Tongue twisting word
50 Tongue Twisters to improve pronunciation in English · engVid
by Alex
Tongue twisters are a great way to practice and improve pronunciation and fluency. They can also help to improve accents by using alliteration, which is the repetition of one sound. They’re not just for kids, but are also used by actors, politicians, and public speakers who want to sound clear when speaking. Below, you will find some of the most popular English tongue twisters. Say them as quickly as you can. If you can master them, you will be a much more confident speaker.
- Peter Piper picked a peck of pickled peppers
A peck of pickled peppers Peter Piper picked
If Peter Piper picked a peck of pickled peppers
Where’s the peck of pickled peppers Peter Piper picked? - Betty Botter bought some butter
But she said the butter’s bitter
If I put it in my batter, it will make my batter bitter
But a bit of better butter will make my batter better
So ‘twas better Betty Botter bought a bit of better butter - How much wood would a woodchuck chuck if a woodchuck could chuck wood?
He would chuck, he would, as much as he could, and chuck as much wood
As a woodchuck would if a woodchuck could chuck wood - She sells seashells by the seashore
- How can a clam cram in a clean cream can?
- I scream, you scream, we all scream for ice cream
- I saw Susie sitting in a shoeshine shop
- Susie works in a shoeshine shop.
Where she shines she sits, and where she sits she shines
- Fuzzy Wuzzy was a bear. Fuzzy Wuzzy had no hair. Fuzzy Wuzzy wasn’t fuzzy, was he?
- Can you can a can as a canner can can a can?
- I have got a date at a quarter to eight; I’ll see you at the gate, so don’t be late
- You know New York, you need New York, you know you need unique New York
- I saw a kitten eating chicken in the kitchen
- If a dog chews shoes, whose shoes does he choose?
- I thought I thought of thinking of thanking you
- I wish to wash my Irish wristwatch
- Near an ear, a nearer ear, a nearly eerie ear
- Eddie edited it
- Willie’s really weary
- A big black bear sat on a big black rug
- Tom threw Tim three thumbtacks
- He threw three free throws
- Nine nice night nurses nursing nicely
- So, this is the sushi chef
- Four fine fresh fish for you
- Wayne went to wales to watch walruses
- Six sticky skeletons (x3)
- Which witch is which? (x3)
- Snap crackle pop (x3)
- Flash message (x3)
- Red Buick, blue Buick (x3)
- Red lorry, yellow lorry (x3)
- Thin sticks, thick bricks (x3)
- Stupid superstition (x3)
- Eleven benevolent elephants (x3)
- Two tried and true tridents (x3)
- Rolling red wagons (x3)
- Black back bat (x3)
- She sees cheese (x3)
- Truly rural (x3)
- Good blood, bad blood (x3)
- Pre-shrunk silk shirts (x3)
- Ed had edited it.
(x3) - We surely shall see the sun shine soon
- Which wristwatches are Swiss wristwatches?
- Fred fed Ted bread, and Ted fed Fred bread
- I slit the sheet, the sheet I slit, and on the slitted sheet I sit
- A skunk sat on a stump and thunk the stump stunk, but the stump thunk the skunk stunk
- Lesser leather never weathered wetter weather better
- Of all the vids I’ve ever viewed, I’ve never viewed a vid as valued as Alex’s engVid vid
Practice some common tongue twisters with me in this video:
How to sound like a native speaker: THE SECRET · engVid
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Is there a secret to sounding like a native speaker? In today’s lesson I’ll share with you the key to PERFECT PRONUNCIATION! English pronunciation can be difficult to master, because it isn’t a phonetic language — that is, words are not pronounced the way they are spelled.
In addition, American pronunciation and British pronunciation are very different from one another. So how can you sound like a native speaker? Watch this lesson to find out!
Quiz
Test your understanding of this English lesson
Test your understanding of the English lesson by answering these questions. You will get the answers and your score at the end of the quiz.What does the |e| syllable in the word co li s e um sound like? (coliseum)
the |e| in penthe |ee| in feelthe |a| in saythe |i| in pin
What does the |ou| syllable in the word tho r ou gh sound like? (thorough)
the |o| in openthe |u| in upthe |oo| in poolthe |a| in talk
What does the |ea| syllable in the word h ea then sound like? (heathen)
the |ee| in squeezethe |e| in lendthe |i| in pinthe |o| in pond
What does the |ea| syllable in the word h ea ther sound like? (heather)
the |a| in dawnthe |ee| in queenthe |e| in penthe |a| in father
What does the |a| syllable in the word al ph a bet sound like? (alphabet)
the |a| in fatherthe |au| in laundrythe |a| in landthe | hole | in asshole
What does the |i| syllable in the word tr i ath lon sound like? (triathlon)
the |a| in cakethe |ee| in treethe |y| in stylethe |i| in spill
What does the |i| syllable in the word tr i age sound like? (triage)
the |ee| in treethe |y| in skythe |a| in can’tthe |i| in will
What does the |a| syllable in the word o r a nge sound like? (orange)
the |i| in winthe |ai| in painthe |o| in onthe |a| in apple
What does the |a| syllable in the word r a nge sound like? (range)
the |ai| in trainthe |a| in backthe |u| in underthe |e| in when
What does the |ou| syllable in the word r ou gh sound like? (rough)
the |oo| in spoonthe |ow| in shownthe |a| in standthe |a| in car
Championship of Moldova - 2005.
Russian part - Read
- Unanswered
- FB2
Date: 2005-03-27
Editor: Konstantin Knop (St. Petersburg)
Show answers
1 tour
Question 1: Theoretical physicists in the 1930s developed the statistical method learning IT. On the map of Europe they drew the ISOCALS. The largest IT took values in Tuscany, north of Florence, then in Split in Yugoslavia, in southern Ireland, in Norway ... Surprisingly, southern Italy, and even more so Paris, were by no means distinguished by an increased THIS, although in literature states the opposite. Who, contrary to popular stereotypes, few in Paris and many in Norway? nine0015
...
Answer: Beautiful women.
Callos is beautiful.
Source(s): Man Magazine, 3/1992, p.161.
Author: Tatyana Auderskaya (Odessa)
!
Question 2: This hero came out from the author's pen as a kind of desert island, where he decided to take refuge from the hustle and bustle of life.
It was his inner peace, his fragile dream. It is not surprising that the film adaptation of his adventures the author took the hero with hostility. An aristocrat to the marrow of his bones, the author is not arranged for a plebeian, whom he called "the man with the face of a truck driver". Who, recently become an outstanding gentleman, honored with such an unflattering characterization? nine0015
...
Answer: Sean Connery.
