Copyright Contest -K2
Table of contents:
1. Methods of analysis artistic text
2. Criteria for the artistry of a work (general and particular)
3. Evaluation of the plot of the work
4. Evaluation of the composition of the work
5. Extra-plot elements
6. Narrative, description, reasoning as ways of presentation
7. Evaluation of language and style. Speech errors.
8. Character evaluation
9. Grade artistic details
10. Features of the analysis of the story as a form artwork
A literary text is a way of perceiving and recreating the reality surrounding it by the author.
The author reflects the world in a special artistic and figurative system. Through images, literature reproduces life in time and space, gives new impressions to the reader, allows us to understand the development of human characters, connections and relationships.
A literary work should be considered as a systematic formation, regardless of whether there is an established system or not, whether this formation is perfect or imperfect.
When evaluating, the main thing is to catch the originality of the structure of a particular work and show where the solution of images, situations does not correspond to the plan, creative manner writer, the general structure of the work.
TECHNIQUES FOR ANALYSIS OF ARTISTIC TEXT
Analyzing the text, it is always necessary to correlate the whole with the particular - that is, how the general idea of the work, its theme, structure, genre are realized through the plot, composition, language, style, images of characters.
The task is not simple.
To solve it, you need to know some tricks.
Let's talk about them.
The first technique is the PLANNING of the work, at least mentally.
I refer you to the reviews of Alex Petrovsky, who always uses this technique. Alex retells the text. If you describe his actions in clever words, then Alex highlights the supporting semantic points in the text and reveals their subordination. This helps to see and correct factual and logical errors, contradictions, unsubstantiated judgments, etc.
The “translation” of the text into “their” language works very well. This is the criterion for understanding the text.
There is also an ANTICIPATION technique - anticipation, anticipation of the subsequent presentation.
When the reader understands the text, he kind of assumes. Foresees the direction of development, anticipates the thoughts of the author.
We understand that everything is good in moderation. If the plot and actions of the characters are easily viewed, reading such a work is not interesting. However, if the reader cannot follow the author’s thought at all and guess at least general direction her movements, then this is also a signal of trouble. The process of anticipation is violated when the logic of presentation is violated.
There is one more technique - this is the STATEMENT OF PRELIMINARY QUESTIONS, which our dear Boa constrictor loves so much.
What happened to this minor character? Why did the other character do this? What is hidden behind the mysterious phrase of the heroine?
It is essential that the necessary majority of such questions be answered in the text. All storylines must be completed, mutually linked or logically cut off.
Curious is the fact that the reader and the author seem to be moving in opposite directions. The author goes from idea to structure, and the reader, on the contrary, assessing the structure, must get to the bottom of the idea.
A successful work is one in which the efforts of the author and the reader are approximately equal, and they meet halfway. Remember the cartoon "Kitten named Woof"? When did a kitten and a puppy eat a sausage and meet exactly in the middle? You will laugh, but in literature everything is exactly the same.
What dangers lie in wait for the authors = the most vulnerable link in the process. Reader what? He snorted, closed the book and went on, and the author suffers.
Oddly enough, there are two dangers. First, the reader did not understand the author's intention at all. The second is that the reader put in his own idea (instead of the author's, which turned out to be on the side). In any case, there was no communication, no emotional transmission either.
What to do? Analyze text! (we return to the beginning of the article). Look where the miscoordination took place, and the idea (theme \ structure \ genre) diverged from the embodiment (plot \ composition \ style \ images of characters).
CRITERIA FOR ARTISTICITY OF A WORK
They are divided into public and private.
GENERAL CRITERIA
1. The unity of the content and form of the work.
The artistic image does not exist outside of a certain form. An unsuccessful form discredits the idea, may raise doubts about the validity of what has been said.
2. The criterion of artistic truth = undistorted recreation of reality.
The truth of art is not just the truth of fact. Often we see how the author, defending his work (usually unsuccessful), puts forward an iron (in his opinion) argument - I described everything as it really happened.
But a work of art is not just a description of events. This is a certain aesthetics, a certain degree of artistic generalization and understanding of reality in images that convince with their aesthetic power. The critic does not assess the authenticity of the realities - he assesses whether the author has managed to achieve the necessary emotional impact with the facts and images presented.
The author's handwriting is a synthesis of the objective and the subjective.
Objective reality is refracted in the individual perception of the author and is reflected in the content, which the author reveals in an original form that is inherent in him. This is the attitude of the author, his special vision, which is expressed in special stylistic techniques of writing.
4. Emotional capacity, associative richness of the text.
The reader wants to empathize with the events along with the hero - to worry, rejoice, be indignant, etc. Empathy and co-creation is the main purpose of the artistic image in literature.
The reader's emotions should be evoked by the image itself, and not imposed by the author's statements and exclamations.
5. The integrity of the perception of the narrative.
The image appears in the mind not as a sum of individual elements, but as an integral, unified poetic picture. M. Gorky believed that the reader should perceive the images of the author immediately, as a blow, and did not think about them. A.P. Chekhov added that fiction should fit into a second.
The criterion of integrity applies not only to elements designed for simultaneous perception - comparisons, metaphors - but also to those components that can be located in the text at a considerable distance from each other (for example, portrait strokes).
This is important when analyzing the characters of the characters. It is not uncommon for novice authors when descriptions of the actions and thoughts of a character do not create in the reader's imagination a picture of his spiritual world. Facts are full of eyes and imagination, and the whole picture does not work.
SPECIAL CRITERIA
They relate to individual components of the work - themes, plot, characters' speech, etc.
EVALUATION OF THE PLOT OF THE WORK
The plot is the main means of recreating the movement of events. The optimal option can be considered when the intensity of the action is determined not only by unexpected events and other external methods but also by the internal complexity, deep disclosure of human relationships, the significance of the problems posed.
It is necessary to understand the relationship between the plot and the images of the characters, to determine the significance of the situations created by the author in order to reveal the characters.
One of the important requirements of artistry is the persuasiveness of the motivations for actions. Without this, the plot becomes sketchy and far-fetched. The author builds the narrative freely, but he must achieve persuasiveness so that the reader believes him, based on the logic of character development. As V. G. Korolenko wrote, the reader should recognize the former hero in the new adult.
The plot is the concept of reality (E.S. Dobin)
Plots arise, exist, are borrowed, translated from the language of one type of art to another (staging, film adaptation) - and thus reflect the norms of human behavior inherent in a particular type of culture. But this is only the first side of the relationship between life and art: plots not only reflect the cultural state of society, they form it: “Creating plot texts, a person has learned to distinguish plots in life and, thus, interpret this life for himself "(c)
The plot is an essential quality of a work of art; it is a chain of events that are inevitably present in this type of work. Events, in turn, are made up of the actions and deeds of the characters. The concept of an act includes both externally tangible actions (came, sat down, met, went, etc.), and internal intentions, thoughts, experiences, sometimes resulting in internal monologues, and all kinds of meetings that take the form of a dialogue of one or more characters .
The assessment of the plot is very subjective, however, there are certain criteria for it:
- the integrity of the plot;
- complexity, tension of the plot (the ability to captivate the reader);
- the significance of the problems posed;
- originality and originality of the plot.
Plot types
There are two types of plots - dynamic and adynamic.
Signs of a dynamic plot:
- the development of the action is intense and fast,
- in the events of the plot lies the main meaning and interest for the reader,
- the plot elements are clearly expressed, and the denouement carries a huge content load.
Signs of an adynamic plot:
The development of the action is slow and does not tend to a denouement,
- the events of the plot do not contain any special interest (the reader does not have a specific tense expectation: “What will happen next?”),
- elements of the plot are not clearly expressed or are completely absent (the conflict is embodied and moves not with the help of plot, but with the help of other compositional means),
- the denouement is either completely absent, or is purely formal,
- in the overall composition of the work there are many extra-plot elements that shift the center of gravity of the reader's attention to themselves.
Examples of adynamic plots are Gogol's "Dead Souls", Hasek's "Adventures of the Good Soldier Schweik", etc.
