Composition
Composition
COMPOSITION (from the Latin "componere" - to fold, build) - a term used in art history. In music, K. is called the creation of a musical work, hence: the composer is the author of musical works. In literary criticism, the concept of k. passed from painting and architecture, where it denotes the connection separate parts works into an artistic whole. K. - a section of literary criticism that studies the construction literary work as a whole. Sometimes the term K. is replaced by the term "architectonics". Each theory of poetry is characterized by a corresponding doctrine of K., even if this term is not used.
The dialectical-materialist theory of cosmology does not yet exist in its developed form. However, the main provisions of the Marxist science of literature and individual excursions of Marxist literary critics in the field of composition study allow us to outline the correct solution to the problem. K. G. V. Plekhanov wrote: “The form of an object is identical with its appearance only in a certain and, moreover, superficial sense: . A deeper analysis leads us to an understanding of form as the law of an object, or, better, its structure” (“Letters without an Address”).
In its worldview, the social class expresses its understanding of the connections and processes in nature and society. This understanding of connections and processes, becoming the content of a poetic work, determines the principles of arrangement and deployment of material - the law of construction; First of all, one should proceed from the K. of characters and motives and through it proceed to the composition of verbal material. Each style that expresses the psycho-ideology of a particular class has its own type of K. In different genres of the same style, this type sometimes varies greatly, while at the same time retaining its basic features.
For more details on the problems of K., see the articles Style, Poetics, Plot, Versification, Theme, Image.
Literary Encyclopedia. - In 11 tons; M.: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
Composition
(from lat. composito - compilation, binding), construction artwork, organization, structure of the form of the work. The concept of "composition" is close in meaning to the concept of "structure of a work of art", but the structure of a work means all its elements in their relationship, including those related to the content ( plot roles characters, the correlation of characters among themselves, the author's position, the system of motives, the image of the movement of time, etc.). One can speak of the ideological or motive structure of the work, but not of the ideological or motive composition. In lyrical works, composition includes the sequence lines And stanza, the principle of rhyme (rhyme composition, stanza), sound repetitions and repetitions of expressions, lines or stanzas, contrasts ( antitheses) between different verses or stanzas. In dramaturgy, the composition of a work consists of a sequence scenes And acts contained in them replicas And monologues actors and author's explanations ( remarks). In narrative genres, composition is the depiction of events ( plot) and extra-plot elements: descriptions of the situation of the action (landscape - descriptions of nature, interior - description of the decoration of the room); descriptions of the appearance of the characters (portrait), their inner world ( internal monologues, indirect speech, generalized reproduction of thoughts, etc.), deviations from the plot narrative, in which the thoughts and feelings of the author are expressed about what is happening (the so-called author's digressions).
The plot is characteristic of dramatic and narrative genres also has its own composition. Elements of plot composition: exposition (image of the situation in which the conflict arises, presentation of characters); the plot (the origin of the conflict, the starting point of the plot), the development of the action, the culmination (the moment of the highest aggravation of the conflict, the plot peak) and the denouement (the exhaustion of the conflict, the "end" of the plot). Some works also have an epilogue (a story about the subsequent fates of the characters). Individual elements of the composition of the plot may be repeated. So, in the novel by A.S. Pushkin « Captain's daughter" three climactic episode(the capture of the Belogorsk fortress, Grinev at Pugachev's headquarters in Berdskaya Sloboda, the meeting of Masha Mironova with Catherine II), and in the comedy N.V. Gogol"Inspector" three denouement (false denouement - Khlestakov's engagement with the daughter of Gorodnichiy, the second denouement - the arrival of the postmaster with the news of who Khlestakov really is, the third denouement - the arrival of the gendarme with the news of the arrival of the true auditor).
The composition of the work also includes the structure of the narrative: the change of narrators, the change in narrative points of view.
There are certain recurring types of composition: ring composition (repetition of the initial fragment at the end of the text); concentric composition (plot spiral, repetition of similar events in the course of the development of the action), mirror symmetry (repetition, in which for the first time one character performs a certain action in relation to another, and then he performs the same action in relation to the first character). An example of mirror symmetry is the novel in verse by A. S. Pushkin "Eugene Onegin": first, Tatyana Larina sends a letter to Onegin with a declaration of love, and he rejects her; then Onegin, having fallen in love with Tatyana, writes to her, but she rejects him.
Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Under the editorship of prof. Gorkina A.P. 2006 .
Composition
COMPOSITION. The composition of a work in the broadest sense of the word should be understood as a set of techniques used by the author to "arrange" his work, techniques that create general drawing this latter, the order of its individual parts, transitions between them, etc. The essence of compositional techniques is thus reduced to the creation of some complex unity, a complex whole, and their significance is determined by the role that they play against the background of this whole in the subordination of its parts. Therefore, being one of highlights embodiment of a poetic idea, composition this work is determined by this idea, but it differs from other of these moments by the immediacy of its connection with the general spiritual disposition of the poet. Indeed, if, for example, the poet’s metaphors (see this word) reveal the integral image in which the world is before him, if the rhythm (see this word) reveals the “natural melodiousness” of the poet’s soul, then it is precisely the nature of the location of the metaphors that determines their significance in recreating the image of the whole, and the compositional features of the rhythmic units are their very sound (see "Enjambement" and "Strophe"). Vivid proof of the noted fact of the direct determinability of well-known compositional techniques by the general spiritual mood of the poet can, for example, be Gogol's frequent lyrical digressions, which undoubtedly reflect his preaching and teaching aspirations or Victor Hugo's compositional moves, as noted by Emile Fage. Thus, one of Hugo's favorite moves is the gradual development of mood, or, speaking in musical terms, a kind of gradual transition from pianissimo to piano, etc. As Fage rightly emphasizes, such a move in itself speaks for the fact that Hugo's genius - genius "florid", and such a conclusion is really justified general idea about Hugo (purely oratory in the sense of emotionality, the effectiveness of this move is clearly manifested when Hugo omits some term of the gradation and abruptly passes from one step to another). Also interesting from the side under consideration is another technique of Hugo's composition noted by Faguet - to develop his thought in a way that is widespread in everyday life, namely to pile up repetitions instead of proofs. Such repetition, leading to an abundance of " common places” and itself being one of the forms of the latter, undoubtedly indicates, as Fage notes, Hugo’s “ideas” are limited, and at the same time again confirms the “ornateness” (slope of influencing the will of the reader) of his genius. Already from the above examples, which show the determinability of compositional techniques in general by the general spiritual mood of the poet, it simultaneously follows that certain special tasks require certain techniques. Of the main types of composition, along with the named oratory, one can name narrative, descriptive, explanatory composition (see, for example, "A guide to the English language" edited by H. C. O. Neill, London, 1915) Of course, separate techniques in each of these types are determined both by the poet's holistic "I" and by the specificity of a separate idea (see, "Strophe" - about the construction of Pushkin's "I remember a wonderful moment"), but some general sticky characteristic for each of the compositional species. So, the narrative can develop in one direction and events follow in kind. chronological order or, conversely, the temporal sequence may not be observed in the story, and events develop in different directions, arranged according to the degree of growth of the action. There is also (in Gogol), for example, a compositional device of narration, consisting in a branch from the general narrative flow of individual streams that do not merge with each other, but flow into the general stream at certain intervals. From the characteristic methods of compositions of a descriptive type, one can, for example, indicate the composition of the description according to the principle general impression or the opposite, when they proceed from a clear fixing of individual particulars. Gogol, for example, often uses a combination of these techniques in his portraits. Having illuminated some image with hyperbolic light (see Hyperbole) in order to sharply outline it as a whole, Gogol then writes out individual particulars, sometimes completely insignificant, but acquiring special significance against the background of hyperbole that has deepened the usual perspective. As for the fourth of these types of composition - explanatory, then first of all it is necessary to stipulate the convention of this term in its application to poetry. Having a very definite meaning as a technique for the embodiment of thought in general (this may include, for example, the technique of classification, illustration, etc.), an explanatory composition in a work of art can manifest itself in the parallelism of the arrangement of individual moments (see, for example, the parallel arrangement of Ivan's characteristics Ivanovich and Ivan Nikiforovich in Gogol's story) or, conversely, in their contrasting opposition (for example, delaying the action by describing the characters), etc. If we approach works of art from the point of view of their traditional belonging to epic, lyrical and dramatic, then and here you can find specific features each group, as well as within their smaller divisions (composition of a novel, poem, etc.). Something has been done in Russian literature in this regard only very recently. See, for example, collections "Poetics", books - Zhirmunsky - "Composition lyric poems”, Shklovsky “Tristan Shandy”, “Rozanov”, etc., Eikhenbaum “Young Tolstoy”, etc. It should, however, be said that the approach of these authors to art only as a set of techniques makes them move away from the most essential in the work over a literary text - from establishing the determinability of certain methods creative theme. This approach turns these works into a collection dead materials and raw observations, very valuable, but waiting to be animated (see Reception).