The hero is James Bond, the author is Ian Fleming. In 2003, the film was released The League of Extraordinary Gentlemen with Sean Connery.
Source(s): http://www.idelo.ru/224/27.html
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 3: The Greeks thought OH was the third, and the Romans thought it was the tenth. And on whose picture depicts the same as what the Russians considered IT to be? nine0015
.
..
Answer: Aivazovsky.
We are talking about shafts: the third shaft, the tenth shaft, the ninth shaft.
Source(s): L. Voronikhina, T. Mikhailova. Russian painting of the 19th century. M.: Russian language, 1990, p.108.
Author: Artem Matukhno (Odessa)
!
Question 4: In the 18th century, the IKS was formed from five, including Cologne, but in the 20th century it was divided into four. YGREK Anna Akhmatova dedicated two collections of her poems. Write in the answer a word that can be read both as X and like YGREK. nine0015
...
Answer: Berlin (without accent or with two accents).
In the 18th century, five independent cities: Berlin, Cologne (a completely different Cologne, not the one where the famous cathedral), Friedrichswerder, Dorotheenstadt and Friedrichstadt formed the "royal capital and seat of Berlin".
After WW2, the allies divided the city into four occupation zones, which later became separate West Berlin and East Berlin, the capital of the GDR. Friendly relations connected Akhmatova with an English philosopher, an emigrant from Russia, Sir Isaiah Berlin (emphasis on "E"). To him she dedicated her collections "Cinque" and "Rosehip blossoms". nine0015
Source(s):
1. Berlin. Illustrated guide. Appendix to the magazine "Afisha for two weeks", N 22, May 2002, p. 48.
2. http://starlight2.narod.ru/poems/poema_prim4.htm
3. http://teen.fio.ru/news.php?n=4910&c=825
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 5: These two words can describe, for example, an event what happened on 31 July 1944 years old ten kilometers from San Rafael, or an event that occurred on March 27, 1968 near the village of Novoselovo, or an event that occurred on January 28, 1986 near Cape Canaveral.
These same two words appear in the title of a book of memoirs, first published in Soviet Union in 1990. Name a male name that is also included in the title of this book.
...
Answer: Vladimir.
Two words - "aborted flight"; This is how death can be described. Saint-Exupery on the P-38, and the death of Gagarin, and the death of astronauts "Challenger". The book dedicated to Vysotsky by Marina Vladi is called "Vladimir, or Interrupted Flight". nine0015
Source(s):
1. 100 Great Plane Crashes. - M.: Veche, 2003. - S. 123, 214, 344.
2. M. Vlady. Vladimir, or Interrupted flight. — M.: Soviet writer, 1990.
Author: Dmitry Bashuk (Kharkiv)
!
Question 6: Vladimir Vinokur recalls how, back in Soviet times, having arrived on tour in Mexico City, on the very first day, together with Leshchenko and Oganezov, hung with photographic equipment, rushed to the pre-planned goals.
However, having found the right place, they learned with chagrin that there was already visited by musicians of the State Symphony Orchestra of Radio Broadcasting and television. What exactly was in this building? nine0015
...
Answer: Thrift shop.
The photographic equipment was intended for sale and restocking currency, but on the showcase of Zenit cameras alone, there were about fifty...
Source(s): V. Vinokur. An artist is forever! — M.: Tsentrpoligraf, 2001. — S. 147.
Author: Tatyana Leshchenko (Kharkiv)
!
Question 7: This is how Krasnaya Gazeta described the event that took place on 5 May 1926 of the year in Leningrad: "Cigar-shaped steel is already over" Krasny Putilovets ". Turn. [Word omitted] headed for the city center... Prospekt 25 October. Through binoculars you can see someone waving from the control cabin.
Name the missing eight-letter word.
...
Answer: Norway.
On this day, from his temporary camp in Trotsk (now Gatchina) in In the direction of Svalbard flew the airship "Norway" Roald Amundsen. The newspaper described his flight over Leningrad. nine0015
Source(s): D. Sherikh. Petersburg. 300 years day by day. - M .: CJSC Tsentrpoligraf, 2003. - S. 137.
Author: Dmitry Bashuk (Kharkiv)
!
Question 8: On February 8, 1925, an article about tests, for which a special train weighing 78.5 thousand pounds. As stated in the note, "The train was traveling from Baku to Batum accompanied by a special test commission. In dangerous places deliberately signaled to stop. The train stopped instantly, without jerks". The title of the note consisted of three words: "Best [word omitted] country." Name the missing word. nine0015
.
..
Answer: Brake.
The article dealt with the testing of a new system of railway brakes, invented by Florenty Kazantsev.
Source(s): Ogonyok, 7/2005.
Author: Dmitry Bashuk (Kharkiv)
!
Question 9: When waiting at a tram stop in Helsinki city, you can INSTEAD ACTIONS just send SMS with text A641 to number 16353. Instead of which actions? nine0015
...
Answer: Ticket purchases.
Credit: According to the meaning - to accept everything that indicates an understanding that this SMS replaces the purchase of a ticket.
The response message serves as confirmation of payment for the fare within 1 hour by tram, metro and ferry to Suomenlinna (Sveaborg). It is mandatory must be received prior to boarding the vehicle.
Source(s): Helsinki Route Map (Autumn 2004 - Spring 2005).
nine0015
Author: Georgy Gladkov (Samara)
!
Question 10: Blitz. 3 questions for 20 seconds.
In books about Tanya Grotter, characters often wear "talking" combinations name/surname and title or occupation. Name:
1. Who was the owner of the printing house Fomanov?
2. Who was the seller of magic goods Zina?
3. As the surname of a certain Claudia, one of the co-authors of the book "Theory informing"?
...
Answer:
1. Count (Count Fomanov).
2. Magician (Zina's magician's shop).
3. Yauznik (obtained by Kl. Yauznik).
Credit: For the last part of the blitz, also accept the answer "Jauznitsa".
Source(s): Dmitry Yemets. Tanya Grotter and the staff of the Magi. M.: EKSMO, 2003.
Author: Georgy Gladkov (Samara)
!
Question 11: [Presenter: read cement with emphasis on the first syllable.
]
Attention, there is a replacement in the question!
Listen carefully to an excerpt from one of Pushkin's poems. So:
Sing in delight, Russian choir,
A new product is out.
Have fun Rus! Our CEMENT
Not CEMENT, but porcelain!
Write the word that we replaced with the word "CEMENT".
...
Answer: Glinka.
Porcelain is made, in particular, from clay. nine0015
Source(s): A.S. Pushkin. Works. T., ACADEMIA, 1934, C.167.
Author: Artem Matukhno (Odessa)
!
