Становилась по составу: Состав слова «СТАНОВИЛАСЬ»

СТАТЬ — разбор слова по составу (морфемный разбор)

СТА́ТЬ¹, ста́ну, ста́нешь; повел. стань; сов. (несов. становиться). 1. Принять стоячее положение, подняться на ноги; встать. [Тавля] не мог ни стать, ни сесть после экзекуции. Помяловский, Очерки бурсы. | Со словами, указывающими на часть тела, являющуюся опорой при таком положении.

СТАТЬ², ста́ну, ста́нешь; сов. I. Как вспомогательный глагол: 1. с неопр. Входит в состав сложного сказуемого, указывая на начало действия, в значении: начать, приняться.

СТАТЬ³, -и, род. мн. —е́й, ж. 1. Общий склад фигуры, телосложение, осанка (человека).

Все значения слова «стать»

• Прислуга уже давно шепталась, что её приёмный отец положил глаз на очередную молоденькую девушку, которой, по всей видимости, была уготована участь стать хозяйкой дома.

• Получить то, что может стать для него ключом к успеху.

• Атмосфера между ними сгустилась, стала плотной, если не сказать гнетущей.

(все предложения)

Разбор слова «становившийся» по составу

станов ивш ий ся

Состав слова «становившийся»: корень [станов] + суффикс [ивш] + окончание [ий] + постфикс [ся]
Основа(ы) слова: становивш
Способ образования слова: суффиксально-постфиксальный

Дополнительные варианты разбора

станов ивш ий ся

стан ов ивш ий ся

ста н ов ивш ий ся

стан ов ивш ий ся

ст ан ов ивш ий ся

с та н ов ивш ий ся

ста н ов ивш ий ся

ст ан ов ивш ий ся

с та н ов ивш ий ся

Примите во внимание: разбор слова «становившийся» по составу определён по специальному алгоритму с минимальным участием человека и может быть неточным. В слове выделен корень, приставка, суффикс, окончание, указан способ образования слова. Также показаны дополнительные варианты морфемного разбора.