Ya. Zundelovich. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
Synonyms:
Composition(from lat. soshro - to fold, build) - this is the construction of a work of art.
The multi-story and multifaceted nature of Dostoevsky's novels amazed his contemporaries, but the new compositional form that was built as a result of this was not always understood by them and was characterized as chaotic and inept. Noted Critic Nikolai Strakhov accused the writer of not being able to cope with a large amount of plot material, not being able to arrange it properly. In a reply letter to Strakhov, Dostoevsky agreed with him: “You have terribly aptly pointed out the main shortcoming,” he wrote. - Yes, I suffered from this and I suffer: I am completely unable, I still have not learned how to cope with my means. A lot of individual novels and stories side by side fit into one for me, so there is no measure, no harmony.
“In order to build a novel,” Anton Pavlovich Chekhov later wrote, “it is necessary to know well the law of symmetry and balance of masses. The novel is a whole palace, and it is necessary that the reader feel free in it, not be surprised and not bored, as in a museum. Sometimes you need to give the reader a break from both the hero and the author. A landscape is suitable for this, something funny, a new plot, new faces ... "
There can be a lot of ways to convey the same event, and they, these events, can exist for the reader in the form of an author's narration or memories of one of the characters, or in the form of a dialogue, monologue, a crowded scene, etc.
The use of various compositional components and their role in the creation overall composition each author has a certain uniqueness. But for narrative compositions it is important not only how the compositional components are combined, but also what, how, when and in what way it is emphasized in the overall construction of the narrative. If, say, a writer uses the form of a dialogue or a static description, each of them can shock the reader or pass unnoticed, be a "rest", according to Chekhov. The final monologue, for example, or a crowded scene, where almost all the heroes of the work are gathered, can unusually grow above the work, be its central, key moment. So, for example, the scene of the "trial" or the scene "In the Wet" in the novel "The Brothers Karamazov" are culminating, that is, containing the highest points of plot tension.
compositional emphasis in the narrative it is necessary to consider the most vivid, highlighted or intense plot moment. It's usually like this plot development, which, together with other accent points, prepares the most intense point in the narrative - the climax of the conflict. Each such "emphasis" should correlate with the previous and subsequent ones in the same way as narrative components (dialogues, monologues, descriptions, etc.) correlate with each other. A certain systemic arrangement of such accent points is the most important task of narration composition. It is this that creates “harmony and balance of masses” in the composition.
The hierarchy of narrative components, some of which are brighter or muted, strongly accented or have an auxiliary, passing meaning, is the basis of the composition of the narrative. It also includes narrative balance. plot episodes, and their proportionality (in each case, their own), and the creation of a special system of accents.
While creating compositional solution In an epic work, the main thing is the movement to the culmination of each scene, each episode, as well as the creation of the desired effect when combining narrative components: dialogue and a crowded scene, landscape and dynamic action, monologue and static description. Therefore, the composition of a narrative can be defined as a combination within an epic work of narrative forms of representation of different duration, having different strengths of tension (or emphasis) and constituting a special hierarchy in their sequence.
Deciphering the concept of "composition of the plot", we must proceed from the fact that at the level of objective depiction, the plot has its own initial composition. In other words, the plot of a separate epic work is compositional even before its narrative design, because it consists of an individual sequence of episodes chosen by the author. These episodes make up a chain of events from the life of the characters, events taking place at a certain time and located in a certain space. Composition of these plot episodes, not yet connected with the general narrative flow, that is, with the sequence of means of representation, can be considered on its own.
At the level of plot composition, it is possible to divide episodes into “stage” and “off-stage” episodes: the first tells about events that are directly taking place, and the second - about events that take place somewhere “behind the scenes” or took place in the distant past. Such a subdivision is the most general at the level of plot composition, but it necessarily leads to a further classification of all possible plot episodes.
