the demonstration methodology. The thing is that the story is based largely on the show and is almost completely subordinate to the show, since for most of the tour the guide reveals the objects of the show with a story, gives them explanations, and forms the knowledge of the tourists about them. [2, p. 79] The main requirement of the excursion methodology is to ensure the continuity of the disclosure of the topic during the excursion as a process of learning, that is, the impact of the excursion material on the excursionists throughout the entire duration of the excursion (without pauses, stops and breaks).

Firstly, any pause is perceived by a group of tourists as the uncertainty of the guide, as he will be “forced to skip any significant exhibits. As a result, excursionists often begin to "fill in the gaps" with their own remarks in order to help the guide avoid an awkward situation, which negatively affects the guide's authority and lubricates the overall impression of the tour.

It is worth paying attention to the speed of speech. Fast speech does not allow the audience of sightseers to perceive all the material, and with slow speech, the group is distracted, irritated and loses attention. [1, p. 176] Ideally, the guide should be able to regulate the pace of the material presented by him, depending on various factors.

Speaking about the methodology of the excursion, we should especially note the problem of restoring the attention of the group, which is inevitably lost during the excursion. This is due to the individual characteristics of the perception of information and the psychological types of personality of the tourists. If the guide leads a passive and not emotional story, then the group's attention falls at the very beginning of the tour. [7, p. 72–73] Although the researchers claim that the attention crisis occurs at the 14th, 25th, 34th minutes, etc. [3, p. 112-113] That is, every 10 minutes, regardless of the duration of the tour. But it is worth noting that this depends, first of all, on the professionalism of the guide, who, through an interesting story and dialogue with the group, can and should recreate an atmosphere that will delay the onset of an attention crisis.

Many qualities of a guide are of great importance - the skill of a teacher and an actor: “A dynamic story, the ability to quickly switch the attention of listeners from one exhibit to another, focusing on the main thing, the ability to bring interesting facts or interesting messages. The guide must have many qualities of a teacher (patience, benevolence) and an actor (artistic presentation of material, diction), which will help him captivate listeners with his topic. [8, p. 17]

“Practice shows that in the first minutes the attention of sightseers is provided by their interest in the topic. Then attention is supported by the fascination of the story and such qualities of the exhibits as their fame, exoticism, and educational value. The correct sequence of the display also contributes to the stability of attention. [3, p. 113] One of the most accessible and high-quality methods of maintaining attention is the use of dialogue, which allows the excursionists to better perceive the material in the course of live communication, and for the guide it is important in terms of control over the attention of the group, which is focused on the dialogue and does not dissipate. With live communication, excursionists not only perceive the material better, but also participate in the excursion, and not just attend it. If you do not maintain a dialogue with the group, then some sightseers may feel that they are of secondary importance, which from a psychological point of view is sometimes emphasized by the appearance of alienation. In addition, during the dialogue, it is easier for the guide to see the degree of assimilation of the material by the group.

Having considered the theoretical aspects of the excursion methodology, we highlight several important points of its application:

1) One of the main rules of the excursion is the adaptation of the text for the group and its presentation by the guide in a simple colloquial language. In this case, the guide shows knowledge based on real communication with the group. As practice shows, the reproduction of a memorized text has a number of disadvantages. Firstly, this fact is very striking and in connection with this the text is much worse perceived by sightseers. Secondly, when a guide reproduces a memorized text, the group often gets the impression that he does not know the material well enough, which has a very detrimental effect on the assessment of the excursion by museum visitors. Thirdly, especially when the guide is not experienced enough and does not know his text well, any unexpectedly asked question of the guide or other distraction can lead to the fact that the guide simply does not know what to say next. This is especially common when conducting excursions for children in school museums. On the other hand, in practice, experienced guides are faced with such a phenomenon as “automaticity”, when the text is reproduced by the guide by inertia. On the one hand, this facilitates the work of the guide, on the other hand, it neutralizes the emotional component of the excursion and adversely affects its perception by the tourists. The way out of this situation is precisely the presentation by the guide not of the memorized text of the excursion, but of the usual colloquial text, since in this case, even when pronouncing certain pieces of text “on the machine”, the tourists for the most part are not able to feel the difference.