90000 What is the definition of composition in photography? 90001 90002 Last Updated on 90003 October 8th, 2019 90004 90005 90002 Have you ever wondered what it is that transforms a photograph into a work of art? There are different aspects of a photograph but, unarguably, it’s the composition that allows the photographer to make a statement with his image. 90005 90002 To me, composition is one of the most difficult aspects of photography as it can not simply be taught. Learning the perfect way to compose an image is an ongoing journey for the photographer that may even take a lifetime.90005 90010 What does composition mean in the arts? 90011 90002 Composition is a term that is used in all genres of art. It involves the organization of the elements in a work or art, be it a painting or a piece of music. If your artwork is well-composed, its viewer or listener can grasp its intended message and feel the emotion you wanted to convey with it. There are many established rules of composition but the artist is free to break or transform them in order to express his idea in the best way possible.90005 90010 Composition in photography — what exactly is it? 90011 90002 Composition seems like a lot of planning ahead so you may wonder how exactly it translates to photography. 90005 90018 90002 90020 Definition 90021: Composition in photography can be defined as positioning the objects in the frame in such a way that the viewer’s eye is automatically drawn to the most interesting or significant area of ​​the capture. 90005 90023 90002 In landscape photography, we usually have the time to carefully compose our image before shooting since we work with objects that are immobile or slowly moving (such as clouds or the sun).90005 90002 With street photography or photojournalism, on the other hand, composing is done in a matter of seconds. To reach this point a photographer needs a combination of knowledge, practice and a bit of creative courage. 90005 90010 It’s the composition that delivers your message and defines your style 90011 90002 The photographic process has become increasingly automated but composition is still something your camera can not choose for you. That’s why I believe it’s the single most important aspect of a photograph.90005 90002 Even a perfectly exposed and sharp image taken with a professional camera can «tell us nothing» if it’s not composed in an interesting or meaningful way. In fact, if composed well, your image may as well be blurred or underexposed. As long as these aspects contribute to your idea, they are perfectly acceptable and might even become the emblem of your distinctive style. 90005 90010 How do I master composition in photography? 90011 90002 As I wrote above, mastering composition to the point when you can make a creative decision in an instant may take a lifetime.90005 90038 a. Analyze work of art 90039 90002 The first thing I’d advise every starting photographer is to look at a lot of art. Not just photography but, if possible, every other type of visual art. Start out with the classics but pay attention to what your contemporaries do as well. 90005 90002 90020 Related 90021: Aspect Ratio in Photography Explained 90005 90002 Analyze the images that strike you the most. What makes them so powerful? The point of view? The positioning of the main object of interest? Or the use of geometric lines perhaps? 90005 90038 b.Do not afraid to imitate 90039 90002 Then go out and try to reproduce the things you liked the most in your own photographs. Do not worry; it’s perfectly okay to imitate your favorite photographers in the beginning. Everyone does it. 90005 90038 c. Learn rules of composition 90039 90002 Try to master the classical rules of composition at first — the rule of thirds for example. It’s important to know these rules before you begin to break them in order to create more interesting or striking images.90005 90038 d. Practice, practice and practice … 90039 90002 As with everything, practice is key. Shoot whenever possible. Do not just shoot objects that are obviously interesting. Shoot boring objects as well. With an interesting composition, even a photograph of a fork can turn into a work of art. 90005 90038 e. Share your work and get feedback 90039 90002 And then, of course, show your work and ask for feedback. In the digital world of today, this is easier than ever. Join photography forums or dedicated Facebook groups and ask the other members to evaluate your photographs.Do not be afraid of critic — you need it in order to improve your technique. 90005.90000 Article about composition by The Free Dictionary 90001 90002 90003 (1) 90004 The construction of a work of art, which is conditioned by the content, character, and intent of the work and which to a large extent determines the perception of the work. Composition is the basic organizing element of an artistic form. Imparting unity and wholeness to a work, it coordinates parts with each other and with the whole. The laws of composition, formed during the process of artistic creation and the aesthetic perception of reality, represent to some extent a reflection and generalization of the lawlike regularities and interrelations of the phenomena of the real world.These lawlike regularities and interrelations are artistically transformed; the degree and character of their transformation and generalization are determined by several factors, including the type of art and the idea and subject