The composition of literary works is closely related to their genre. The most complex are epic works, the defining features of which are many storylines, a versatile coverage of the phenomena of life, broad descriptions, a large number of characters, the presence of the image of the narrator, the author's constant interference in the development of the action, etc. Features of the composition of dramatic works - a limited amount of "intervention" of the author (in the course of the action the author inserts only remarks), the presence of "off-stage" characters, allowing for a wider coverage life material, etc. The basis of a lyrical work is not a system of events occurring in the lives of heroes, not an arrangement (grouping) of characters, but a sequence of presentation of thoughts and moods, expression of emotions and impressions, the order of transition from one image-impression to another. You can fully understand the composition of a lyrical work only by finding out the main thought-feeling expressed in it.
Three types of composition are most common: simple, complicated, complex.
A simple composition is based, as is sometimes said, on the principle of "thread with beads", that is, on "layering", the connection of individual episodes around one hero, event or object. This method was developed in folk tales. In the center of the story there is one hero (Ivanushka the Fool). You need to catch the Firebird or win the beautiful girl. Ivan is on his way. And all the events are "layered" around the hero. Such is the composition, for example, of the poem by N. A. Nekrasov “Who should live well in Rus'”. The search by men-truth-seekers for the “happy” makes it possible for the poet to show Rus' from different angles: both in breadth and depth, and at different times.
A complicated composition also has a main character in the center of events, who develops relationships with other characters, various conflicts arise, and side storylines are formed. The connection of these storylines and is compositional basis works. Such is the composition of "Eugene Onegin", "Hero of Our Time", "Fathers and Sons", "Lord Golovlyov". Complicated composition is the most common type of work construction.
A complex composition is inherent in the epic novel ("War and Peace", "Quiet Don"), such a work as "Crime and Punishment". A lot of storylines, events, phenomena, paintings - all this is connected into one whole. There are several main storylines that either develop in parallel, or intersect in their development, or merge. A complex composition includes both "layering" and retreats into the past - retrospection.
All three types of composition have a common element - the development of events, the actions of the characters in time. Thus, composition is the most important element of a work of art.
Often the main compositional device in a literary work is contrast, which allows to realize the author's intention. On this compositional principle built, for example, the story of L. N. Tolstoy "After the ball." The scenes of the ball are contrasting (definitions with positive emotional coloring prevail) and executions (opposite stylistic coloring, verbs expressing action dominate). Tolstoy's contrasting technique is structural and ideologically and artistically decisive. The principle of opposition in the composition of M. Gorky's story "The Old Woman Izergil" (the individualist Larra and the humanist Danko) helps the author to embody his aesthetic ideal in the text of the work. The reception of contrast underlies the composition of the poem by M. Yu. Lermontov "As often, surrounded by a motley crowd ...". The deceitful society, the images of soulless people are opposed by the pure and bright dream of the poet.
The narration, which can be conducted on behalf of the author (“The Man in the Case” by A.P. Chekhov), on behalf of the hero, that is, in the first person (“The Enchanted Wanderer” by N.S. Leskov), on behalf of "people's storyteller" ("To whom it is good to live in Russia" N. A. Nekrasov), on behalf of lyrical hero(“I am the last poet of the village ...” S. A. Yesenin), and all these features also have their own author's motivation.
The work may include various digressions, inserted episodes, detailed descriptions. Although these elements delay the development of the action, they make it possible to draw the characters in a more multifaceted way, to reveal the author's intention more fully, and to express the idea more convincingly.
The narrative in a literary work can be built in chronological order (“Eugene Onegin” by A. S. Pushkin, “Fathers and Sons” by I. S. Turgenev, autobiographical trilogies L. N. Tolstoy and M. Gorky, "Peter the Great" by A. N. Tolstoy and others).
However, the composition of a work can be determined not by the sequence of events, not by biographical facts, but by the requirements of the logic of the ideological and psychological characteristics of the hero, thanks to which he appears before us with different facets of his worldview, character, and behavior. Violation of the chronology of events aims to objectively, deeply, comprehensively and convincingly reveal the character and inner world of the hero (“A Hero of Our Time” by M. Yu. Lermontov).