There is a fairly simple way to check what kind of plot you are dealing with: works with an adynamic plot can be reread from any place, works with a dynamic plot - only from beginning to end.
Naturally, with an adynamic plot, the analysis of plot elements is not required, and sometimes it is completely impossible.
COMPOSITION EVALUATION
Composition is the construction of a work that unites all its elements into a single whole, it is a way of disclosing content, a way of systematic organization of content elements.
The composition must correspond to the specifics of the work and publication, the volume of the work, the laws of logic, a certain type of text.
Rules for constructing the composition of a work:
- the sequence of parts must be motivated;
- parts must be proportionate;
- Composition techniques should be determined by the content and nature of the work.
Depending on the relationship of the plot and plot in specific work talk about different types and techniques of plot composition.
The simplest case is when the events of the plot are linearly arranged in direct chronological sequence without any changes. Such a composition is also called DIRECT or FABUL SEQUENCE.
More complicated is the technique in which we learn about an event that happened before the rest at the very end of the work - this technique is called DEFAULT.
This technique is very effective, because it allows you to keep the reader in ignorance and tension until the very end, and at the end to amaze him with the unexpectedness of the plot twist. Due to these properties, the technique of default is almost always used in the works of the detective genre.
Another method of violating the chronology or plot sequence is the so-called RETROSPECT, when, in the course of the development of the plot, the author makes digressions into the past, as a rule, at the time preceding the plot and the beginning this work.
For example, in "Fathers and Sons" by Turgenev, in the course of the plot, we encounter two significant flashbacks - the prehistory of the life of Pavel Petrovich and Nikolai Petrovich Kirsanov. It was not Turgenev's intention to start the novel from their youth, because it would clutter up the composition of the novel, and it seemed necessary to the author to give an idea of the past of these heroes - therefore, the technique of retrospection was used.
Story sequence can be broken in such a way that events of different times are mixed; the narrative constantly returns from the moment of the ongoing action to different previous time layers, then again turns to the present in order to immediately return to the past. This composition of the plot is often motivated by the memories of the characters. It's called FREE COMPOSITION.
When analyzing a literary text, one should consider the motivation for using each technique in terms of composition, which must be supported by the content and figurative structure of the text.
Many of the shortcomings of the composition are explained by the violation of the requirements of the basic laws of logic.
The most common disadvantages of the composition include:
- incorrect division of the work into the largest structural parts;
- go beyond the topic;
- incomplete disclosure of the topic;
- disproportion of parts;
- crossing and mutual absorption of material;
- repetitions;
- unsystematic presentation;
- incorrect logical connections between parts;
- incorrect or inappropriate sequence of parts;
- Unsuccessful breakdown of the text into paragraphs.
It must be remembered that in fiction, following a phased logical plan is not at all necessary, sometimes in violation of the logic of the development of the plot one must see not a compositional flaw, but special reception compositional construction works designed to increase its emotional impact. Therefore, when evaluating the composition of a work of art, great care and caution is required. We must try to understand the author's intention and not violate it.
OUTSIDE ELEMENTS
In addition to the plot, there are also so-called extra-plot elements in the composition of the work, which are often no less or even more important than the plot itself.
Extra-plot elements are those that do not move the action forward, during which nothing happens, and the characters remain in their previous positions.
If the plot of a work is the dynamic side of its composition, then the extra-plot elements are the static side.
There are three main types of extra-plot elements:
- description,
- lyrical (or author's) digressions,
- insert episodes (otherwise they are called insert short stories or inserted plots).
DESCRIPTION is a literary depiction of the outside world (landscape, portrait, world of things, etc.) or a sustainable way of life, that is, those events and actions that occur regularly, day after day and, therefore, also have nothing to do with movement plot.
Descriptions are the most common type of non-plot elements, they are present in almost every epic work.
LYRICAL (or AUTHOR'S) RETRACTS are more or less detailed author's statements of philosophical, lyrical, autobiographical, etc. character; at the same time, these statements do not characterize individual characters or the relationship between them.
Authorial digressions are an optional element in the composition of a work, but when they nevertheless appear there (“Eugene Onegin” by Pushkin, “Dead Souls” by Gogol, “The Master and Margarita” by Bulgakov, etc.), they usually play the most important role and are subject to mandatory analysis.
INSERT SCENES are relatively completed fragments of the action in which other characters act, the action is transferred to a different time and place, etc.
Sometimes insert episodes begin to play an even greater role in the work than the main plot: for example, in “ Dead souls Gogol or and "The Good Soldier Schweik" Hasek.
ASSESSMENT OF SPEECH STRUCTURES
Fragments are distinguished in the work by belonging to any type of text - narrative, descriptive or explanatory (reasoning texts).
Each type of text is characterized by its own type of presentation of the material, its internal logic, the sequence of arrangement of elements and the composition as a whole.
When complex speech structures are encountered in a work, including narratives, descriptions, and reasoning in the interweaving of their elements, it is necessary to identify the predominant type.
It is necessary to analyze the fragments in terms of their correspondence to the characteristics of the type, that is, to check whether the narrative, description or reasoning is correctly constructed.
NARRATORY - a story about events in chronological (temporal) sequence.
Narrative is about action. Comprises:
- key moments, that is, the main events in their duration;
- ideas about how these events changed (how the transition from one state to another took place).
In addition, almost every story has its own rhythm and intonation.
When evaluating, it is necessary to check how correctly the author chose the key moments so that they correctly display events; how consistent the author is in presenting them; whether the connection between these main points is thought out.
The syntactic structure of the narration is a chain of verbs, therefore the center of gravity in the narration is transferred from words related to quality to words that convey movements, actions, that is, to the verb.
There are two modes of narration: epic and stage.
The epic way is a complete story about events and actions that have already taken place, about the result of these actions. Most often found in a strict, scientific presentation of the material (for example, a story about the events of the Great Patriotic War in a history textbook).
The stage method, on the contrary, requires that the events be presented visually, the meaning of what is happening before the eyes of the reader is revealed through the gestures, movements, words of the characters. At the same time, the attention of readers is drawn to details, particulars (for example, A.S. Pushkin’s story about a winter blizzard: “Clouds are rushing, clouds are winding ... The invisible moon illuminates the flying snow ...”).
The most common shortcoming in the construction of the narrative: its overload with little significant facts and details. At the same time, it is important to remember that the significance of an event is determined not by its duration, but by its importance in terms of meaning or for the sequence of presentation of events.
When analyzing descriptions in a work of art, there is no rigid scheme. It is in the descriptions that the author's individuality is most clearly manifested.
A reasoning is a series of judgments that relate to a certain subject and follow each other in such a way that others follow from the previous judgment and as a result an answer to the question posed is obtained.
The purpose of reasoning is to deepen our knowledge about the subject, about the world around us, since the judgment reveals the internal features of objects, the relationship of features among themselves, proves certain provisions, reveals the reasons.
The peculiarity of the reasoning is that it is the most complex view text.
There are two types of reasoning: deductive and inductive. Deductive reasoning is from the general to the particular, while inductive reasoning is from the particular to the general. The inductive or synthetic type of reasoning is considered to be simpler and more accessible to the general reader. There are also mixed types of reasoning.
Analysis of reasoning involves checking the logical correctness of the construction of reasoning.
Characterizing various ways presentation, experts emphasize that the main part of the author's monologue speech makes up the story. “Narrative, storytelling is the essence, the soul of literature. A writer is, first of all, a storyteller, a person who knows how to tell in an interesting, exciting way”
The author's appeal to other speech structures that increase the tension of the storyline depends on the individual style, genre and subject of the image.
LANGUAGE AND STYLE ASSESSMENT
Exist different styles different types of literature: journalistic, scientific, artistic, official business, industrial, etc. At the same time, the boundaries between styles are quite unsteady, the styles of the language themselves are constantly evolving. Within the same type of literature, one can see some differences in the use of linguistic means, depending on the purpose of the text and its genre features.