2) A mistake in a tour is when the guide puts the group above or below the others. This happens through the phrases: “You already know this already” or “You, of course, have not heard anything about this.” Do not underestimate or overestimate a group whose knowledge may be extensive. Even if this is not the case and the guide did not make a mistake in his assessment, this situation can lead to the fact that the group will develop a negative attitude towards the guide, which will be very difficult to correct later. To avoid this, the guide is recommended, on the contrary, to rely on facts in his excursion that are probably known to the group from the school curriculum, personal experience, or even from the story of the guide himself, which was heard earlier. Therefore, instead of categorical phrases on excursions, one should use more streamlined ones, enabling the group to “show off knowledge”, but not putting the tourists in an awkward position. For example, “Perhaps one of you remembers…”; “Have any of you heard of…?” etc.

3) Episodes are always positively assessed by a group of excursionists when the guide refers to personal experience, gives examples from other excursions, talks about remarks, information on the topic of the excursion by other excursionists, etc.

4) One of the rarely used methods is the method announcements. It is recommended to use it during excursions for children with increased anxiety. The essence of this method is that the guide, before the start of the tour, briefly tells the group what they will see: “In our museum, we will carefully examine four complexes. The first one is dedicated…” etc.

5) If the guide cannot answer any question, use the "kickback method" when the question is forwarded to the group or to the questioner himself. In this case, the guide avoids a direct answer and it is likely that someone from the group will be able to answer this question. A significant disadvantage of this method is that if no one from the group answered the question, then the guide will have to answer anyway, since attention was drawn to the issue. In this regard, this method is recommended to be used when the question is actually very easy and the answer to it simply "flew out of the guide's head." Another similar, but not so “dangerous for the guide” method is when, after a simple question is asked, the guide pauses, and in most cases someone from the group himself gives the answer to this question.

Thus, we have considered the excursion methodology, showing the features and principles used during the excursions. However, we have described only a part of the guide's techniques.

Undoubtedly, not only the methods used by him are significant, but speech culture, the level of general knowledge, appearance, gestures, emotional background. But it is important to note that with all these details, but without using the methodology, it is impossible to conduct a high-quality excursion, since it is the application of the methodology that emphasizes the level of the guide and helps him not only work competently with a group of tourists, but also improve, using new methods in practice.

Literature

1. Dobrina N.A. allowance. - M.: FLINTA: NOU VPO "MPSI", 2012. - 88 p.

2. Dolzhenko G. P. Excursion business: textbook. allowance. - M.: ICC "Mart", 2008. - 272 p.

3. Emelyanov BV Tour guide: textbook. - M.: Soviet sport, 2008. - 216 p.

4. Ishekova T. V. Excursion business: textbook. allowance. - Saratov: Scientific book, 2006. - 40 p.

5. Leonov E. E. Excursion as a form of communicative approach in the school museum // Nauka

and the present-2010: Sat. Art. according to the results of the VII International. scientific and practical. conf. - Novosibirsk: Publishing House of NSTU, 2011. - S. 103–106.

6. Fundamentals of Soviet museology. - M .: State. publishing house of cultural enlightenment. lit., 1955. - 373 p.

7. Savina N. V. Excursion guide: textbook. allowance. - Minsk: BSEU, 2009. - 255

8. Sichinava V. A. Excursion work: (From experience): a guide for teachers. M.: Enlightenment, 1981. – 96 p.

Lessons 42-45. The story of I.S. Turgenev "Mumu". Literature lessons in grade 5

Lesson 42. I.S. Turgenev. "Mumu" as a story about serfdom
Lesson 43. I.S. Turgenev. "Mumu" as a protest against slavery
Lesson 44. I.S.Turgenev. "Mumu": a system of images
Lesson 45. I.S. Turgenev is a master of portrait and landscape. Speech development lesson

LESSON 42
I. S. TURGENEV. "MUMU" AS A STORY
ABOUT serfdom

The main content of the lesson
A short story about the writer (childhood and the beginning of literary activity). The real basis of the story. Narration about life in the era of serfdom. Acting reading of story fragments. Life in the lady's house. The appearance of the lady and her servants.