Special interest causes such compositional feature literary work, as lyrical digressions, which reflect the writer's thoughts about life, his moral position, his ideals. In digressions, the artist turns to topical social and literary questions, often they contain the characteristics of the characters, their actions and behavior, assessment of the plot situations of the work. Lyrical digressions allow us to understand the image of the author himself, his spiritual world, dreams, his memories of the past and hopes for the future.
At the same time, they are closely connected with the entire content of the work, expanding the scope of the depicted reality.
Digressions that make up the unique ideological and artistic originality of the work and reveal the features creative method writer, are diverse in form: from a brief incidental remark to a detailed discussion. By their nature, these are theoretical generalizations, socio-philosophical reflections, assessments of heroes, lyrical appeals, polemics with critics, fellow writers, appeals to their characters, to the reader, etc.
The themes of lyrical digressions in A. S. Pushkin's novel "Eugene Onegin" are varied. Leading place a patriotic theme occupies among them - for example, in stanzas about Moscow and the Russian people (“Moscow ... How much this sound merged for the Russian heart! How much resonated in it!”), about the future of Russia, which the patriot poet saw in the buzz of transformation and rapid movement forward:
Highway Russia here and here,
Connecting, cross,
Cast iron bridges across the water
Stepping in a wide arc
Let's move the mountains, under water
Let's dig bold vaults...
In the lyrical digressions of the novel, there is also a philosophical theme. The author reflects on good and evil, on the eternity and transience of human life, on the transition of a person from one phase of development to another, higher one, on the egoism of historical figures ("We all look at Napoleons ...") and the general historical fate of mankind, on the law natural change of generations on earth:
Alas! on the reins of life
The instant harvest of a generation,
By the secret will of providence,
Rise, mature and fall;
Others follow...
The author also speaks about the meaning of life, about ruined youth, when it passed “without purpose, without labors”: the poet teaches young people a serious attitude to life, causes contempt for existence “in the idleness of leisure”, seeks to infect with his indefatigable thirst for work, creativity, inspiration labor, giving the right and hope for the grateful memory of posterity.
The lyrical digressions clearly and fully reflected the literary-critical views of the artist. Pushkin recalls ancient writers: Cicero, Apuleius, Ovid Nason. The author writes about Fonvizin, who satirically depicted the nobility of the 18th century, calls the playwright "satires bold ruler”and“ a friend of freedom ”, mentions Katenin, Shakhovsky, Baratynsky. In digressions a picture is given literary life Russia at the beginning of the HEK century, the struggle of literary tastes is shown: the poet ironically over Küchelbecker, who opposed elegies (“... everything in an elegy is insignificant; // Its empty goal is pathetic ...”) and called for writing odes (“Write odes, gentlemen” , "... the purpose of the ode is high // And noble..."). The third chapter contains an excellent characterization of the "moralizing" novel:
Your syllable in an important way of mood,
It used to be a fiery creator
He showed us his hero
Like a perfect example.
Noting the significant influence that Byron had on him (“... By the proud lyre of Albion // he is familiar to me, he is dear to me”), the poet remarks ironically about romanticism:
Lord Byron by a lucky whim
Cloaked in dull romanticism
And hopeless selfishness.
The author reflects on the realistic method artistic creativity(in "Excerpts from Onegin's Journey"), defends the realistically accurate language of poetry, advocates the liberation of the language from superficial influences and trends, against the abuse of Slavicisms and foreign words, as well as against excessive correctness and dryness of speech:
Like ruddy lips without a smile,
No grammatical error
I do not like Russian speech.
The lyrical digressions also express the author's attitude to the characters and events: more than once, with sympathy or irony, he speaks of Onegin, calls Tatyana a "sweet ideal", speaks of Lensky with love and regret, condemns such a barbaric custom as a duel, etc. The digressions (mostly in chapter one) also reflected the author's memories of his past youth: about theatrical encounters and impressions, about balls, about the women he loved. The lines dedicated to Russian nature are permeated with a deep feeling of love for the Motherland.
Composition - important component concerning the organization art form, literary, visual, voluminous. The composition gives the work integrity and unity, subordinates its elements to each other and correlates with the general idea of the artist. More precise definition what a composition is depends on the sphere to which this or that work of art belongs. This may be the distribution of objects in space, the structure of the text, the ratio of volumes, colors, light and shadow.