Linguistic and stylistic errors have many varieties. We list only the most common and most common of them.
1. MORPHOLOGICAL ERRORS:
Incorrect use of pronouns
For example. “You have to be really lucky in order to win a large artistic canvas for a few rubles. It turned out to be a technician Alexei Stroev. In this case, the incorrect use of the pronoun "him" creates a second anecdotal meaning of the phrase, as it means that Alexei Stroev turned out to be an artistic canvas.
The use of the plural of nouns instead of the singular. For example. "They wear baskets on their heads."
Ending errors.
For example. “A school, a bathhouse, a kindergarten will be built here next year.
2. LEXICAL ERRORS:
Inaccurate word choice, use of words that cause unwanted associations. For example. "Classes are held without warning, in a family atmosphere" - Instead of "without invitation", "at ease".
Inept use of phraseological phrases.
For example. "Our troops have crossed the line" - Instead of: "Our troops have reached the line / Our troops have crossed the line."
The use of expressions in relation to animals that usually characterize the actions of people or human relationships.
For example. "At the same time, the rest of the bulls gave excellent daughters."
3. SYNTAX ERRORS:
Incorrect word order in a sentence.
For example. “For joy, Avdeev felt his heart beat faster.”
Incorrect control and connection.
For example. "More attention should be paid to the safety of young people."
The use of syntactically unformed sentences.
For example. "Her whole small FIGURE LIKE more like a student than a teacher."
Punctuation errors that distort the meaning of the text.
For example. “Sasha ran around the gardens with the kids, played money while sitting at his desk, listened to the stories of teachers.”
4. STYLISTIC ERRORS:
- stationery style
For example. “As a result of the work of the commission, it was found that there are significant reserves in the further use of materials and, in connection with this, a decrease in their consumption per unit of production” - Instead of “The commission found that materials can be used better and, therefore, their consumption can be reduced.”
Speech stamps are a rather complex phenomenon, which is widespread due to the stereotyped thought and content. Speech stamps can be represented by:
- words with a universal meaning (worldview, question, task, moment),
- in paired words or satellite words (initiative-response),
- stamps - style decorations (blue screen, black gold),
- stencil formations (to carry an honorary watch),
- stamps - compound words (oven-giant, miracle tree).
The main feature of the stamp is the lack of content in it. A stamp must be distinguished from a linguistic cliché, which is a special kind of linguistic means and is used in business, scientific and technical literature to more accurately convey the circumstances of an event or phenomenon.
ASSESSMENT OF ARTISTIC DETAILS
An artistic detail is a detail that the author endowed with a significant semantic and emotional load.
Artistic details include mainly subject details in a broad sense: details of everyday life, landscape, portrait, interior, as well as gesture, action and speech.
By means of a successfully found part, one can convey character traits appearance of a person, his speech, manners of behavior, etc.; convexly and visibly describe the situation, scene, any object, finally, the whole phenomenon.
Artistic detailing may be necessary or, conversely, redundant. Excessive attention to detail, which is typical for beginning writers, can lead to a heap of details that interfere with the perception of the main thing and therefore tire the reader.
There are two characteristic miscalculations in the use of artistic details:
It is necessary to distinguish an artistic detail from simple details, which are also necessary in a work.
The writer must be able to select exactly those details that will give a complete, lively, vivid picture. Creating a “visible” and “audible” text for the reader, the writer uses real details, which in the work can be considered as a detail.
Excessive passion for details makes the picture motley, deprives the narrative of integrity.
Black Wand
SOME THOUGHTS OF THE ORDINARY READER ON ARTISTIC DETAILS
FEATURES OF THE ANALYSIS OF A STORY AS A FORM OF A ARTWORK
The short story is the most concise form of fiction. The story is difficult precisely because of its small volume. “There is a lot in the small” - this is the main requirement for small forms.
The story requires especially serious, in-depth work on the content, plot, composition, language, because in small forms, flaws are more clearly visible than in large ones.
A story is not a simple description of a case from life, not a sketch from nature.
The story, like the novel, shows significant moral conflicts. The plot of a story is often as important as in other genres of fiction. The author's position, the importance of the topic is also significant.
The story is a one-dimensional work, it has one storyline. One incident from the life of heroes, one bright, significant scene can become the content of the story, or a comparison of several episodes covering a more or less long period of time.
Too slow development of the plot, prolonged exposition, unnecessary details harm the perception of the story.
Although the opposite happens as well. Sometimes, with excessive brevity of presentation, new shortcomings arise: the lack of psychological motivation for the actions of the characters, unjustified failures in the development of the action, the sketchiness of characters devoid of memorable features.
N. M. Sikorsky believes that there is a thoughtful and unjustified brevity, that is, omissions in the presentation of events that are easily restored by the reader’s imagination, and unfilled voids that violate the integrity of the narrative. It is important to notice when a figurative display is replaced by simply informational messages about events. That is, the story should not just be short, it should have a truly artistic conciseness. And here the artistic detail plays a special role in the story.
Doesn't usually happen in a story. a large number characters and many storylines. Overloading with characters, scenes, dialogues are the most common shortcomings of the stories of novice authors.
Evaluation of the work is carried out in order to clarify the originality of a particular work.
The analysis is carried out in several aspects:
1. Correlation of execution and intention (image as an expression of thoughts and feelings of the author);
2. Figurative accuracy (image as a reflection of reality);
3. Emotional accuracy of the impact of the text on the imagination, emotions, associations of the reader (the image as a means of aesthetic empathy and co-creation).
The result of the assessment is the creation of some recommendations that will improve the unsuccessful components of the text that do not correspond to the intention, the general structure of the work and the creative manner of the author.
Skillfully carried out transformation should not violate the integrity of the text. On the contrary, the release of its structure from the elements introduced by secondary influences will clarify the idea of the work.
During stylistic editing, inaccuracies, speech errors in the manuscript, roughness in style are eliminated;
when shortening the text, everything superfluous that does not correspond to the genre, the functional affiliation of the work is removed;
during compositional editing, parts of the text are moved, sometimes missing links are inserted that are necessary for coherence, a logical sequence of presentation.
“You carefully remove the excess, as if you are removing a film from a decal, and gradually a bright drawing appears at your fingertips. The manuscript was not written by you. And yet you joyfully feel some involvement in its creation "(c)
Information for thought.
Before you are two editions of the text of the beginning of L. Tolstoy's story "Hadji Murad".
FIRST OPTION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this time of year: fragrant porridges, red, white, pink, love-not-love, with their spicy rotten smell, yellow, honey and island-shaped, - purple, tulip-shaped peas, multi-colored scabioses, delicate with a slightly plantain with pink fluff and, most importantly, lovely cornflowers, bright blue in the sun, blue and purple in the evening. I love these wild flowers with their subtlety of finishing and slightly noticeable, not for everyone, with their gentle and healthy smell. I picked up a large bouquet and already on the way back I noticed in the ditch a wonderful crimson burdock in full bloom, of the variety that we call Tatar and which is diligently mowed or thrown out of the hay by mowers so as not to prick their hands on it. I took it into my head to pick this burdock, put it in the middle of the bouquet. I got down into the ditch and drove the bumblebee that had climbed into the flower and, since I did not have a knife, began to tear off the flower. Not only did it prick from all sides, even through the handkerchief with which I wrapped my hand, its stem was so terribly strong that I fought with it for about 5 minutes, tearing the fibers one at a time. When I tore it off, I crumpled the flower, then it was clumsy and did not go to the delicate delicate flowers of the bouquet. I regretted that I had ruined this beauty and threw the flower away. "What energy and strength of life," I thought, going up to him...