Question 12: And again about Glinka... Listen to the quatrain of the author of the question, in which the same substitution was made several times.
If the girl is a neglinka,
Then she is not Glinka yet.
To become Glinka in the house,
She needs to stand at the stove.
Which name in the text is replaced three times with "glinka"? nine0015
.
..
Answer: Vesta.
For the bride to become the keeper of the hearth, she needs to stand at the slab that embodies it.
Source(s): The work of the author of the question.
Author: Elena Kaminskaya (Odessa)
!
2 round
Question 1:
Dieu protege la reine
De sa main souveraine!
Vive la reine! nine0105 Qu'un regne glorieux,
Long et victorieux
Rende son peuple heureux.
Vive la reine!
Dear connoisseurs. These lines are an anthem, though not national. And what country?
...
Answer: Canada.
The first stanza of the British anthem "God Save the Queen" was specially translated into French for the royal anthem of bilingual Canada.
Source(s): http://en.wikipedia.org/wiki/God_Save_the_Queen#Lyrics
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 2: At one of the competitions at the Perverts school, Porry Gutter is confronted by a certain Mick, nicknamed the Red Sheep. Give the name of another an opponent named Boris.
...
Answer: Kello.
Credit: Kella.
Mick Shimakhing - of course, Schumacher, and Boris Kello - Barrichello (Barrichello), the spelling of Barrichello is also found. nine0015
Source(s): Zhvaletsky A., Mytko I. Porri Gutter and the Stone Philosopher. - M .: Time, 2002, p. 301.
Author: Georgy Gladkov (Samara)
!
Question 3: Kirill Eskov in the futurological essay "Our answer to Fukuyama" is ironic notes that (the beginning of the quote) "the divination of the future is deservedly extreme in a number of those fields where it is needed as overalls "(end quotes) a kind of headdress.
This headdress is called the same as tragicomedy by Luigi Pirandello, staged by one of the Russian theaters. Name this headgear. nine0015
...
Answer: Cap (with bells).
Credit: Fool's cap, jester's cap.
Source(s):
1. Eskov K. Our response to Fukuyama. (http://books.rusf.ru/unzip/add-on/xussr_gk/eskovk22.htm)
2. http://art.internord.ru/cult/theatre/progr/aleks_colpak.html
Author: Alexander Kudryavtsev (Nikolaev)
!
Question 4: One of our compatriots, who visited Greece about a century ago, noted that in Athens there is only one monument that does not belong to the ancient Hellas. We add on our own that this monument is also not related, although the person depicted on it was quite good sportsman. To whom is this monument erected?
...
Answer: Lord Byron.
He was a good swimmer and excellent (perhaps the best in the UK) boxer. nine0015
Source(s): "Greece and the Slavic World", Simferopol, Crimean archive, 2002, p. 305.
Author: Tatyana Auderskaya (Odessa)
!
Question 5: For the manufacture of one of its varieties, 50% silica is taken, 16% sodium carbonate, 12% calcium carbonate, 4% other substances. Component, not named by us, two-thirds consists of "supercooled melt" and one third of what is characteristic of some watches. Name this one component. nine0015
...
Answer: Broken glass.
The recipe for making bottle glass is given. Silica - sand, sodium carbonate - soda, calcium carbonate - limestone. The word "cullet" consists of two parts - the six-letter "glass" ("supercooled melt") and three-letter "fight".
Source(s): Journal "Tree of Knowledge".
N 31.
Author: Alexander Kudryavtsev (Nikolaev)
! nine0015
Question 6: Each of you has SHE in your house, and not just one. There is SHE in Daria's novels Dontsova. In chess, HER has a two-word synonym. the same the phrase is a film in which one actor played two roles. Name this actor.
...
Answer: Van Damme.
SHE is a fork. Dontsova has Viola Tarakanova, nicknamed "Fork". AT chess - "double blow". In the film of the same name, Van Damme played twins. nine0015
Source(s): http://www.sovafilm.ru/films/9191.htm
Author: Elena Kaminskaya (Odessa)
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Question 7: In one of the crossword puzzles, a certain five-letter word was defined as "[WORD OMITTED] depressed." The missing word is the name of a plant that can be seen, for example, on coats of arms Australia and Odessa region.
Name the word in the crossword puzzle.
...
Answer: Mezga.
"Grapes in a depressed state" - "pulp".
Source(s):
1. "The latest guide to essential knowledge". Moscow: Ripol-Classic, 2003, P.187.
2. http://geraldika.ru/symbols/3384, http://geraldika.ru/symbols/3383, http://geraldika.ru/symbols/1896
Author: Artem Matukhno (Odessa)
!
Question 8: Actually November 17, 1869this year was not in sight. yes and 1 November 1869 gave "Rigoletto". But December 24, 1871 really for the first time it was possible to hear ... Well?
...
Answer: Verdi's Aida.
Despite the widespread (penetrated even into the Question Base) misleading, "Aida" was written two years after the discovery of the Suez channel, although it was ordered precisely for its opening (which took place on 17 November 1869).
For this, the Cairo Opera was also built, at the opening which (November 1, 1869) had for this very reason to give "Rigoletto".
Source(s):
1. http://www.maat.ru/news/2002/2002-10-02.shtml
2. http://www.krugosvet.ru/articles/12/1001230/1001230a1.htm
3. http://catalog.booksite.ru/localtxt/com/pos/ito/rov/sto/36.htm
Author: Georgy Gladkov (Samara)
!
Question 9: Once in Perm, police officers detained a woman on the street without a residence. "The face of Caucasian nationality" seemed to them suspicious. She learned many new mats from the conversation. name the name of a woman who became at 1978, both the best and the sixth at the same time.
...
Answer: Chiburdanidze.
6th World Chess Champion (mats - hint).
Source(s): E.Ya. Geek. Chess. 1000 funny stories.
- M .: LLC "Publishing house Astrel", p.218.
Author: Dmitry Svintitsky (Mogilev)
!
Question 10: A satirical utopia describes the country of Crapulia, consisting of five parts. Among them, Pamfagoia is a country of gluttons, Ivronia is a country drunkards, Moroni is the land of fools, and Lavernia is the land of swindlers. What is the main source of income for the people of Lavernia? nine0015
...
Answer: Deception of the people of Moroni.
Credit: Any answer that makes it clear that the people of Lavernia are somehow profit from fools.
Source(s): R. Ageeva. countries and peoples. Origin of names. M., Armada-press, 2002, p.266.
Author: Alexei Bogoslovsky (St. Petersburg)
!
Question 11: Alexander Genis writes about a kitten: "Having obtained a bird's feather, he could spend hours wallow on the couch with him, like .