Main activities of students.
Reading textbook articles about Spassky-Lutovinov (see section "Literary places in Russia") and "Ivan Sergeevich Turgenev". Answers to questions about the biography of the poet. Listening to a sound recording of an actor's reading (see phono-chrestomathy), reviewing it. Reading by roles of fragments of the story and reviewing the reading of classmates. Search for unfamiliar words and determine their meaning. Oral responses to questions (using citations). Participation in a collective dialogue. Various types of retellings.
Independent work. Search for information about Turgenev using reference and fiction literature, Internet resources (under the guidance of a teacher). Preparation of an oral story about the childhood and youth of the writer. Selective retelling of the story of one from the heroes of the story (optional). Create your own illustrations for the story. Selection of illustrative material for the implementation of the collective project.
Project. Compilation of the electronic album "Verbal portraits and landscapes in the story "Mumu" through the eyes of book graphics" (selection to verbal fragments of illustrations of book graphics, analysis of figurative and expressive means in different types of art).

LESSON CONTENT

I. The teacher's short story about the writer (childhood and the beginning of literary activity)

A story about Turgenev's childhood, his difficult relationship with his mother.
(Mother's diary found after death convinced his son not only in her extraordinary mind, but also in her great abilities. Turgenev will write about this: “What a woman! .. Yes God forgive her everything! But what a life!”)

Turgenev lived most of his life abroad, but he was extremely fond of his native places.

II. Showing video materials or a distance tour of the Turgenev estate in the format of a presentation created by the teacher.

III. Reading the textbook article on Spassky-Lutovinov (see the section "Literary places in Russia" the text of the article below) and article of the textbook "Ivan Sergeevich Turgenev".

General conversation:

Where was the future writer born and spent his childhood?

What was the atmosphere like in his parents' house? Why?

What memories did Turgenev have of his childhood?

What caused the writer's great love for his native land?

What education did Turgenev receive?

How did his writing career begin?

What topics in literature attracted Turgenev at the beginning of his career?

IV. The real basis of the story. A story about life in the era of serfdom

A story about the life of V.P. from the village.

Information about serfdom, about the life of nobles and serfs in such a society, about why Turgenev from childhood hated this unjust social order.

Commenting on unfamiliar words and expressions (in addition to footnotes): butler, keep in black body, gold leaf, zabubenny, Minin and Pozharsky, companion, postilion.

V. Listening to a sound recording of an actor's reading from a phono reader, reviewing it and answering questions 1-2 from textbook section "Phonochrestomathy. Let's listen to the acting."

VI. Reading by roles and reviewing the reading by classmates of a conversation about Tatyana's wedding with Kapiton from words "Gavrila looked at Kapiton ..." to the words "Tatiana turned, leaned lightly on the lintel and left."

Analytical conversation:

Answers to questions and tasks 2-4 from the section of the textbook "Thinking about what we read" (after the text of the story).

VIII. Retelling of episodes "The Life of Gerasim in the Lady's House" and "The story of Gerasim's love for Tatyana" and summarizing conversation :

How did Gerasim end up in the lady's house?

Why did he not like city life? How did he perform his duties?

What feelings does Gerasim evoke in the reader? How did the courtyards and the lady treat him?

In what ways does the author convey the inner state of Gerasim in moments of joy and sorrow?
(For example, through actions and postures: "... threw himself on the ground with his face and lay motionless on his chest for hours" or "laughing stupidly and mumbling affectionately", "smiling, mooing, waving her arms... she will clear the dust in front of her with a broom, etc.).

How did the servants live in the lady's house?

Why was Kapiton addicted to drinking, Tatyana was an "unrequited soul", while others behaved flatteringly and hypocritically?

Why did Tatyana agree to pretend to be drunk?

Homework

Prepare a story about Turgenev's childhood and youth before he started writing. Read the story "Mumu" from the words “All this happened in the spring” to the end.

Prepare a selective retelling on the topic “The Story of Gerasim” and “The Story of Mumu” ​​(optional).

Group job.