FINAL VERSION
I returned home through the fields. It was the middle of summer. The meadows were cleared and they were just about to mow the rye. There is a lovely selection of flowers for this season: red, white, pink, fragrant, fluffy porridge; cheeky daisies; milky white with a bright yellow center “love it or hate it” with its rotten spicy stench; yellow colza with its honey smell; high-standing purple and white tulip-shaped bells; creeping peas; yellow, red, pink, purple, neat scabioses; with a little pink down and a little audible pleasant smell plantain; cornflowers, bright blue in the sun and in youth, and blue, and blushing in the evening and in old age; and tender, with an almond smell, immediately withering, dodder flowers. I picked up a large bouquet of different flowers and was walking home when I noticed in a ditch wonderful crimson, in full bloom, burdock of the variety that we call "Tatar" and which is diligently mowed, and when it is accidentally mowed, mowers are thrown out of the hay so as not to prick hands on it. I took it into my head to pick this burdock and put it in I got down into the ditch and, having chased away the shaggy bumblebee that had dug into the middle of the flower and sweetly and languidly fell asleep there, I began to pluck the flower. But it was very difficult: not only did the stem prick from all sides, even through the hand, - he was so terribly strong; that I fought with him for about five minutes, tearing the fibers one at a time. When I finally tore off the flower, the stem was already all in tatters, and the flower no longer seemed so fresh and beautiful. Except moreover, he is rude and clumsy awn did not fit the delicate flowers of the bouquet. I regretted that in vain I had ruined a flower that was good in its place, and I threw it away. “What, however, is the energy and strength of life,” I thought, Remembering the efforts with which I tore off the flower. “How he defended hard and sold his life dearly.”
© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213052901211
reviews
Reviews
Analysis - Third criticism, positive
Quote - The evaluation of the plot is very subjective, however, there are certain criteria for it:
- the significance of the situation for revealing the characters of the characters;
...
Plot elements are the stages in the development of a literary conflict (exposition, plot, development of action, climax and denouement). The selection of these elements is possible only in connection with the conflict.
The daily audience of the Proza.ru portal is about 100 thousand visitors, who total amount view more than half a million pages according to the traffic counter, which is located to the right of this text. Each column contains two numbers: the number of views and the number of visitors.
As an example of literary analysis, let us turn to the poem by M.Yu. Lermontov "Goodbye, unwashed Russia...»:
Farewell, unwashed Russia,
Country of slaves, country of masters.
And you, blue uniforms,
And you, their devoted people.
Perhaps behind the wall of the Caucasus
I will hide from your pashas,
From their all-seeing eye
From their all-hearing ears.
1. The poem "Farewell, unwashed Russia ..." was written in 1841 before the second exile of the poet to the Caucasus. Published only in 1887. 40s of the XIX century. are characterized as a time of social passivity of society, which replaced the national upsurge of the people in the Patriotic War of 1812 and the Decembrist uprising of 1825.
2. The work belongs to the mature stage in the work of M.Yu. Lermontov, the heyday of his poetic talent. In the 40s, such masterpieces of the poet's civil lyrics were written as "January 1st", "Both boring and sad ...", "Motherland", "Clouds", etc. The poem "Farewell, unwashed Russia ... ”reflects the traditions of Decembrist poetry with its high civic pathos and call for social protest. For this stage in the work of M.Yu. Lermontov was characterized by a sharply critical perception of reality, bitterness and the motive of loneliness, a feeling of a deep discrepancy between dreams and real life. All these features are reflected in the poem under consideration.
3. The work belongs to lyrics and is characterized by a pronounced subjective attitude to the described reality. This is a lyrical monologue of the author, which contains a challenge to autocratic Russia. The work is distinguished by limited descriptiveness, rhetoric, conventionality (cf., for example, a hint of total surveillance, eavesdropping, suppression of freedom, dissent - due to hyperbolization and the ability to turn a detail into a symbol: from their all-seeing eye, from their all-hearing ears).
4. The work belongs to the genre lyric poem - this is an appeal to "the country of slaves, the country of masters." The accusatory pathos of the work, its angry intonation and clear rhythm are formed not only due to the special vocabulary and syntax, but also due to the chosen by the author poetic meter- iambic tetrameter. N.S. Gumilyov said about this size: “Each meter has its own soul, its own characteristics and tasks. Yamb, as if descending the stairs, ... is free, clear, firm and perfectly conveys human speech, the intensity of human will. The latter is especially noticeable in the analyzed poem.
The factors of “the unity of the verse series” and “the tightness of it”, noted by Yu.N. Tynyanov in poetry, are fully characteristic of the work under consideration, which is distinguished by the harmonious correspondence of form and content, the accuracy of poetic word usage and the aesthetic motivation of syntactic constructions. Semantic richness, conciseness, lack of verbosity, rhetoric make up important features poems.
The theme of the poem can be summarized as civil, antiserfdom. This is a work about the motherland, full of pain and bitterness for the people, who are passive and oppressed by the autocracy. The poem is characterized by monologism, a tendency towards expressiveness and open appraisal.
6. The main theme in the work is the theme of the motherland and the fate of the Russian people. This is a cross-cutting theme in Lermontov's poetry (cf. poems: “Russian Song”, “Autumn”, “Will”, “The Last Son of Liberty”, “You are beautiful, the fields of the native land ...”, “I look at the future with fear”, Rodina, Duma). Unlike other works of Lermontov, where there is a contrast between the heroic past of Russia and gloomy reality, the poem in question presents contemporary to the poet Russia with its despotic orders worthy of denunciation.
7. The composition of a small poem, consisting of two stanzas, is simple. The key statement - a maxim, reflecting the theme and idea of the work, opens the work, built in the form of an excited monologue-reflection of the lyrical hero. The following presentation reveals and complements the meaning of the key statement. Thus, the general logical scheme of a poetic text includes a thesis and arguments (Scheme 6).
8. As for pathos analyzed poem, it can be defined as a combination of the tragic and satirical with elements of irony.
The pathos of the work is associated with the poet's characteristic state of "transition" from romanticism to realism, their peculiar combination. The text shows the reflection of the author, his self-absorption, tragic discord with the surrounding reality, longing for the high, perfect, characteristic for romance. At the same time, the poem embodies specific historical details a certain stage in the development of society, expressed in artistic form, the author openly criticizes the existing order of things in the spirit realism. In the poetic work under consideration, conditional forms characteristic of a satirical image are presented: paraphrase blue uniforms(about the royal gendarmes - the guardians of the autocratic order, who wore blue uniforms); Pasha(their ironic designation by the name of Turkish military dignitaries); all-seeing eye, all-hearing ears symbols that personify the brutal order in the country, based on denunciations and surveillance. rhetoric, which distinguishes the poem, is expressed by the excited appeal "Farewell, unwashed Russia ...", the use of vivid epithets, synecdoches and paraphrases (blue uniforms) metaphors (unwashed Russia, the wall of the Caucasus), hyperbole (From their all-seeing eye, / From their all-hearing ears).
9. General emotional tone works - angry, indignant, painted with pain and bitterness for the outraged people. The key in the work are the images of Russia, the people and the royal gendarmes. If in the poem "Motherland" the poet confessed: "I love the Fatherland, but strange love...”, then this “strangeness” is revealed in the analyzed text and special treatment to Russia, reflecting a complex range of feelings: hatred and love, pain and bitterness. Estimated epithet "unwashed", i.e. dirty,- in the context of the poem, it has the actual meaning of “trans. immoral, immoral." The following exposition reveals the essence of this through the device of contrast: land of slaves, land of masters. In shaping the image of a people silently enslaved, important role belongs to the epithet "devotee" (And you, a devoted people to them). Devotee - i.e. "full of love and fidelity", resigned. It is this circumstance that deeply revolts the lyrical hero, filling his heart with pain.
The images of the royal gendarmes are very expressive, formed on the basis of the associative-semantic connection of lexical means: blue uniforms, pashas, all-seeing eye, all-hearing ears. The image of the lyrical hero in this work is painted tragically. This is a brave, proud person, deeply suffering for his homeland, denying the obedience and humility of the people and the royal order. Regarding the chronotope, it is interesting to note that the poem presents images of the present tense ("here" and "now") - Farewell, unwashed Russia... and future: - Perhaps behind the wall of the Caucasus I will hide from your pashas ... The image of space as visible and imaginary, large-scale and remote (wall of the Caucasus) actualized in the reflections of the lyrical hero. In general, the figurative structure of the poem is aimed at expressing his ideas.