... Like who?
...
Answer: Like Pushkin.
Source(s): A. Genis. Knitwear. St. Petersburg, Ivan Limbakh Publishing House, 2002, p. 43.
Author: Alexei Bogoslovsky (St. Petersburg)
!
Question 12: A pair of boots owned by a Dutchman in 1885 was quite old. However, it was subsequently sold at auction for several million dollars. What is the name of this Dutchman? nine0015
...
Answer: Van Gogh.
This refers to the picture "Pair of shoes".
Source(s):
1. EJ, 12-2004, p.37.
2. http://www.mystudios.com/art/post/van-gogh/van-gogh-shoes.html
Author: Alexei Bogoslovsky (St. Petersburg)
!
3 round
Question 1:
Cymraeg, Caerdydd
The first word written on the cards is the name of one of the European languages.
The second word is the name written in the same language the capital of the territory in which this language is spoken. Name this territory.
...
Answer: Wales.
Principality of Wales - Tywysogaeth Cymru, capital - city of Cardiff.
Source(s):
1. Mabinogion. Legends of Medieval Wales. M., "AGRAF", 2002, page 283. nine0105 2. http://www.cymraeg.ru/gwybodaeth.html
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 2: One of the books about Porry Gutter tells of a time when the earth was flat, and they decided to remake it into a ball. Quote: "The best have gathered sorcerers and cast the Converging Spell [skip]-cub. This is true it simply says that it is a cube, but in reality it turns out to be a ball. "And although the authors of the book made a mistake in the formula of the spell, you are required to restore it completely.
nine0015
...
Answer: 4/3 pi R3.
Credit: 1/6 pi D3.
In the book, apparently for simplicity, it says "Pi-r-cube".
Source(s): A. Zhvalevsky, I. Mytko. Mergion personal file, M. 2003, p. 188.
Author: Georgy Gladkov (Samara)
!
Question 3: The owner of the New York shop "Miracles Books" Peter Glasman named THEIR childlike versions of the three major human weaknesses: stupidity, heartlessness and cowardice. The book in which they appear Glasman's opinion, shows the reader that the three most valuable qualities are intelligence, kindness and courage are not given from the outside, but are hidden somewhere inside us. Name the author of this book. nine0015
...
Answer: Baum.
Three characters in Frank Baum's "The Wizard of Oz" - a crow the scarecrow, the tin woodcutter, and the cowardly lion are also known to us in Alexander Volkov's retelling of The Wizard of the Emerald City.
Source(s): http://www.svoboda.org/programs/OTB/2001/OBT.070901.asp
Author: Boris Shoikhet (Frankfurt am Main)
!
nine0013 Question 4: Archives studied as far back as the 16th century confirmed that SHE existed in really. According to the most common version, her maiden name was de Noves, married - de Sade, she gave birth to 11 children, and they gave France has a bunch of descendants, among which is the same Marquis de Sade. Her name often mentioned on the pages of what the author himself, not without irony, called "Rerum vulgarium fragmenta" [host: RERUM vulgarium fragmenta] that can be translated from Latin as "Shards in common speech." Say HER name. nine0015
...
Answer: Laura.
April 6, 1327 in the life of Francesca Petrarch appears the one whom the world knows under the name of Laura. The acquaintance takes place in Avignon in the church of St.
Clara. Written in Italian "Canzonière" by Petrarch himself, not without irony designated as "Rerum vulgarium fragmenta" - "Fragments in common speech".
Source(s):
1. http://udonet.donpac.ru/bibl/POEZIQ/petrrka/BERDNIKOW.html
2. http://timelines.ws/days/04_06.HTML
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 5: Struggle of polarities, uneven pulse, Faustian ambiguity - in this is the nerve of Alfred Schnittke's creativity. The feeling of the duality of the world pervades all of the composer's music. Any, even the simplest, image Schnittke faces his opposite. Once upon a rehearsal having listened to the finale of the Third Violin Concerto, Svyatoslav Richter approached to Schnittke and, smiling slyly, asked: "So what do you have here after all: ..."? Complete Richter's sentence.
...
Response: ".
.. major or minor?!"
Source(s): http://lib.bigmir.net/read.php?e=987
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 6: In the last World Cup, the Korean team led by Guus Hiddink reached the semi-finals. Journalists of one football publication named the article about it the same as the name of the film made a long time ago, and to be more precise, more than forty years ago. Name this movie. nine0015
...
Answer: Hussar ballad.
The head coach of the Korean national team is Guus Hiddink. The question also has the phrase "a long time ago", which is simultaneously with this name Gladkov's play, based on which Ryazanov made a film in 1962 "Hussar ballad".
Source(s):
1. Magazine "Football XXI", special issue for 2002. P.56.
2. Film "Hussar ballad" (1962).
Author: Artem Matukhno (Odessa)
!
Question 7: Fill in the missing pseudonym in Boris' satirical quatrain Brynin "To Artist N":
Not a corresponding member, not an academician,
Hardly graduated from the institute.
But on the money book -
[word omitted] do not peck.
...
Answer: Kukryniksy.
The expression "chickens don't peck money" is being played up. nine0015
Source(s): Boris Brainin. Golden series of humor. M., "Vagrius", 2001, p. 147.
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 8: Having successfully graduated from the French Maritime Academy, he saw himself as a captain military cruiser. However, he soon got into a heavy car accident and suffered a fracture of both arms.
Therefore, about a military career, you can was to forget. In 1950, he purchased a decommissioned British destroyer and redid it. Under what name did this ship receive the world fame? nine0015
...
Answer: Calypso.
It is on this legendary ship that Jacques-Yves Cousteau and his crew traveled around the world, explored marine flora and fauna, made unique recordings, shootings, photographs.
Source(s): http://www.2day.ru/6267-show.asp
Author: Boris Shoikhet (Frankfurt am Main)
!
Question 9: In Dahl's dictionary, the words "bar" (meaning "shoreline") and "barrier" are in the same nest with one more word. What? nine0015
...
Answer: Barricade.
Source(s): V. Dahl. Big Dictionary of the Living Great Russian Language. — M., Russian language, 2002, v.
1, p.48.
Author: Alexei Bogoslovsky (St. Petersburg)
!
Question 10: Attention, there are substitutions in the question!
Unfortunately, pseudoscientific ideas often become a cheap sensation, and the real discoveries are little known to the general public. Sasha Privalov explained this phenomenon is as follows: the scientific ideas of one of his colleagues can perceive only two or three hundred people on the whole globe, and among these two or three hundreds of VICE PRESIDENTS and, alas, not a single PRESIDENT. Write in the correct order of the words that we have replaced with the words "vice president" and "President". nine0015
...