matter of the work. 90005 90002 Literary composition is the organization-specifically, the arrangement and interrelation-of the diverse components of a written work. It includes the arrangement and correlation of characters (composition as a system of characters), events and actions (composition of the plot), inserted tales and lyrical digressions (composition of elements outside of the plot), methods of narration (narrative composition proper) , and details of setting, behavior, and emotions (composition of details).90005 90002 There are many devices and methods of composition. Events, commonplace objects, facts, and details that appear in disparate parts of the text may prove to be of artistic significance when taken together. A major aspect of composition is succession, or the order in which components appear in the text. Succession is the temporal organization of a literary work, or the unveiling and unfolding of the artistic content. Composition also includes the mutual correlation of the various facets of literary form (such structural concepts as planes, layers, and levels).Many contemporary theorists use the word «structure» as a synonym for composition. 90005 90002 Representing «an endless labyrinth of couplings» (L. N. Tolstoy, 90011 O literature 90012, 1955, p. 156), composition completes the complex unity and wholeness of a work, consummating an artistic form that already is rich in content. «Composition is the disciplining force and organizer of a work. It has the task of making sure that nothing goes astray but becomes part of a whole, fulfilling the aims of the author…. For this reason composition usually has neither logical conclusion and coordination nor simple lifelike succession, although it can parallel it; its aim is to arrange all the pieces in such a way that they come together in a complete expression of the idea «(90011 Teoriia literatury 90012 [book 3] 1965, p. 425). 90005 90002 Every work combines general methods of composition that are typical of a particular kind, genre, or tendency with individual methods peculiar to a particular writer or work.Examples of general methods of composition are thrice-repeated motifs in folk tales, recognition and aposiopesis in adventure stories, the rigid strophic form of the sonnet, and slow development in the epic and drama. An example of a method peculiar to an individual writer occurs in L. N. Tolstoy’s 90011 Hadji Murad 90012, in which the major principle in the composition of characters is polarity, including the ostensible polarity between Nicholas I and Shamil. 90005 90002 In the contemporary study of literature the use of the term «composition» is more limited.In this sense an individual segment of a text functions as an element of composition, in which a particular method of representation is used, such as ongoing narration, descriptive passages, characterization, dialogue, or lyric digression. The most basic elements of composition combine to form more complex components (complete portrait sketches, descriptions of emotional states, and recollections of conversations). In an epic or drama the scene is an even more important and independent component.In the epic it may consist of several forms of representation (description, narration, or monologue). A portrait, landscape, or interior may be included in the scene; however, throughout its entire course one perspective is maintained and a definite point of view is upheld (the author’s, a character’s, or an outside narrator’s). Each scene may be presented as seen solely through the eyes of a particular person. Thus, composition comprises the combination, interaction, and unity of the forms of narration and definite points of view.90005 90002 Composition of poetry, particularly of lyrical verse, is unique. It is distinguished by strict proportionality and interaction of the rhythmical and metrical units (foot, line, and stanza), syntax and intonations, and the elements that directly convey meaning (themes, motifs, and images). 90005 90002 In 20th-century literature, composition has become especially important. This new importance was reflected in the emergence of the montage, which was initially introduced in motion pictures and later was used in theater and literature.90005 90002 In the plastic arts, composition unifies the individual elements involved in the construction of an artistic form (real or illusory representation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, shading and contrast, perspective, arrangement of figures, and color solution). Composition organizes the internal structure of a work and determines the relationship of the work with its surroundings and with the viewer. 90005 90002 Composition in architecture has as its bases the harmonious correlation of conceptual and artistic principles, function, engineering, and considerations of urban design.Composition determines the appearance, the layout, and the interrelationship of mass and void in a whole city, in a complex of buildings, or in an individual structure. When the principles of composition are integrated with and artistically reflected in the principles of construction, they represent the structural interrelationship of load and support, or the architectonics of the structures. 