I. idea works can be defined as an active rejection and condemnation of the autocracy and the social passivity of the people. High civic pathos distinguishes this poem, which was perceived as a challenge to feudal Russia.
1. Artistic features poems are determined by its ideological and thematic originality and high civic pathos. Partially, they have already been discussed in connection with the characteristic rhetoric poetic text. All figurative and expressive means are aimed at creating accusatory tonality, being focused on key images. Techniques of rhetorical appeal and contrast at the beginning of a poem (Farewell, unwashed Russia, Country of slaves, / country of masters) determine the subsequent artistic development of the text. The contrast is enhanced by contrasting images people and royal gendarmes due to synecdoche, periphrase and expressive epithet:
And you, blue uniforms, And you, the people devoted to them.
Use of metaphors (wall of the Caucasus, unwashed Russia), hyperbole in the formation of a generalizing image of autocratic despotism, total surveillance and eavesdropping (From their all-seeing eye / From their all-hearing ears) is very expressive and pragmatically effective.
Thus, the system of bright artistic means and techniques forms the figurative structure of the work, expressing its ideological content.
The poem is typical for the late lyrics of M.Yu. Lermontov and reflects his individual author's stylistic features: romantic pathos combined with historically specific realistic authenticity in describing the social realities of the 40s of the 19th century, open social protest and rejection of the autocratic system; increased expression and a variety of visual and expressive means.
Let's summarize:
Literary analysis is the third stage of the philological analysis of a literary text.
The object of literary analysis is mainly content artwork,
Immanent analysis of a literary work must be supplemented projection, taking into account the cultural and historical context of the era. Literary analysis includes the study of the time and circumstances of writing a work; his place in the writer's work; definition of the literary type of the work and genre; the main issue; Topics; compositions; pathos of the work and emotional tone; figurative system; ideas and artistic features.
Literary analysis complements and deepens the understanding of the content of a literary text and the creative personality of the author, obtained on the basis of linguistic and stylistic analysis of the text.
Main
1. Aspects of general and particular linguistic theory of text. M., 1982. S. 3-9; pp. 22-41.
2. Bolotnova N.S. Philological analysis of the text: textbook. allowance / N.S. Bolotnova. - 3rd ed., Rev. and additional – Flint: Science, 2007, - 520s.
3. Babenko L.G., Vasiliev I.E., Kazarin Yu.V. Linguistic analysis of a literary text. Yekaterinburg, 2000. Ch. I, appendix 1.3.
4. Babenko L.G. Philological analysis of the text. Fundamentals of theory, principles of analysis: Textbook for universities. M.: Academic project; Yekaterinburg: Business book, 2004.
5. Bakhtin MM. Man in the world of words. M., 1995. S. 129-139.
6. Volgina N.S. Text Theory: Textbook. M.: Logos, 2003.
7. Vinogradov V.V. About the theory artistic speech. M., 1971. S. 105-129.
8. Vinokur G.O. Philological research. M., 1990. S. 112-140.
9. Galperin I.R. Text as an object of linguistic research. M., 1981.
10. Esin A.B. Principles and methods of analysis of a literary work: Textbook. M., 1998. Ch. 3.
11. Lotman Yu.M. Analysis of the poetic text. L., 1972. S. 3-23.
12. Kazarin Yu.V. Philological analysis of the poetic text: Textbook for universities. M.: Academic project; Yekaterinburg: Business book, 2004.
13. Kamenskaya OL. Text and communication. M., 1990. S. 5-18.
14. Kozhina M.N. Stylistics of the Russian language. M., 1993. S. 69-85.
15. Kupina ON. Linguistic analysis of a literary text. M., 1980.
16. Kupina N.A., Nikolina N.A. Philological analysis of a literary text: Practicum. M.: Flinta: Nauka, 2003.
17. Larin B.A. Aesthetics of the word and the language of the writer. L., 1974.
18. Likhachev D.S. About philology. M., 1989. S. 173-207.
19. Nikolina N.A. Philological text analysis: Textbook for students. higher ped. education, institutions. M.: Academy, 2003. S. 3-10.
20. Novikov L A. Artistic text and its analysis. M., 1983.
21. Odintsov V.V. Text style. M., 1980. S. 28-51.
22. Potebnya AA. Thought and language. Kyiv, 1993. S. 124-157.
23. Russian Literature: Anthology / Ed. prof. V.P. Unrecognized. M., Academy, 1997.
24. Stepanov G.V. Language. Literature. Poetics. M., 1988. S. 125-149.
25. Khalizev V.E. Theory of Literature. M.: Higher. school, 1999. S. 240-247.
26. Shansky N.M. Linguistic analysis of a literary text. L., 1990.
The performance of a literary work requires
special training. Before voicing
literary text, you need to find answers to the following
questions:
1.
Do I like the literary work that I
going to read to the kids? What attracted me to it?
What is special about it?
2.
Why do I want to read this to children?
work? What should happen to them after
reading this work? What feelings do I want
call them? What do I want to think about with them?
The answers to these questions must be sought in the work itself.
But until you ask yourself specific questions, your
impressions will not be clear. Just by translating them into
linguistic form, having formulated in a word, you really
start thinking, and therefore, comprehend the subtext. Process
pondering the work will lead you to the need
his literary analysis, i.e. to more detailed
consideration of the work.
Questions about the author of the work
QUESTIONS ABOUT THE AUTHORFolklore or literary in front of you
work? It is important to immediately understand whether
copyrighted work. If it belongs to
folklore, then you need to work with it according to the laws
folklore. How to do this, we
consider in the next chapter.
2.
If the work is literary, then who is its author,
where and when did he live and when was this created
work?
The creation time does not have to be set from
accurate to a year, but the period of time is a century and its
a quarter is important because literature is always
reflects a specific era, even if it wears
timeless character. Also important is the country
which the writer lived and lives. Life of a person
is necessarily reflected in the work, and he, as
known to carry national traits and wherein
changes over time.
1.
Theoretical and literary questions
THEORETICAL AND LITERARY QUESTIONSEvery literary gender has its
specifics to be taken into account
parsing the work.
Genre is always a specific point of view
author to the world. Each genre requires a special
intonation: the reader looks at the world through the eyes of the author.
Every genre has its own voice
their special intonations, which should
know the artist. Focusing on the genre
the reader will be able to accurately select the necessary
expressive means. Each type of speech requires a special pronunciation -
You can't read poetry the way you read prose.
Poetic speech is organized more complex,
than prose, it is more figurative and therefore
harder to comprehend. But at the same time she
easier to remember, more powerful
affects human emotions
its distinct rhythm, rhyme, imagery.
Features of poetic works
FEATURES OF POETRYWORKS
Let's name the laws of the verse:
1. Compliance with the interlinear pause: in
the poem contains special pauses,
which are not in prose speech; They
mark the end of a line of poetry
set the rhythm. Such pauses are called
interverse.
2. The unity of the poetic line: everything
words in a line of poetry are closely "soldered"
among themselves, so the longest
pauses can be inter-linear. If
need to make a logical pause inside
line, then it should be replaced
intonation. 3.
4.
Compliance with author's stresses: rhythm
poem tells the reader which
the syllable of each word is stressed. Sometimes
author's accents do not match
orthoepic norm, but replace them with
cannot be correct, since such substitutions
destroy the rhythm of the poem. Pyrrhic omissions of stress on a strong place - attach
colloquial sound to the verse.
Compliance with the number of syllables in a line: in
each line of the poem
number of stops with a certain alternation
stressed and unstressed syllables. The Art of the Reader
poetry is to
combine in reading the word, feeling, thought of the author
and the melody of the verse.
Features of prose works
FEATURES OF PROSEWORKS
Prose does not make children want to imitate
its form, create your speech works
Similarly. But at the same time, children love to play in
prose characters.