Answer: Corresponding member, correspondent.
Source(s): http://lib.ru/STRUGACKIE/ponedelx.txt
Author: Ruslan Gorusev (Kyiv)
!
Question 11: His mustache is the same as Max Linder's mustache.
The headdress is borrowed from Caucasian folklore. Leadership manners, antics and buzzwords project his image on the legend of Suvorov. Whose image are you talking about? nine0015
...
Answer: Chapaev.
Chapaev's children, invited by the directors to advise the picture, at first refused to Boris Babochkin in resemblance to his father, but subsequently, "convinced" by the general heroic structure of the film, they recognized Chapaev on screen. It was this image that was deposited in the mind as a canonical Chapaev's appearance.
Source(s): http://www.dnevkino.ru/library_dobrotvorsky_14.html
nine0013 Author: Boris Shoikhet (Frankfurt am Main)
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Question 12: Religious commerce was not limited to the Catholic Church. Buddhist monks also traded with might and main, although it was not possible to check the purchase leaving the checkout" was impossible.
Probably, the purchase of such a product would allow some of the people to escape a very unenviable, albeit long, life, described in a well-known source. If you not belong to the number of these unfortunates, then in a minute you will literally write reason for their fate. nine0015
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Answer: "Stupid as a tree."
Buddhist monks sold future births. For example, instead of a frog one could buy a birth as a stork or a squirrel. Hero of Vysotsky's song, who, because of his stupidity, was destined to be born a baobab, might well buy yourself something better.
Source(s):
1. Journal "Paradox", 4/2002, p.19.
2. http://skill21.narod.ru/1/2-9.htm
nine0013 Authors: Mikhail Prutsakov, Ruslan Gorusev (Kyiv)
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[TXT] [XML]
IV. "The horse turns its head." Metatext figures in prose in 1923. Another science. Russian formalists in search of a biography
IV.
"The horse turns its head." Metatext figures in prose of 1923
The word "figure" here does not mean a specific trope, but a collection of them, a marked use of language as opposed to an unmarked model of "practical" language. The latter exists precisely in the form of a model; it is empirically impossible to observe it. Therefore, the figure is not opposed to the word usage of ordinary language, but enters it on an equal footing with “direct” meanings, enters into productive interaction with them[77]. This can be a semantic shift of the usual word (up to its “self-made” variety among the futurists), or a “destroyed” syntax, or an update of the entire genre structure, or a revision of the relationship between the author, narrator, and hero. nine0015
The last two examples of figuration permeate the writing of Shklovsky, who consistently created a transitional space between science and literature[78]. Due to the mobility of the borders of both territories, the border areas on both sides are constantly changing their outlines.
The texts circulating here have a speculative status. Science is defined in them through literature, and literature reveals awareness of its nature and its laws. Such texts dispel the illusions of pure essences, realize (sometimes to the detriment of logic, consistency, evidence) a heterogeneous and ultimately “total writing” (in the sense of Roland Barthes)[79]. The subject, on behalf of whom such a "subversive" text speaks, prefers a statement with blurred genre boundaries, turning aside according to the "knight's move" principle. For Shklovsky's (auto)theory, this is the key concept; it was it that was placed in the title of the programmatic collection of articles in 1923, where previously published material was intertwined with that written specifically for this collection. Thus, a new text appeared, materializing the principle of “conventionality in art”[80].
Conventionality is a derivative of text construction, as proof of which Shklovsky creates his texts as if from ready-made blocks, changing only their contexts and paying more and more attention to the implementation of the model in action.
Literary theory becomes literature proper, prone to self-description. If in his early (“scientific”) works Shklovsky turned to the analysis of the syntagmatic connections of a literary text and focused on the explication of the “deployment” of the plot, then starting from 1921, the author's inclination towards an "autotelic" statement obviously intensifies [Todorov, 1987, p. 19–23]. Syntagmatic connections are weakened in it and paradigmatic connections are strengthened, the text does not unfold, but is crushed, scattered, interrupts itself. For example, the author begins to talk about Rozanov, then rapidly projects his conclusions onto the entire world literature, touches on the topic of the paradoxical nature of the canon that requires violations, leaves the object to resolve for himself, “following the canon of the 18th century novel, digression”, and immediately digresses again, emphasizing this transition with an explicit indication: “By the way, about digressions” [Shklovsky, 1929, p.
230] – and, as it were, preparing the next autonomous digression. Only after finally leaving the root cause of retreat, the author returns to the subject. But this is not a ring-like structure, it only pretends to be such, since the transitions are not motivated by any causality and are deliberately arbitrary. To prove his points, Shklovsky resorts to the method of stringing or “overlaying” (juxtaposition) citations [Thompson, 1971, p. 65]. Interspersed between them are comments: “Unfortunately, I cannot rewrite the entire Stern and therefore I continue with a large gap” [Shklovsky, 1929, p. 182]. All communicative processes in critical texts take place at the meta level, in connection with which Shklovsky's desire to draw attention to his "I"[81] speaks of autometatextuality. Increasingly dominating itself, this property contributed to Shklovsky's estrangement from science. A gesture of farewell was the collection On the Theory of Prose (1925), which included all the "scientific" works of Shklovsky.
But by the time of its publication, the scientific project of the author had already ended.
The real and symbolic boundary between the early OPOYAZ and the second half saturated with conceptual changes 19The 20s for Shklovsky was emigration, which he documented in detail in several genres. The books “Sentimental Journey” and “ZOO, or Letters Not About Love” (hereinafter - SP and C) , published in 1923, opened a new hypostasis of Shklovsky, the cultivation of which allowed him to transform and realize his ambitions, which were not quite adequately reflected in the experiments of scientistic writing. In these books, Shklovsky's narrative mask, typical of his subsequent (up to 1931) books. This is the mask of a writer who, from the inside of the action, talks about the features of its structure and about his authorial role in the text from the position of a scholar-critic. On the contrary, what was the object of scientific analysis organically turns into a source of writer's interest[83].
Finally, the action can sometimes be completely repressed. This model within the boundaries of one work can be traced already on the example of joint venture, which happened to become a reader of Shklovsky's techniques[84]. The title of this book actualizes Lawrence Stern and his parody of the travelogue, analyzed by Shklovsky himself, and the body of text enriches the Sternian tradition with finds of the 20th century with "André Gide's (and other) mania to write about how he writes a book and where he writes it" [ Gibian 1970, p. 472]. Similar are the properties of C. With its epistolary form, the text actualizes the corresponding tradition, and the title openly specifies this genealogy. Adventurous and epistolary models form two poles of the author's irony. The text created by Shklovsky on the material of his own biography parodies the development of the European novel. This text, working with traditional narrative clichés, plays out the final stage in the evolution of the novel and thereby seeks to summarize the entire history of the genre.