What is composition in literature
In literature, the concept of composition means the construction of a literary work, the structure of its constituent parts, their sequence and system. But composition in literature is not just a sequence of scenes, chapters, sections, acts. This is a system of production, which includes all forms artistic image used by the writer.
The parts of the composition in literature are: portraits, monologues and dialogues of characters, author's and lyrical digressions, landscapes, descriptions, systems of images, plots and plots of works. Often the authors choose for their works a cyclic structure or a spiral development of the plot, and these are also components of the composition. For example, the composition "The Master and Margarita" by Mikhail Bulgakov is a novel within a novel. The main plot, which tells the reader about the history of the Master and his girlfriend, contains another story - the story of Yeshua Ha-Nozri and the procurator Pontius Pilate.
What is the composition of a work of art
Composition in the visual arts is the most important organizing factor. Composition of paintings, sculptures, architectural creation gives it integrity, unity, unites all its elements in harmony, gives it content and character.
The composition creates a perfect form that gives harmony to the whole work. For example, Leonardo da Vinci's The Last Supper is unusually symmetrical. Moreover, the image on the famous fresco is balanced not only visually, but also in the plot itself, the images of the picture.
What is composition in photography
Composition for photography is a harmonious, balanced arrangement of objects in the frame. How often does such a situation arise that the pictures of one photographer seem almost brilliant to us, and the pictures of the second evoke the feeling of hacky or amateur work, although they depict the same cats and trees. Most often, in this case, the whole point is in a successfully or unsuccessfully selected composition. There are the following compositional techniques for building the most successful photograph:
Conciseness
You should not throw all the most beautiful and interesting little things into the frame - the viewer's eye will get tired instantly. Choose one, but one that is the most important and impressive. In a photo in a gray boring building, a girl's red flowing dress can become such a detail.
golden section rule
The face and body of a person obeys the da Vinci rule of the "golden section", the same rule obeys all nature and a successful shot of the photographer.
Guide lines
Leading lines are also important in the frame. Alternating identical fragments will help add dynamics to the picture and direct the viewer's eye from one edge of the photo to another, more important one. For example, a frame from a combination of vertical stripes of massive columns and horizontal stripes of stairs outlined by the sun will look good.
Balance of elements
A person is used to feeling support under his feet and the absence of it, even in a photograph, will create an extremely uncomfortable feeling for him. The balance of light and shadow, color elements, objects in the photo - all this is important for the balance of the frame. A bad example of balance is the girl in the frame in the lower left corner facing the photographer. A good example would be the same girl in the same corner, but with her face in the sky, where she soars balloon(in the upper right corner of the frame) the same color as her dress.
Rhythm
Rhythm is also good for creating frame dynamics. The alternation of light and shadow, colors, repeating elements - it can be anything that your imagination is rich in.
The integrity of a work of art is achieved by various means. Among these means important role belongs to the composition and the plot.
Composition(from lat. componere - to compose, connect) - the construction of a work, the ratio of all its elements, creating a holistic picture of life and contributing to the expression of ideological content. The composition distinguishes between external elements - division into parts, chapters, and internal - grouping and arrangement of images. When creating a work, the writer carefully thinks over the composition, place and relationship of images and other elements, trying to give the material the greatest ideological and artistic expression. The composition is simple and complex. So, A. Chekhov's story "Ionych" has a simple composition. It consists of five small chapters (external elements) and a simple internal system of images. In the center of the image is Dmitry Startsev, who is opposed by a group of images of the local residents of the Turkins. The composition of L. Tolstoy's epic novel "War and Peace" looks completely different. It consists of four parts, each part is divided into many chapters, a significant place is occupied by the author's philosophical reflections. These are the external elements of the composition. The grouping and arrangement of images-characters, of which there are more than 550, is very difficult. The outstanding skill of the writer was manifested in the fact that, with all the complexity of the material, it is arranged in the most expedient way and is subject to the disclosure of the main idea: the people are the decisive force of history.
IN scientific literature terms are sometimes used architectonics, structure as synonyms for the word composition.