Prose speech is more fluid, because in
it has more long sentences. Content
prose works are perceived
easier, but the prose is not so good
remembered, often children's perception of prose
does not differ in integrity. 1. Analysis of a work of art 1. Determine the theme and idea / main idea/ of this work; the issues raised in it; the pathos with which the work is written; 2. Show the relationship between plot and composition; 3. Consider the subjective organization of the work /artistic image of a person, methods of creating a character, types of images-characters, a system of images-characters/; 4. Find out the author's attitude to the topic, idea and heroes of the work; 5. Determine the features of the functioning in this work of literature of fine art means of expression language; 6. Determine the features of the genre of the work and the style of the writer.
Note: according to this scheme, you can write an essay-review about the book you read, while also presenting in the work:
1. Emotional and evaluative attitude to what is read.
2. A detailed justification for an independent assessment of the characters of the heroes of the work, their actions and experiences.
3. Detailed substantiation of the conclusions. 2. Analysis of a prose literary work When starting to analyze a work of art, first of all, it is necessary to pay attention to the specific historical context of the work during the period of creation of this work of art. At the same time, it is necessary to distinguish between the concepts of historical and historical-literary situation, in the latter case it means
literary trends eras;
the place of this work among the works of other authors written during this period;
creative history of the work;
assessment of the work in criticism;
originality of perception of this work by contemporaries of the writer;
evaluation of the work in the context of modern reading; Next, we should turn to the question of the ideological and artistic unity of the work, its content and form (in this case, the content plan is considered - what the author wanted to say and the expression plan - how he managed to do it). Conceptual level of a work of art
(themes, problems, conflict and pathos) Subject- this is what the work is about, the main problem posed and considered by the author in the work, which unites the content into a single whole; these are those typical phenomena and events of real life that are reflected in the work. Does the theme resonate with the main issues of its time? Is the title related to the topic? Each phenomenon of life is a separate topic; a set of topics - the theme of the work. Problem- this is the side of life that is of particular interest to the writer. One and the same problem can serve as the basis for posing different problems (the theme of serfdom is the problem of the internal lack of freedom of the serf, the problem of mutual corruption, mutilation of both serfs and serfs, the problem of social injustice ...). Issues - a list of issues raised in the work. (They may be complementary and subject to the main problem.) Idea- what the author wanted to say; the writer's solution to the main problem or an indication of the way in which it can be solved. (The ideological meaning is the solution of all problems - the main and additional ones - or an indication of a possible solution.) Pathos- the emotional and evaluative attitude of the writer to the narrated, which is distinguished by a great strength of feelings (maybe affirming, denying, justifying, elevating ...). The level of organization of the work as an artistic whole
Composition- construction of a literary work; unites the parts of the work into one whole. The main means of composition: Plot- what happens in the work; system of major events and conflicts. Conflict- clash of characters and circumstances, views and principles of life, which is the basis of action. The conflict can occur between the individual and society, between characters. In the mind of the hero can be explicit and hidden. Plot elements reflect the stages of development of the conflict; Prologue- a kind of introduction to the work, which tells about the events of the past, it emotionally sets the reader up for perception (rare); exposition- introduction into action, depiction of the conditions and circumstances that preceded the immediate start of actions (it can be expanded and not, whole and “broken”; it can be located not only at the beginning, but also in the middle, end of the work); introduces the characters of the work, the situation, time and circumstances of the action; tie- the beginning of the plot; the event from which the conflict begins, subsequent events develop. Development of action- a system of events that follow from the plot; in the course of the development of the action, as a rule, the conflict escalates, and the contradictions appear more and more clearly; climax- the moment of the highest tension of the action, the pinnacle of the conflict, the climax presents the main problem of the work and the characters of the characters very clearly, after which the action weakens. denouement- the solution of the depicted conflict or an indication of possible ways his decisions. The final moment in the development of the action of a work of art. As a rule, it either resolves the conflict or demonstrates its fundamental insolubility. Epilogue- the final part of the work, which indicates the direction of further development of events and the fate of the characters (sometimes an assessment is given to the depicted); this is a short story about what happened to the characters of the work after the end of the main plot action.
The plot may be:
In direct chronological sequence of events;
With digressions into the past - retrospectives - and "excursions" into
future;
In a deliberately changed sequence (see artistic time in the work).
Non-plot elements are:
Insert episodes;
Lyrical (otherwise - author's) digressions. Their main function is to expand the scope of what is depicted, to enable the author to express his thoughts and feelings about various phenomena of life that are not directly related to the plot. Some elements of the plot may be missing in the work; sometimes it is difficult to separate these elements; sometimes there are several plots in one work - in other words, storylines. There are various interpretations of the concepts of "plot" and "plot": 1) the plot is the main conflict of the work; plot - a series of events in which it is expressed; 2) plot - the artistic order of events; plot - the natural order of events
Compositional principles and elements:
Leading compositional principle(the composition is multifaceted, linear, circular, "string with beads"; in the chronology of events or not...).Additional composition tools:
Lyrical digressions - forms of disclosure and transmission of the writer's feelings and thoughts about the depicted (they express the author's attitude to the characters, to the life depicted, may represent reflections on any occasion or an explanation of his goal, position); Introductory (insert) episodes(not directly related to the plot of the work); Artistic previews- the image of scenes that, as it were, predict, anticipate further development events; Artistic framing- scenes that begin and end an event or work, complementing it, giving additional meaning; Compositional techniques- internal monologues, diary, etc. The level of the internal form of the work The subjective organization of the narration (its consideration includes the following): The narration can be personal: on behalf of the lyrical hero (confession), on behalf of the hero-narrator, and impersonal (on behalf of the narrator). 1) Artistic image of a man- typical phenomena of life reflected in this image are considered; individual traits inherent in the character; reveals the originality of the created image of a person:External features - face, figure, costume;
The character of the character - it is revealed in actions, in relation to other people, manifested in a portrait, in descriptions of the feelings of the hero, in his speech. Depiction of the conditions in which the character lives and acts;
An image of nature that helps to better understand the thoughts and feelings of the character;
Image of the social environment, the society in which the character lives and acts;
The presence or absence of a prototype. 2) 0 basic techniques for creating an image-character:
Characterization of the hero through his actions and deeds (in the plot system);
Portrait, portrait characteristic hero (often expresses the author's attitude to the character);
Straight author's characteristic;
Psychological analysis- detailed, in detail recreation of feelings, thoughts, motives -inner world character; here the depiction of the “dialectics of the soul” is of particular importance, i.e. movements of the hero's inner life;
Characterization of the hero by other characters;
Artistic detail - a description of objects and phenomena of the reality surrounding the character (details that reflect a broad generalization can act as symbolic details); 3) Types of images-characters: lyrical- in the event that the writer depicts only the feelings and thoughts of the hero, without mentioning the events of his life, the actions of the hero (found mainly in poetry); dramatic- in the event that the impression arises that the characters act "on their own", "without the help of the author", i.e. the author uses the technique of self-disclosure, self-characteristics (found mainly in dramatic works) to characterize the characters; epic- the author-narrator or narrator consistently describes the characters, their actions, characters, appearance, the environment in which they live, relationships with others (found in epic novels, short stories, short stories, short stories, essays). 4) The system of images-characters; Separate images can be combined into groups (grouping of images) - their interaction helps to more fully present and reveal each character, and through them - the theme and ideological meaning of the work. All these groups are united in the society depicted in the work (multidimensional or one-dimensional from a social, ethnic, etc. point of view). Artistic space and artistic time (chronotope): space and time depicted by the author. Artistic space can be conditional and concrete; compressed and voluminous; Artistic time can be correlated with historical or not, intermittent and continuous, in the chronology of events (epic time) or the chronology of the characters’ internal mental processes (lyrical time), long or instantaneous, finite or endless, closed (i.e. only within the plot , out of historical time) and open (against the background of a certain historical epoch). The position of the author and ways of expressing it:
Author's estimates: direct and indirect.