Find and select illustrations for the story "Mumu" in various publications and on the Internet to prepare a group project (see lesson 45).

Individual task.

Find additional materials about Turgenev's childhood and his life in Spassky-Lutovinovo in reference books and Internet resources.

Find information about the origin of the name Gerasim in Internet dictionaries. Draw your own illustrations for the story.

LESSON 43
I. S. TURGENEV. "MUMU" AS A PROTEST
AGAINST SLAVERY

The main content of the lesson
Spiritual and moral qualities of Gerasim. The appearance of Mumu. Meaning of the title of the story. Silence of the protagonist a symbol of the serf's silent protest against slavery.

Main activities of students.
Oral story about the writer. Expressive reading and listening to audio recordings of story fragments (see phonochrestomathy). Oral review of expressive reading of classmates, reading of actors. Dramatization of fragments of the story. Selective retelling of the stories of the characters in the story. Drawing up a plan (including citation) episodes, selection of quotes on a given topic. Oral answers to questions (using citation). Participation in a collective dialogue. Discussion of illustrations for stories placed in the textbook and found on their own, presentation and protection of their own drawings.
Practical work Filling in the quotation table "Traits of Gerasim's character".
Independent work Drawing up a plan for characterization of the protagonist of the story. Preparation for an oral story about the hero according to plan (with using citation) and its written characterization.

LESSON CONTENT

I. Spiritual and moral qualities of Gerasim.
Reading (or listening to sound recordings) fragments of the story "Gerasim finds Mumu", "Mumu in the master's quarters", "Mumu's loss and return"
and answers to questions 3-4 from the section of the textbook “Phonochrestomathy. Let's listen to the acting."

II. Analytical conversation:

Answers to question 1 from the section of the textbook "Thinking about what we read."

How did Gerasim take care of Mumu? How does this characterize him?

Why did he love this dog so much?

What spiritual movements of Gerasim became feasible with the appearance of Mumu?

Why did the lady want to get rid of Mumu?

Why didn't the servants help Gerasim, protect him from the lady's wrath?

III. Retelling the story of Gerasim, compiling a plan for characterizing the hero and filling out the table :

IV. General conversation:

Translated from ancient Greek, the name Gerasim means venerable. Why did the writer give such a name to his hero?

What qualities of Gerasim's character inspire sympathy and respect?

Why does the writer call the serf Gerasim "a wonderful person"?

Why was Gerasim respected by those around him?

What is the life tragedy of the hero?

With what feeling do we read the description of Gerasim's experiences after Tatyana's departure and after Mumu's disappearance?

Why didn't Gerasim and the servants protest against the way of life in the lady's house?

Why did the writer make the main character of the story deaf-mute: in order not to deviate from the real prototype or for other reasons?

V. The appearance of Mumu. The meaning of the title of the story
A selective retelling of the story of Mumu (using quotation).

VI. Analytical conversation:

How did Mumu appear in the lady's house?

Re-read the description of Mumu's appearance. Why does the author describe in detail how the appearance of the dog changed after Gerasim found it?

Why does he give a portrait of Mumu in the story as a portrait of a person?

What feelings does Mumu evoke in the reader?

What did Mumu become for Gerasim after Tatyana's departure?

What human rights was he deprived of in the lady's house, and how did he try to preserve his soul and human dignity in conditions of slavery?

Why is the story called "Mumu", although its main character is Gerasim?
Silence of the protagonist as a symbol of the serf's silent protest against slavery

VI. Reading episode "Death of Mumu" with the words "An hour after all this anxiety ... "to the words" ... some wide circles" and compiling it of the quotation plan :

1. “The closet door opened and Gerasim appeared.”
2. "Entered the tavern with the dog."
3. "He asked for cabbage soup with meat . .. and put the plate on the floor."
4. "Two heavy tears suddenly rolled out of his eyes..."
5. "Gerasim got up, paid for the cabbage soup and went out..."
6. "He went straight to the Crimean ford..."
7. " I jumped into one of them [boats] with Mumu.”
8. “Now Moscow is left behind...”
9. “I looked at it for the last time...”
10. “For him the noisiest day was silent and silent...”