90005 90002 In the fine arts, composition is the working out of the idea and theme of a work, the arrangement of objects and figures in space, and the correlation of forms, light and shade, and areas of color.There are various types of composition. In a stable composition the basic compositional axes intersect at right angles in the geometric center of a work. In a dynamic composition the basic axes intersect at acute angles; diagonals, circles, and ovals are the predominant forms. An open composition is characterized by centrifugal forces of diverse directions, which cause the viewer to focus upon the entire representation. In a closed composition, centripetal forces prevail, pulling the viewer’s attention toward the center of the work.Stable and closed compositions were prevalent in the art of the Renaissance. Dynamic and open compositions were typical in the art of the baroque period. Throughout the history of art important roles have been played by the formation of generally accepted compositional canons (for example, in ancient Oriental, early medieval, High Renaissance, and classicist art) and by the movement away from traditional and rigid conventions toward freer methods of composition. In the 19th and 20th centuries, artists strove for freer composition to express their creative individuality.90005 90002 90003 (2) 90004 A work of music, painting, sculpture, or graphic art; the end result of the creative labor of a composer or artist. 90005 90002 90003 (3) 90004 A complex work of art incorporating different types of art (for example, a literary-musical composition). 90005 90002 90003 (4) 90004 The composing of music. In institutions of music education (schools and conservatories), composition is taught as a special subject. The teaching of composition is closely connected with the study of various aspects of music theory, such as harmony, polyphony, instrumentation, and analysis of musical works.90005 90002 90045 REFERENCES 90046 Zhirmunskii, V. M. 90011 Kompozitsiia liricheskikh stikhotvorenii 90012. Petrograd, 1921. 90049 Tomashevskii, B. 90011 Teoriia literatury: Poetika 90012, 6th ed. Moscow-Leningrad, 1931. 90049 Alpatov, M. V. 90011 Kompozitsiia v zhivopisi 90012. Moscow-Leningrad, 1940. 90049 90011 Teoriia literatury 90012 [book 2], Moscow, 1964, pp. 433-34; [Book 3] Moscow, 1965, pp. 422-2. 90049 Lotman, Iu. M. 90011 Struktura khudozhestvennogo teksta 90012. Moscow, 1970.90049 Lotman, Iu. M. 90011 Analiz poeticheskogo teksta 90012. Leningrad, 1972. 90049 Uspenskii, B. 90011 Poetika kompozitsii 90012. Moscow, 1970. 90049 Timofeev, L. I. 90011 Osnovy teorii literatury 90012. Moscow, 1971. 90049 Schmarsow, A. 90011 Kompositionsgesetze in der Kunst des Mittelalters 90012, vols. 1-2. Bonn-Leipzig, 1920-22. 90005 90002 V. E. K 90075 HALIZEV 90076 and V. S. T 90075 URCHIN 90076 90005.90000 90001 90002% PDF-1.5 % 5 0 obj> stream 0 g 0 G 0 g 0 G 0 g 0 G BT / F16 10.9091 Tf 46.771 518.175 Td [(The) -250 (Project) -250 (Gutenberg) -250 (EBook) -250 (of) -250 (Composition) -250 (by) -250 (Arthur) -250 (Dow )] TJ 0 -29.913 Td [(This) -380 (eBook) -380 (is) -381 (for) -380 (the) -380 (use) -380 (of) -380 (anyone) -381 (anywhere ) -380 (at) -380 (no) -380 (cost) -380 (and)] TJ 0 -13.549 Td [(with) -327 (almost) -327 (no) -327 (restrictions) -327 (whatsoever .) — 481 (You) -326 (may) -327 (copy) -327 (it,) — 346 (give)] TJ 0 -13.549 Td [(it) -400 (away) -399 (or) -400 (re-use) -400 (it) -399 (under) -400 (the) -400 (terms) -399 (of) -400 (the) -400 (Project) -399 (Gutenberg)] TJ 0 -13 .549 Td [(License) -240 (included) -240 (with) -240 (this) -240 (eBook) -240 (or) -240 (online) -240 (at) -240 (http: // www. guten -)] TJ 0 -13.55 Td [(berg.org/license)]TJ 0 -29.912 Td [(Title:) — 500 (Composition)] TJ 0 -27.099 Td [(Author:) — 500 (Arthur) — 500 (Dow)] TJ 0 -27.098 Td [(Release) -500 (Date:) — 500 (April) -500 (15,) — 500 (2014 року) -500 ([Ebook) -500 (45410])] TJ 0 -27.098 Td [(Language:) — 500 (English)] TJ 0 -40.648 Td [(*** START) -500 (OF) -500 (THE) -500 (PROJECT) -500 (GUTENBERG) -500 ( EBOOK)] TJ 0 -13.549 Td [(COMPOSITION ***)] TJ 0 g 0 G 0 g 0 G ET endstream endobj 14 0 obj> stream 0 g 0 G 0 g 0 G 0 g 0 G 0 g 0 G endstream endobj 18 0 obj> stream 0 g 0 G 0 g 0 G BT / F16 15.7808 Tf 146.309 518.175 Td [(Composition)] TJ / F16 13.1507 Tf -90.054 -27.098 Td [(A) -251 (series) -252 (of) -251 (exercises) -252 (in) -251 (art) — 252 (structure) -251 (for) -251 (the) -252 (use) -251 (of)] TJ 71.932 -13.549 Td [(students) -262 (and) -263 (teac) 1 (hers)] TJ / F16 10.9091 Tf 6.722 -67.746 Td [(By) -263 (Arthur) -264 (Wesley) -263 (Dow)] TJ -65.519 -13.55 Td [(Professor) -253 (of) -254 (Fine) -253 (Arts) -254 (in) -253 (Teachers) -253 (College,) — 255 (Columbia)] TJ 59.469 -13.549 Td [(University) -262 (New) -263 (York) -262 (City)] TJ -43.351 -13.549 Td [(Formerly) -256 (Instructor) -256 (in) -255 (Art) -256 (at) -256 (the) -256 (Pratt) -256 (Institute)] TJ -38.737 -13.549 Td [(Author) -245 (of) -246 (Theory) -245 (and) -245 (Practice) -246 (of) -245 (Teaching) -245 (Art) -246 (and) -245 (The) — 245 (Ipswich)] TJ 127.584 -13.549 Td [(Prints)] TJ -115.8 -54.197 Td [(NINTH) -254 (EDITION)] TJ / F19 10.9091 Tf 80.918 0 Td [(\ 024)] TJ / F16 10.9091 Tf 10.909 0 Td [(REVISED) -254 (AND) -253 (ENLARGED) -254 (WITH)] TJ -75.486 -13.549 Td [(NEW) -258 (ILLUSTRATIONS) -259 (AND) -258 (COLOR) -259 (PLATES)] TJ 0 g 0 G ET 1 0 0 1 143.471 177.716 cm q .2903 0 0 .2903 0 0 cm q 290 0 0 291 0 0 cm / Im1 Do Q Q 0 g 0 G 1 0 0 1 -143.471 -177.716 cm BT / F16 10.9091 Tf 134.207 152.353 Td [(Garden) -276 (City,) — ​​283 (New) -277 (York)] TJ -32.536 -13.549 Td [(DOUBLEDAY,) — 266 (PAGE) -267 (&) — 267 (COMPANY)] TJ 74.506 -27.098 Td [(1914)] TJ 0 g 0 G 0 g 0 G ET endstream endobj 15 0 obj> stream 90003.90000 English language | Origin, History, & Characteristics 90001 90002 Origins and basic characteristics 90003 90004 English belongs to the Indo-European family of languages ​​and is therefore related to most other languages ​​spoken in Europe and western Asia from Iceland to India. The parent tongue, called Proto-Indo-European, was spoken about 5,000 years ago by nomads believed to have roamed the southeast European plains. Germanic, one of the language groups descended from this ancestral speech, is usually divided by scholars into three regional groups: East (Burgundian, Vandal, and Gothic, all extinct), North (Icelandic, Faroese, Norwegian, Swedish, and Danish), and West (German, Dutch [and Flemish], Frisian, and English).Though closely related to English, German remains far more conservative than English in its retention of a fairly elaborate system of inflections. Frisian, spoken by the inhabitants of the Dutch province of Friesland and the islands off the west coast of Schleswig, is the language most nearly related to Modern English. Icelandic, which has changed little over the last thousand years, is the living language most nearly resembling Old English in grammatical structure. 90005 Approximate locations of Indo-European languages ​​in contemporary Eurasia.90006 Encyclopædia Britannica, Inc. 90007 90004 Modern English is analytic (i.e., relatively uninflected), whereas Proto-Indo-European, the ancestral tongue of most of the modern European languages ​​(e.g., German, French, Russian, Greek), was synthetic, or inflected. During the course of thousands of years, English words have been slowly simplified from the inflected variable forms found in Sanskrit, Greek, Latin, Russian, and German, toward invariable forms, as in Chinese and Vietnamese. The German and Chinese words for the noun 90009 man 90010 are exemplary.German has five forms: 90009 Mann, Mannes, Manne, Männer, Männern 90010. Chinese has one form: 90009 ren 90010. English stands in between, with four forms: 90009 man, man’s, men, men’s 90010. In English, only nouns, pronouns (as in 90009 he, him, his 90010), adjectives (as in 90009 big, bigger, biggest 90010), and verbs are inflected. English is the only European language to employ uninflected adjectives; e.g., 90009 the tall man, the tall woman 90010, compared to Spanish 90009 el hombre alto 90010 and 90009 la mujer alta 90010.As for verbs, if the Modern English word 90009 ride 90010 is compared with the corresponding words in Old English and Modern German, it will be found that English now has only 5 forms (90009 ride, rides, rode, riding, ridden 90010), whereas Old English 90009 ridan 90010 had 13, and Modern German 90009 reiten 90010 has 16. 90005 90004 In addition to the simplicity of inflections, English has two other basic characteristics: flexibility of function and openness of vocabulary. 90005 Get exclusive access to content from our тисяча сімсот шістьдесят вісім First Edition with your subscription.Subscribe today 90004 Flexibility of function has grown over the last five centuries as a consequence of the loss of inflections. Words formerly distinguished as nouns or verbs by differences in their forms are now often used as both nouns and verbs. One can speak, for example, of 90009 planning a table 90010 or 90009 tabling a plan 90010, 90009 booking a place 90010 or 90009 placing a book 90010, 90009 lifting a thumb 90010 or 90009 thumbing a lift 90010. In the other Indo-European languages, apart from rare exceptions in Scandinavian languages, nouns and verbs are never identical because of the necessity of separate noun and verb endings.In English, forms for traditional pronouns, adjectives, and adverbs can also function as nouns; adjectives and adverbs as verbs; and nouns, pronouns, and adverbs as adjectives. One speaks in English of the 90009 Frankfurt Book Fair 90010, but in German one must add the suffix 90009 -er 90010 to the place-name and put attributive and noun together as a compound, 90009 Frankfurter Buchmesse 90010. In French one has no choice but to construct a phrase involving the use of two prepositions: 90009 Foire du Livre de Francfort 90010.In English it is now possible to employ a plural noun as adjunct (modifier), as in 90009 wages board 90010 and 90009 sports editor 90010; or even a conjunctional group, as in 90009 prices and incomes policy 90010 and 90009 parks and gardens committee 90010. Any word class may alter its function in this way: 90009 the ins and outs 90010 (prepositions becoming nouns), 90009 no buts 90010 (conjunction becoming noun). 90005 90004 Openness of vocabulary implies both free admission of words from other languages ​​and the ready creation of compounds and derivatives.English adopts (without change) or adapts (with slight change) any word really needed to name some new object or to denote some new process. Words from more than 350 languages ​​have entered English in this way. Like French, Spanish, and Russian, English frequently forms scientific terms from Classical Greek word elements. Although a Germanic language in its sounds and grammar, the bulk of English vocabulary is in fact Romance or Classical in origin. 90005 90004 English possesses a system of orthography that does not always accurately reflect the pronunciation of words; 90009 see below 90010 Orthography.90005.