Creation method artistic images: narration (image of the events taking place in the work), description (successive listing of individual features, features, properties and phenomena), forms of oral speech (dialogue, monologue).
The place and significance of the artistic detail (artistic detail that enhances the idea of the whole). External form level. Speech and rhythm-melodic organization of a literary text Character speech - expressive or not, acting as a means of typing; individual characteristics speech; reveals the character and helps to understand the attitude of the author. Narrator's speech - evaluation of events and their participants The peculiarity of the word use of the national language (active inclusion of synonyms, antonyms, homonyms, archaisms, neologisms, dialectisms, barbarisms, professionalisms). Figurative techniques (tropes - the use of words in a figurative sense) - the simplest (epithet and comparison) and complex (metaphor, personification, allegory, litote, paraphrase). Analysis of a poetic work
Poem analysis plan 1. Elements of a commentary on a poem:
- Time (place) of writing, history of creation;
- Genre originality;
- The place of this poem in the poet's work or in a series of poems on a similar topic (with a similar motive, plot, structure, etc.);
- Explanation of obscure places, complex metaphors and other transcripts. 2. Feelings expressed by the lyrical hero of the poem; the feelings that the poem evokes in the reader. 3. The movement of the author's thoughts, feelings from the beginning to the end of the poem. 4. Interdependence of the content of the poem and its artistic form:
- Compositional solutions;
- Features of self-expression of the lyrical hero and the nature of the narrative;
- The sound range of the poem, the use of sound recording, assonance, alliteration;
- Rhythm, stanza, graphics, their semantic role;
- Motivation and accuracy of the use of expressive means. 4. Associations caused by this poem (literary, life, musical, pictorial - any). 5. The typicality and originality of this poem in the poet's work, the deep moral or philosophical meaning of the work, which was revealed as a result of the analysis; the degree of "eternity" of the issues raised or their interpretation. Riddles and secrets of the poem. 6. Additional (free) reflections. Analysis of a poetic work
(scheme) Starting the analysis of a poetic work, it is necessary to determine the direct content of the lyrical work - experience, feeling; Determine the "belonging" of feelings and thoughts expressed in a lyrical work: a lyrical hero (the image in which these feelings are expressed); - to determine the subject of the description and its connection with the poetic idea (direct - indirect); - to determine the organization (composition) of a lyrical work; - to determine the originality of the use of visual means by the author (active - mean); determine the lexical pattern (vernacular - book and literary vocabulary ...); - determine the rhythm (homogeneous - heterogeneous; rhythmic movement); - determine the sound pattern; - determine intonation (the attitude of the speaker to the subject of speech and the interlocutor. Poetic vocabulary It is necessary to find out the activity of using separate groups of words in common vocabulary - synonyms, antonyms, archaisms, neologisms; - to find out the degree of proximity of the poetic language with the colloquial; - to determine the originality and activity of the use of trails EPITHET- artistic definition; COMPARISON- comparison of two objects or phenomena in order to explain one of them with the help of the other; ALLEGORY(allegory) - the image of an abstract concept or phenomenon through specific items and images; IRONY- hidden mockery; HYPERBOLA- artistic exaggeration, used to enhance an impression; LITOTES- artistic understatement; PERSONALIZATION- the image of inanimate objects, in which they are endowed with the properties of living beings - the gift of speech, the ability to think and feel; METAPHOR- a hidden comparison, built on the similarity or contrast of phenomena, in which the word "as", "as if", "as if" are absent, but implied. Poetic Syntax
(syntactic devices or figures of poetic speech) - rhetorical questions, appeals, exclamations- they increase the reader's attention without requiring an answer from him; - repetitions- repeated repetition of the same words or expressions; - antitheses- opposition; Poetic phonetics The use of onomatopoeia, sound recording - sound repetitions that create a kind of sound "pattern" of speech.) - Alliteration- repetition of consonant sounds; - Assonance- repetition of vowel sounds; - Anaphora- unity of command; Composition of a lyrical work Necessary:- to determine the leading experience, feeling, mood reflected in the poetic work; - to find out the harmony of the compositional construction, its subordination to the expression of a certain thought; - determine the lyrical situation presented in the poem (the hero's conflict with himself; the hero's inner lack of freedom, etc.) - determine the life situation that, presumably, could cause this experience; - highlight the main parts of a poetic work: show their connection (determine the emotional "picture"). Analysis of a dramatic work Scheme for analyzing a dramatic work 1. general characteristics: history of creation, vital basis, design, literary criticism. 2. Plot, composition:
- the main conflict, the stages of its development;
- the nature of the denouement /comic, tragic, dramatic/ 3. Analysis of individual actions, scenes, phenomena. 4. Collecting material about the characters:
- character's appearance
- behavior,
- speech characteristic
- the content of the speech / about what? /
- manner / how? /
- style, vocabulary
- self-characteristics, mutual characteristics of the characters, author's remarks;
- the role of scenery, interior in the development of the image. 5. CONCLUSIONS: Theme, idea, meaning of the title, system of images. Genre of the work, artistic originality. dramatic work The generic specificity, the “borderline” position of the drama (Between literature and the theater) obliges to analyze it in the course of development. dramatic action(this is the fundamental difference between the analysis of a dramatic work and an epic or lyrical one). Therefore, the proposed scheme is conditional, it only takes into account the conglomeration of the main generic categories of drama, the peculiarity of which can manifest itself in different ways in each individual case, namely in the development of the action (according to the principle of a untwisted spring). 1. General characteristics of dramatic action(character, plan and vector of movement, pace, rhythm, etc.). "Through" action and "underwater" currents. 2 . type of conflict. The essence of drama and the content of the conflict, the nature of the contradictions (two-dimensionality, external conflict, internal conflict, their interaction), the "vertical" and "horizontal" plan of the drama. 3. System of actors, their place and role in the development of dramatic action and conflict resolution. Main and secondary characters. Off-plot and off-stage characters. 4. System of motives and motivational development of the plot and microplots of the drama. Text and subtext. 5. Compositional-structural level. The main stages in the development of dramatic action (exposition, plot, development of action, climax, denouement). Assembly principle. 6. Features of poetics(the semantic key of the title, the role of the theater poster, stage chronotype, symbolism, stage psychologism, the problem of the finale). Signs of theatricality: costume, mask, game and post-situational analysis, role-playing situations, etc. 7. Genre originality (drama, tragedy or comedy?). The origins of the genre, its reminiscences and innovative solutions by the author. 8. Ways of expressing the author's position(remarks, dialogue, stage presence, poetics of names, lyrical atmosphere, etc.) 9. Drama contexts(historical and cultural, creative, proper dramatic) . 10. The problem of interpretations and stage history.
literary criticism- the science of fiction, its essence and historical evolution.
In literary criticism, three main branches are distinguished - literary theory, literary history and literary criticism, and the belonging of literary criticism to literary criticism is debatable. All branches of literature are interconnected. Into the system literary disciplines also includes poetry. Auxiliary historical disciplines include literary archiving, paleography, textual criticism, text commentary. Literary criticism has strong links with other humanities: philosophy, aesthetics, folklore, art theory, psychology, and sociology. The generality of the material, first of all, brings literary criticism closer to linguistics.
The emergence and development of literary criticism
The origins of literary criticism date back to antiquity. In the aesthetic views of the philosophers of Ancient Greece and Ancient Rome, one can find the foundations of scientific ideas about literature. The works of Aristotle and Plato, who laid the foundations of idealistic aesthetics, already contained the fundamental concepts of literary theory. Aristotle's work "On the Art of Poetry" was a systematic exposition of the foundations of poetics.
In the Middle Ages, the study of literature was carried out mainly in the bibliographic and commentary aspect. In the Renaissance, the works of the ancient world return from oblivion, special attention is paid to the problem of the vernacular language, which is addressed, in particular, by Dante (treatise "On Folk Speech", 1304-1307), J. Du Belle ("Protection and glorification French", 1549).