The perception of these "novels" as theoretical works is not new[85]. Below we will discuss their genre and narrative valences both separately and in interaction with each other. nine0015
Chronological framework SP – 1917-1922. During this period, Shklovsky, a Right Social Revolutionary and an "armored car soldier" [Osorgin, 1923, p. 4], who took part in the February Revolution, as a commissar of the Provisional Government goes to the Southwestern Front and then to Northern Iran. Returning to St. Petersburg, he plans to continue resisting the Bolshevik authorities, but resigns himself in order to get the opportunity to work and complete the “theory of the formal method” that he had begun. The mention in the book of a former party comrade and a provocateur who exposes an anti-Soviet conspiracy [Semenov, 1922, p. 22–24][86], forces Shklovsky to flee to Finland, from where, through the efforts of Maxim Gorky, he moves to Berlin. There he, of course, yearns, suffocates, curses emigration.
The journey ends, and passions begin, reflected in the novel C, written in the form of love and penitential letters to Elsa Triola, sister of Lily Brik and future wife of Louis Aragon.
Travel is the oldest occasion for storytelling in world culture. Here it means stringing. The motivation for this narrative device "very early became a journey, in particular, a journey in search of a place" [Shklovsky, 1929, p. 88]. Citing the example of Lazarillo from Tormes in the cited 1921 book The Structure of the Story and the Novel, Shklovsky notes that “the second parts of novels very rarely have enough formative ideas, and they are very often built on an entirely new principle.” The two parts of SP correspond exactly to this observation, waywardly fitting into the same row with Don Quixote and Gulliver. The ratio of SP and C retransmits a similar contrast at the level of genre and motivation. nine0015
"Flickering illusion" of cinematic quality separates the author and the character.
About the role of such an illusion in Ts Shklovsky will write to his correspondent after the publication of the book[87]. This is the narrative type of Ich-Erzahlung, where the “I” of the author is alienated, in its place is the figure of a narrative character, who is called by the same name, but prefers the demonstrative creation of a personal story to the description of events[88]. Gradually, the text begins to more and more obey the schemes of narrative fiction, in which the author is experienced as a researcher. The usual Ich-Erzahlung turns into a complex version of I-Protagonist (in the sense of Norman Friedman[89]). As the politically motivated departure from the event level and the fictionalization of biography, the plot of defeat steadily emerges. Gradual disappointment in political activity causes the narrator to move away from a linear description of events. Strengthening power over the text occurs, as it were, due to the loss of orientation outside of it. The character SP initially competes with history, but in the end he realizes that he lost in this lawsuit, which threw him away from the biography and put an end to the usual forms of writing.
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Actually, it would be more correct to say that in the second part of the book the memoirist and novelist replaces the chronicler, who is the subject of the first part of SP. It appeared in the form of the book "Revolution and the Front", which was written by order of Zinovy Grzhebin in 1919 and was published in 1921. The second part of the "Desk", which is based on the book "Epilogue" with the subtitle "The end of the book" Revolution and Front ””, was completed in Finland, immediately after Shklovsky crossed the border. This explains some of its haste, feverishness and inconsistency, interpreted by the author himself as a literary device. nine0015
The function of the second part is the plot rethinking of the previous text and the entire work as a whole. The reader's expectations, formed by the memoir dominant of The Revolution and the Front, will be deceived by the fiction and at the same time theoreticism of The Desk. Here the code of the travel novel is revealed, in which the description of “real events” should be read, and the author’s concept is explained: autometa description is defined as an invariant of literature.
From forced Finnish exile 1922 SP is seen as a novel about wandering in search of identity, building a biography against the general entropy. The change in genre pragmatics is a direct consequence of the theoretical conclusions of the book Unfolding the Plot (1921), which Shklovsky wrote upon his return from the front. Thus, the book states that “the second parts of novels, or rather their continuations, very often change their structure. The main short story, as it were, breaks off and exists only conditionally, the action begins to develop according to a different principle” [Shklovsky, 1929, p. 88]. Literary theory and practice form a single space for mutual commentary. The “Main Novella” in SP is the first part that implements the textbook plot model, also described in this work: “travel, and in particular, travel in search of a place, became a popular motivation for stringing very early” [Ibid., p. 114]. Shklovsky roughly connects the change of events with the hero's movements and his searches, which end with a return to the starting point: the action (or reflections on the action) of the second part begins again in St.
Petersburg. So SP consistently maintains the most archaic feature of the novel - "the unity of the actor", in the light of which the appeal to the collection of short stories, where everything is based on the hero, becomes obvious. As his hero wrote shortly before the events of SP , in The Decameron there is still no through hero, in Le Sage's Gil Blas the hero only stitches together episodes, in Don Quixote he loosens the plot canon and proceeds to independent actions. [Shklovsky, 1929, p. 85, 98]. The level of ideology also corresponds with this: the self-preservation of a person in a state of chaos is possible only through an ironic and arbitrary vision of reality. As the reviewer wrote in this regard, “after all, it is necessary to string on a strong plot core forged from Stevenson’s English steel the events rushing about in disorder” [Mikhailov, 1921, p. 19][90].
It would, of course, be wrong to assume that the memoirs exclusively illustrate the "formal theory".
Rather, SP implements and corrects it in a provocative way. Shklovsky revises the relationship between text and metatext, changes their places and functions[91]. In accordance with the concept of estrangement, according to which art is inherently unreliable, a plausible text is made marked. The first part gravitates towards the document[92], passed through the adventurism of the material itself, and it is the nature of the material that gives it artistic specificity at the meta level. The game with the reader is based on the fact that, contrary to the author’s theoretical principles, the first part does not recognize its textuality, it strives to “not be a text” and infect the reader with the illusion of a total signified. The narrator only fixes the events, taken up by the general stream (“The river carried everyone, and all wisdom consisted in surrendering to the flow” [Shklovsky, 2002, p. 26]). Sometimes it seems that his main goal is nothing more than a modest contribution to history[93].
He rushes along the front line either in a car or in an armored car, for some reason constantly agitating the agonizing army. The plot is built, as it were, on its own, as a derivative of a movement that does not have a specific goal: “We flew forward, drawn into the distance ... We flew, losing our way, rushing along the steppe, even, wide steppe ...” [Ibid., p. 82]. This self-sufficient freedom is a form of escape from reality, which causes despair in the hero. As he moves along the fronts, he understands more and more the catastrophic nature of what is happening and at the same time its conventionality, which will become the subject of theoretical reflection in the second part. The return to St. Petersburg after the western front closes the first ring of the journey; it is followed by a repetition, more painful for the hero and necessary to resolve the crisis. Persia is drawn to him as a country engulfed in truly otherworldly chaos. The crisis deepens in order to acquire an apocalyptic shade in the finale: “Russia is on fire.