Why does the writer convey these events through the eyes of Eroshka?

Discussion of illustrations for the story , placed in textbook and found independently, presentation and protection of own drawings.

VIII. General conversation:

Why didn't Gerasim leave the lady with Mumu?

Why does Turgenev change real life facts at the end of Gerasim's story?

Answer to question 5 from the section of the textbook “Thinking about what we read”.

What do you think, at what point did Gerasim decide to leave his mistress?

How was Turgenev's protest against serfdom expressed in the story "Mumu"?

IX. Reading and discussion of a fragment of the article "The Mystery of the Figure of the Silent Gerasim".

Homework

Make a plan for Gerasim's characteristics and an oral story according to this plan.

Complete tasks 6, 7 and 9from the section of the textbook "Thinking about what we read."

Individual tasks.

Answer the questions of the "Creative task" section, make a written reasoning on the proposed topic. Complete task 5 from the textbook section "Phonochrestomathy. Let's listen to the acting."

LESSON 44
I. S. TURGENEV. "MUMU": SYSTEM OF IMAGES

The main content of the lesson
Development of ideas about a literary hero. Comparison of Gerasim, the lady and the lord's servants.

Main activities of students.
Oral stories about the main character of the story. Discussion of the plan of its characteristics. Drawing up plans comparative characteristics of heroes (by groups). Compilation of written comparative characteristics of the heroes of the story according to the plan.
Practical work Filling in the citation table of comparative characteristics of heroes.
Independent work Written comparative characteristics of the characters.

LESSON CONTENT

1. Development of ideas about the literary hero
Listening to oral stories about Gerasim and clarifying the characterization plan of the hero, drawn up at home.

II. Drawing up a collective plan for the characteristics of Gerasim:

1. The origin, age and social status of Gerasim.
2. The background of the hero (a story about the life of Gerasim before his arrival in Moscow).
3. Author's techniques for creating the image of Gerasim:
•Choose the hero's name.
• The appearance of the hero in the story.
•Portrait feature.
•Interior, the world of things that characterizes the hero.
•The deeds of a hero. Plot situations revealing his inner essence.
• The speech of the hero, its features.
•Evaluation of the hero by other characters.
4. The author's attitude to the hero, ways of expressing it.
5. Readers' own assessments of the image of Gerasim and their argumentation.

III. General conversation.

•Completion of task 10 from the section of the textbook “Thinking about what we read”.

Comparison of Gerasim, the lady and the lord's servants Drawing up plans for the comparative characteristics of other heroes (in groups):

Group 1.
Gerasim and the mistress.

Group 2.
Gerasim and Tatiana.

Group 3.
Gerasim and Kapiton.

Filling in the table with the necessary quotes :

Comparative plan characteristics Key Quotes Gerasim lady

IV. Oral presentations of groups with reports on their observations on the text and comparison of characters.

V. Creation of written comparative characteristics of the characters (work can be completed at home).

Homework

Complete written character comparisons.

Group task.

Choose from illustrations by different artists for the story "Mumu" images of portraits and landscapes, structure them and select quote captions for them.
Issue this work in the form of an electronic album on the topic "Verbal portraits and landscapes in the story "Mumu" through the eyes of book graphics."

LESSON 45
I. S. TURGENEV - MASTER OF PORTRAIT AND LANDSCAPE.
LESSON FOR THE DEVELOPMENT OF SPEECH

The main content of the lesson
Development of ideas about portrait and landscape. Analysis of portrait and landscape fragments of the story. Preparing for a written response to one of the problematic questions.

Main activities of students.
Work with the dictionary of literary terms. Search for citation examples illustrating concepts p o r t r e t, landscape. Filling in the analytical tables "Portraits and landscapes in the story "Mumu"" (in groups). Presentation and protection of electronic album "Verbal portraits and landscapes in the story "Mumu" through the eyes of book graphics". Drawing up plans for answering problematic questions. Compilation of oral and written answers to the problem question. Fulfillment of the tasks of the workshop “We read, think, argue ...” and conduct story quiz.
Home test Written answer to one of the problematic questions:
1. What is IS Turgenev singing in the image of Gerasim?
2. What are Gerasim's friends and enemies?
3. What is the lady's fault and what is her misfortune?
Independent work Preparation for expressive reading of AA Fet's poems.
The development of ideas about the portrait and landscape.