Until the middle of the nineteenth century. literary criticism developed mainly in line with philosophical and aesthetic concepts. The founder of literary criticism as a historical science is Johann Herder (1744-1803), who "for the first time began to consider the originality of artistic literature different peoples from the point of view of its conditionality by the circumstances of national-historical life.
In Russia in the 1820-1830s. declared itself "philosophical criticism" ( D.V. Venevitinov , N.I. Nadezhdin), influenced by the German classical philosophy. In the 1840s Belinsky combined philosophical and aesthetic ideas with the concepts of civil service of art and social history. Literary critic, explaining the phenomena of the past, developed the theoretical problems of realism and folk literature. By the middle of the nineteenth century. V European countries develops a culturological approach to the study of the literature of a particular ethnic group(this is connected, for example, with the emergence of such a discipline as Slavic studies). In domestic science, interest is shown in ancient Russian literature (in 1846, the book “The History of Russian Literature, Mostly Ancient” was published). S.P. Shevyreva).
Academic schools in literary criticism
By the nineteenth century include the emergence of pan-European methodological schools, primarily the mythological school (its leading representatives are the brothers J. and V. Grimm). The mythological school arose on the wave of interest in mythology and folklore awakened by romanticism and relied on the aesthetics of F. Schelling and the brothers A. and F. Schlegel as a philosophical basis. In Russia, in line with the mythological school, they worked F.I. Buslaev And A.N. Afanasiev, who belonged to the "younger mythologists".
Supporters of the biographical method, first applied by the French critic C.O. Sainte-Beuve (author of Literary-Critical Portraits, vols. Literary portraits. Critical Essays, 1970), considered the biography and personality of the writer as a defining moment of creativity. This method is used to some extent in modern literary criticism.
In the middle of the nineteenth century. a cultural-historical school was formed, which methodologically relied on historicism and considered a work of art as an organic imprint of the so-called "spirit" of the people in various historical moments his existence. The cultural-historical school was philosophically based on positivism (O. Comte, G. Spencer). The leading representative of the cultural-historical school in literary criticism is Hippolyte Taine (author of The History of English Literature", 1863-1864). De Sanctis, V. Scherer, M. Menendez y Pelayo also worked in line with this school, in Russia - N. S. Tihonravov, A. N. Pypin, N. I. Storozhenko and others. in the creation of histories of national literatures (in the context of the history of social psychology and the material culture of peoples).
Studies of oral folk art and the literature of antiquity contributed to the formation of comparative historical literary criticism. Comparatives explained the similarities literary facts similarities in the social history and cultural history of certain peoples, as well as cultural and literary contacts between them. in Russia since the 1880s. almost all universities had departments of "general literature". In St. Petersburg, this department was headed by A.N. Veselovsky- the founder of the comparative historical method in domestic science, the author of " historical poetics", (1870-1906, separate edition - 1940).
In the last third of the nineteenth century. a psychological school arose that reflected the general turn of humanitarian knowledge (primarily sociology, philosophy and aesthetics) to psychologism and the main subject of study for which was the psychological side of the creative process. The attention of this school was directed to the author’s spiritual life, since art reflects both external and inner impressions of the creator of a work of art. IN Western Europe the psychological school was represented primarily by the works of W. Wundt. In Russia, A. Potebnya (“Thought and Language”, 1862) adhered to the ideas of the psychological direction, later - his students (D.N. Ovsyaniko-Kulikovskiy, A.G. Gornfeldt and others).
At the turn of the XIX - XX centuries. the psychological school gave way to the schools of psychoanalysis. The sphere of the unconscious made it possible to explain many phenomena in art. A little later, K. Jung, who formulated the theory of the collective unconscious (archetypes), applied the principles of psychoanalysis to art in a new way. Under the influence of the ideas of C. Jung, as well as J. Fraser, the so-called ritual-mythological criticism has developed, whose representatives are busy searching in the works not only for mythological metaphors and similes, but also for the reproduction of certain ritual schemes. Ritual-mythological criticism has most fruitfully explored literary genres connected by their origin with ritual, folklore and mythological traditions.
In the 1910s a formal school emerged in Russian literary criticism. Its representatives contrasted the unity of form and content with the ratio of material (something presented to the artist) and form (organization of material in a work). The "formal school", the Russian version of the formal method in literary criticism, included the Society for the Study of Poetic Language (OPOYAZ), the Moscow Linguistic Circle (MLK), and scholars from the Leningrad State Institute of Art History (GIII). Representatives and supporters of the formal school fruitfully investigated some previously unexplored problems, including the relationship between semantics and poetic construction ( Y. Tynyanov), rhythm and meter (B. Tomashevsky), plot composition (B. Shklovsky), etc. The formal school, through interaction with the Prague Linguistic Circle, influenced structuralism and the “new criticism” representing foreign philological schools.
From interaction with sociology in literary criticism in the 1910s. a current of vulgar sociologism developed, which interpreted the historical and literary process in a simplified way. It was represented primarily by the works of V.N. Friche, V.F. Pereverzev and, later, by the theorists of Proletcult. Pereverzev understood art only as a reflection of only the class ideas of the artist. Representatives of the sociological trend sometimes replaced the analysis of a work of art only with an analysis of its subject matter, but this was the first attempt to build new concept historical and literary process.
In the Soviet period, literary criticism was both a subject scientific study, and the university course, having received a high degree of institutionalization. The histories of national literatures were scientifically developed, monographic studies of the creativity of domestic and foreign writers, published literary dictionaries and reference books. However, the ideological attitude associated with the principle of partisanship in literature has very often been a methodological obstacle to an objective analysis of this or that literary phenomenon.
Modern literary criticism
Modern literary criticism actively interacts with related areas of humanitarian knowledge, trying to find a universal method in the field of the humanities. One of these methods is traditionally referred to as hermeneutics. “Hermeneutic “understanding” is aimed at reconstructing the meaning, deciphering the historical text in order to realize the continuity of the spiritual and cultural experience of mankind, to introduce a new generation and a new era to the past, to tradition” . Hermeneutics, like existentialist, phenomenological, mythological criticism and receptive aesthetics and some other trends and schools of foreign literary criticism, is based on the anthropological type of construction of theoretical concepts. At the same time, modern literary criticism actively uses the conceptual apparatus of various academic schools of literary criticism, but from new methodological positions. An example is the use of the terms "archetype" and "archetypal image".
Domestic literary criticism, released since the late 1980s. from ideological dogmas, actively mastering a large layer of "returned names" and literary works of the so-called Russian Diaspora, trying to recreate the literary process in all its fullness and complexity. In this regard, the creation of new university courses in the history of Russian literature, especially in the 20th century, has become an urgent task. Already described literary phenomena are rethought from new methodological positions. Contemporary domestic literary criticism represented by a number of research institutions, including (IMLI) and the Institute of Russian Literature (Pushkin House).
Literary text analysis
Literary analysis of the text involves an exploratory reading of the text of a literary work, as opposed to interpretation, with its moments of subjective evaluation. The scientific consideration of a work of art is, first of all, an analysis of its structure: content and form, the subject matter of the work, problems, the ideological world, the depicted world, composition, as well as artistic speech. Thus, the analysis of the composition of a literary work implies an analysis of the composition of the figurative system, plot and conflict, the isolation of plot and extra-plot elements of a literary work. The picture of the depicted world consists of individual artistic details: the features of a portrait, landscape, household details.
The types of auxiliary analysis include, for example, the analysis of a work in terms of gender and genre. For example, to analyze the form of a lyrical work, it is necessary to answer the following questions:
- What genre does it belong to? lyrical work(elegy, epistle, stanzas, sonnet, madrigal, etc.)?
- What are the features compositional structure works (is it a whole or consists of several parts)?
- What are the features of the stanza of a lyrical work?
- How does the lyrical mood develop in the poem?
- How can you characterize the lyrical hero of the poem?
- What are the characteristics of the poem's vocabulary?
Nikolaev P.A. etc. Academic schools in Russian literary criticism
Nikolaev P.A. etc. History of Russian literary criticism
Esalnek A.Ya. Introduction to Literary Studies