We run. <...> Let's go - drove. Great is the God of the fleeing. <...> It was quiet, it was menacing, deaf. You can’t escape fate, I came to Petersburg” [Ibid., p. 141]. nine0015
One of the indicators of reflection in the part “Revolution and the Front” is a temporary permutation that compares the described past with the moment of writing. When you try to read sequentially, these inserts form an independent plot on top of the main array, which cancels the identity of the described past and anticipates its consequences. From a narrative point of view, this plot expresses the position not of the narrator, but of the author, who is experiencing an even more acute crisis at the time of writing. We are talking about the following fragments, which together form a kind of inserted text: “I am writing all this in almost two years. Our offensive was June 23, 1917 years old style, and I am writing on Trinity Day, 1919. From the deaf and distant shots of cannons, the windows of the dacha in which I live (Lakhta) slightly tremble.
Somewhere, someone, either the Finns or some anonymous Belgians, are beating some unknown to me “ours”” [Ibid., p. 60].
“I am writing on July 22, 1919. When I arrived from Moscow on the 19th of this month and brought bread (10 pounds) to a person close to me, this person began to cry - the bread was unusual” [Ibid., p. 86].
“And now I am writing this July 30, 1919 years old, on guard, with a rifle between his legs. She doesn't bother me. I think that I am just as powerless now as I was then, but responsibility does not weigh on me” [Ibid., p. 93].
“I am writing now at 12 midnight on August 9th. Hungary fell. The banker rakes our bet off the table. I have a headache, I want to sleep all day, I have acute anemia, if I quickly get up from my chair now, my head will spin and I will fall” [Ibid., p. 117].
And finally: “I am finishing writing. Today 19 August 1919 years old. Yesterday, on the Kronstadt roadstead, the British sank the cruiser "Memory of Azov".
Nothing is over yet” [Ibid., p. 141].
Along with disappointment and hopes for political revenge, this example of "text within text" demonstrates the essence of the work of a memoirist whose past is invariably overgrown with additional codes and follows literary laws.
The second part actually begins with the disclosure of the author's strategy: “When you fall like a stone, you don't need to think, when you think, you don't need to fall. I mixed two crafts. The reasons that moved me were outside of me. The reasons that moved others were outside of them. I am just a falling stone. A stone that falls and can at the same time light a lantern to light its path” [Ibid., p. 142]. nine0015
The narrator's "I", confused under the yoke of external causes[94], gradually collects itself, trying to activate consciousness, to illuminate, i.e. to analyze its path. Thus, the character, as it were, , opens the eyes of and meets another self, i.e., the theorizing author. The catharsis of self-identification is illustrated by the interpretation of a false passport, with which the hero has to hide from the Cheka, as estrangement:
“It's good to lose yourself.
Forget your last name, fall out of your habits. Invent some person and consider yourself to be him. If not for the desk, not for work, I would never have become Viktor Shklovsky again. He wrote the book Plot as a Phenomenon of Style. He brought the books needed for citations, having embroidered them on sheets, in separate pieces” [Ibid., p. 56]. nine0015
Politics and literature are equally fraught with dangers; the writing table, which gave the title to the entire movement, is for the narrator a battlefield and a place from which, as from behind a parapet, history is surveyed. From the Volga, the hero travels to Ukraine, then again finds himself in St. Petersburg, becoming involved in an endless journey (a kind of retardation). The passion for events has blunted, which motivates the predominance of reflections over descriptions: “But how can I fill the winter in my memoirs as it was filled in life?” [Ibid., p. 188]. nine0015
Together with the narrator's strategy, universal irony comes to the surface of the statement: “it, like eloquence in the history of literature, can connect everything.
This replaces the tragedy” [Ibid., p. 192].
The narrator sets himself normative, deliberately “school” demands, as if setting himself a task: “The end of two books must combine their motives” [Ibid., p. 260].
At the same time, this is a retardation of the real finale, whose mark is “I am finishing this book” [Ibid., p. 266] - not only polemically contrasts with Stern's rhetoric[95], but also implements the attitude towards performativity (for Shklovsky, “I write”, “continue”, “I say”, etc. are frequent). Revealed in this way to the reader, Shklovsky sets the reader's perspective of perception, the logical beginning of which is located at the end, and not at the beginning of the text. Each read fragment affects the meaning of the previous one: “the progressive increment of information often requires retrospective modeling of earlier fragments of the text” [Rimmon-Kennan, 1983, p. 122]. On the one hand, Shklovsky "legitimizes" (enacts) the reader as a co-author of the text [Hodgson, 1985, p.
203], on the other hand, makes it compete with the author's authority.
In other words, the author stands in relation to his own text in the position of the recipient and "rereads" it, fastening and completing the finished fragments before publishing SP.
The mechanism of reflection formed in SP, is taken as the initial one for C, published two months later. This is the next stage in the revision of the canonical forms of the novel. Finding himself after a grueling adventure in "Russian" Berlin, Shklovsky writes a book in which he continues to search for identity, but mostly he is faced not with external circumstances, but with internal contradictions. Adventure mode changes to psychological. The feeling of falling out of history comes to the surface, is spoken out in the process of epistolary exchange and materializes in letters. It should be noted that Ts is also an exemplary émigré text whose subjects do not live in Berlin, but in the Russian ghetto.
One, however, does not want to participate in the life around him, and the other, his correspondent, is busy with herself and social life[96]. Inactivity, like melancholy, requires textual motivation. It becomes love. The ban on the expression of feelings on the part of the object of love is a secondary motivation, this time legitimizing the conversation about literature. For example, “you can’t write about love, I will write about Zinovy Grzhebin, the publisher” [Shklovsky, 2002, p. 285]. Shklovsky reveals the originality of his approach in the “Author's Preface”: “The usual motivation is love and lovers. I took this motivation in her particular case: letters are written by a loving man to a woman who does not have time for him. Here I needed a new detail: since the main material of the book is not love, I introduced a ban on writing about love” [Ibid., p. 271]. nine0015
According to the researcher, “in fact, the book is a series of impressionistic portraits, designed by the authors' persistent and unsuccessful attempts to avoid the love theme.
Since love, preferably unrequited, is the traditional subject of an epistolary novel, a ban on the part of Elsa 
According to the terminology of Shklovsky himself, this is a kind of "probe" that initiated a new author's style, but he himself stands apart. But even for previous texts C plays the role of a condenser of genre skills - those that the theoretician acquired during his travels and exile, which turned his life into art.