LESSON CONTENT

I. Working with a dictionary of literary terms
and commenting on the characteristic features of the concepts of portrait and landscape.

II. Group research work:

Group 1.
Portrait.

Choose Gerasim's portrait characteristics from the text of the story, find comparisons and hyperbole in them and explain their role.
(What character traits do they help emphasize?)

Record the results of your observations in a table according to the model:

Group 2.
Landscape.

Choose from the description of a summer night (from the words “A summer night has just come ...” to the words “... thirty-five miles have already fallen”) comparisons, hyperbole and personifications and explain their role in the text.

Why is the only large landscape sketch of the story connected specifically with the image of Gerasim?

III. Presentation and defense of the collective project "Verbal portraits and landscapes in the story "Mumu" through the eyes of book graphics".

IV. Preparation for a written answer to a problem question

Drawing up plans for answers to problem questions:

1. What does I. S. Turgenev sing in the image of Gerasim?

What does the author emphasize about Gerasim's appearance? What figurative and expressive means does it use?
What spiritual qualities of Gerasim delight the writer? Support your answer with examples from the text.
How did Gerasim endure his servile position in the lady's house?
Why? How does the writer feel about the age-old obedience of the Russian people?
Why does Turgenev show Gerasim's protest against social orders at the end of the story?
What mood does the author create at the end of the story? Why?
What qualities of Gerasim are worthy of admiration at all times?

2. What are Gerasim's friends and enemies?

Who in the story can we call Gerasim's friends?
Is it possible to call Tatyana or the yard friends of the hero? Explain your opinion.
Why did the dog become his friend? What feelings connected Gerasim and Mumu?
How does Gerasim relate to nature, to animals, to natural life? Why doesn't he like life in the city?
Who is shown as Gerasim's enemy in the story?
Why is it precisely through the fault of the mistress that the tragedies of Gerasim occur?
Is it possible to consider the enemies of Gerasim the courtyards?
Why does the author consider serfdom to be Gerasim's main enemy?

3. What is the lady's fault and what is her misfortune?

Why does the author write sympathetically about the mistress at the beginning of the story?
What, in your opinion, was the reason for the hard character of the lady?
How did the courtyards treat her? Why?
How did she treat her household?
Did the lady think that her actions are the cause of other people's tragedies? Does she consider her yard people? Justify your opinion.
How did serfdom mutilate the mistress's soul?

Discussion of questions from the textbook section "Enriching our speech" (after the article "The Mystery of the Figure of the Silent Gerasim"), answering questions and completing tasks of the workshop “We read, think, argue ...” and conduct a quiz .

Homework

Write an essay answering one of the problematic questions :
1. What does I. S. Turgenev sing in the image of Gerasim?
2. What are Gerasim's friends and enemies?
3. What is the lady's fault and what is her misfortune?

Next lessons: Lesson 46. A.A. Fet >>>

Spasskoe-Lutovinovo is the homestead of I. S. Turgenev. Thanks to parental care, the future writer received an excellent home education here. I. S. Turgenev from childhood read and spoke fluently in German, French and English, enthusiastically read books by Russian writers from an extensive Spassky library. The estate was beautiful: an orchestra of serf musicians, and one of the side galleries of the manor house was adapted for theatrical performances. Gentlemen and their guests took part in home performances. Turgenev often recalled how on the Spasskaya stage Vasily Andreevich Zhukovsky played the role of a magician.

The writer Ivan Alexandrovich Goncharov wrote about the significance of Turgenev's childhood impressions for Russian literature: "Turgenev, who created... a number of living miniatures of serf life, of course, would not give literature thin, soft, full of classical simplicity and truly real truth essays petty nobility, peasant people and the inimitable landscapes of Russian nature, if from childhood I had not been saturated with love for the native soil of my fields, forests and did not keep in his soul the image of the suffering of the people inhabiting them.

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