The effect that Shklovsky achieves by this, Peter Steiner called "double irony." Back in the second part SP Shklovsky deals with the problem of irony as the main mechanism of art. In this sense, the fictitious level C implements the previously stated theoretical setting. This is directly stated in the “Introduction” added in the Soviet edition of 1924, which explains the need for irony by the inexpressiveness of habitual words. "Introduction", being a metatext in relation to the main body of the Berlin edition, itself carries a charge of irony. As an example of a neutral, non-literary text, Shklovsky cites the beginning of Chapter X of Gogol's Terrible Vengeance[98], where the idyllic landscape explodes from within with images of death and devastation.
In this clash, the legacy of romantic irony, which Shklovsky is fond of and for this purpose attracts Gogol, is tangible. Irony determines both the level of text generation and the level of interpretation, removing the distinction between the metalanguage and the language-object. The categories of author, narrator and character that are in correlation with them also lose their definition and begin to break up, flow into each other.
If in SP emphasizes the confluence of these categories, their confusion, then in Ts , on the contrary, they should be strictly delineated. Thus, in the traditional superposition in relation to the text there is also an epigraph in the form of Velimir Khlebnikov's Menagerie, whose motives are developed in a number of letters, and the Author's Preface, in which the narrator constructs the author's point of view. Moreover, this applies to later additions: “Introduction” and “Introductory Letter”. The second, by the way, retroactively turns out to be another delay in action with an explicit reference to the results of SP.
This letter is clearly designed to resonate with the famous final letter with a repentant appeal to the All-Russian Central Executive Committee. But this division is nothing more than a gallery of 90,906 signs of 90,907 narrative categories, the distinction of which is required by the chosen form of the traditional (in this case, epistolary) novel. Rightly referring to the "Hamburg account", which is one of the means of retrospective deciphering for C , Peter Steiner writes that in C "the demarcation between Viktor Shklovsky the author and Viktor Shklovsky the literary protagonist is an ironic device directed at himself" [ Steiner 1985, p. 41]. The epistolary form is the same mask pointing to itself. The author of the theoretically rich 22nd letter calls the most advanced forms the “collection of articles” and the variety show, in the finale of which a parodic clue is given to all the performed numbers[99]. But Ts claims to overcome even the most advanced forms: “A more interesting case is the book that I am currently writing.
Her name is “ZOO”, “Letters not about love”, or “Third Eloise”; in it, individual moments are connected by the fact that everything is connected with the story of a man’s love for one woman. This book is an attempt to leave the framework of an ordinary novel" [Shklovsky, 2002, p. 317]. In other words, we have fiction in the role of non-fiction. nine0015
If in SP a certain meta-plot of turning reality into text was built, then here this meta-plot becomes material. On one level, the “addressee-addresser” system constitutes the level of the plot, on the other, the “addresser” exposes the fiction of this system in the final letter (“Alya is the realization of a metaphor” [Ibid., p. 329]). The narrative instances of the final letter and the "Author's Preface" turn out to be identical to each other. After all, the purpose of the preface was precisely to show that0906 as book built. From this it follows that the superposition of the author, who is “on this side of the text”, does not differ in any way from other narrative levels, which the author himself exposes as fictitious.
The perspective of text perception is set from any of its points, in the structural position of the referent (whose identity, to put it mildly, is doubtful) can be at any level.
The text defiantly actualizes the textbook literary form as a tool of the author's self-reflection, collides opposites, imitates their equivalence in order to demonstrate the freedom of writing as transgression, movement, change of landmarks. Principle quipro quo, , so insistently revealed by Shklovsky in the history of literature (both in adventurous and plotless genres opposite to them), also organizes his theoretically oriented prose. For scientific poetics, speaking the language of Rozanov, the condition of dividing languages into objectivable and objectifying languages no longer works. As a result, the “scientific” itself becomes optional due to the transition of literature into a self-service mode. Therefore, following the statement of a number of provisions in the articles of the second half of 19In the 1910s, Shklovsky switched to literary practice, which made it possible to avoid tautologies and not multiply essences.
This literary claim to maturity is analogous to that later refined by Michel Butor as the leading theorist of the "new novel," the novel that describes its structure and proclaims research as its task. The typological similarity of formalism with post-war French criticism can be seen, among other things[100], in the initial demands and declarations. Regardless of the real state of affairs in literature and criticism, both schools oppose themselves to the existing literary and scientific context, be it psychologism, existentialism, or the unchanging academic descriptivism that exists parallel to all “revolutions” and, as a rule, does not notice them. As a result, the starting point of formal poetics is "shift", distortion. Shklovsky proclaimed Stern's narrative system his 9th0906 in the native language, in which only "the most typical novel of world literature" can be written [Shklovsky, 1929, p. 204]. Shklovsky inherits Stern and, consequently, competes with him, emphasizing the extreme ambivalence of SP, where stylization insists on its historiographic task.
That is why the protagonist casually drops an outwardly paradoxical phrase that he does not like Barbusse's "Fire" - too "made", "constructed" book [Shklovsky, 2002, p. 73]. Unlike the author, the protagonist SP (especially in the first part of "Revolution and the Front") rushes along with history, along with other participants in the events who see things from one side, he, nevertheless, expects the truth from history. Irritation about Barbusse is the irritation of Shklovsky, the participant, which threatens to turn against Shklovsky, the author, but in fact remains only evidence to the contrary. The artificiality of another is a reason to think about your naturalness.
In The Third Factory, which sums up the travelogue and the epistolary novel in the form of a memoir, Shklovsky finally fuses the protagonist and the author in a delayed confession: “The Stern that I brought to life confuses me. Not only do I make writers, but I myself have become one” [Ibid., p. 373].
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The reviewed texts are characterized by game interlacing, “masquerade” of levels. In the course of the decade that began with the texts examined and ended with the book The Search for Optimism (1931), each subsequent text acted as a metatext in relation to both its predecessor and the genre system that it parodied and thereby resurrected.
Shklovsky's own "romantic" biography served as material for the theory and as a means of substantiating and clarifying it. The jump of the chess piece made the player take a different look at the game as a whole and provoked opposition. Implemented in SP and Ts the plot of the test receives a spectacular denouement in the afterword to the Berlin collection of critical articles, summing up the wanderings and passions of the hero. At the same time, Shklovsky refers to Gogol's Terrible Revenge, ironically comprehending what he experienced and giving the sophisticated reader the right to draw parallels with a laughing horse that frightened its master-sorcerer[101].