Plot(from French sujet - subject) - a system of events in a work of art, revealing the characters of the characters and contributing to the most complete expression of the ideological content. The system of events is a unity that develops in time, and driving force The plot is conflict. Conflicts are different: social, love, psychological, domestic, military and others. The hero, as a rule, comes into conflict with the social environment, with other people, with himself. There are usually several conflicts in a work. In L. Chekhov's story "Ionych" the hero's conflict with the environment is combined with love. A striking example psychological conflict - Shakespeare's "Hamlet". The most common type of conflict is social. To designate social conflict literary critics often use the term conflict, and love - intrigue.
The plot consists of a number of elements: exposition, plot, development of action, climax, denouement, epilogue.
Exposure - initial information about the actors that motivate their behavior in the context of the conflict that has arisen. In the story "Ionych" this is the arrival of Startsev, a description of the "most educated" Turkin family in the city.
Tie - an event that initiates the development of an action, a conflict. In the story "Ionych" Startsev's acquaintance with the Turkin family.
After the plot, the development of the action begins, the highest point of which is the culmination. In L. Chekhov's story - Startsev's declaration of love, Katya's refusal.
denouement- an event that removes the conflict. In the story "Ionych" - the rupture of relations between Startsev and the Turkins.
Epilogue - information about the events that followed after the denouement. Sometimes. the author himself calls the final part of the story an epilogue. In the story of L. Chekhov there is information about the fate of the heroes, which can be attributed to the epilogue.
In a great work of fiction, as a rule, there are many storylines and each of them. develops, intertwines with others. Individual elements of the plot may be common. Determining the classic scheme can be difficult.
The movement of the plot in a work of art occurs simultaneously in time and space. To denote the relationship of temporal and spatial relations, M. Bakhtin proposed the term chronotope. artistic time is not a direct reflection of real time, but arises by mounting certain ideas about real time. real time moves irreversibly and only in one direction - from the past to the future, while artistic time can slow down, stop and move in the opposite direction. Return to the image of the past is called flashback. Artistic time is a complex interweaving of the times of the narrator and heroes, and often a complex layering of the times of different historical eras(“The Master and Margarita” by M. Bulgakov). It can be closed, closed in itself, and open, included in the flow of historical time. An example of the first "Ionych" by L. Chekhov, the second - "Quiet Don" by M. Sholokhov.
Along with the term plot there is a term plot which are usually used as synonyms. Meanwhile, some theorists consider them inadequate, insisting on their independent meaning. The plot, in their opinion, is a system of events in a causal-temporal sequence, and the plot is a system of events in the author's presentation. Thus, the plot of I. Goncharov's novel "Oblomov" begins with a description of the life of an adult hero living in St. Petersburg with his servant Zakhar in a house on Gorokhovaya Street. The plot involves a presentation of the events of Oblomov's life. starting from childhood (chapter "Oblomov's Dream").
We define a plot as a system, a chain of events. In many cases, the writer, in addition to the story of events, introduces descriptions of nature, everyday pictures, lyrical digressions, reflections, geographical or historical references. They are called extra-plot elements.
It should be noted that there are different principles of plot organization. Sometimes events develop sequentially, in chronological order, sometimes with retrospective digressions, there is an overlay of times. Quite often there is a method of framing the plot plot in the plot. A striking example is Sholokhov's The Fate of a Man. In it, the author tells about his meeting with the driver at the crossing of the overflowing river. While waiting for the ferry, Sokolov spoke about his difficult life, about being in German captivity, and the loss of his family. At the end, the author said goodbye to this man and thought about his fate. The main, main story of Andrei Sokolov is framed by the author's story. This technique is called framing.
The plot and composition of lyrical works are very peculiar. The author depicts in them not events, but thoughts and experiences. The unity and integrity of the lyrical work is ensured by the main lyrical motive, the bearer of which is the lyrical hero. The composition of the poem is subject to the disclosure of thought-feeling. “The lyrical development of the theme,” writes the well-known literary theorist B. Tomashevsky, “reminiscent of the dialectics of theoretical reasoning, with the difference that in the reasoning we have a logically justified introduction of new motives, ... and in the lyrics, the introduction of motives is justified by the emotional development of the theme.” Typical, but in his opinion, is the three-part construction of lyrical poems, when a theme is given in the first part, in the second it develops through lateral motifs, and the third is an emotional conclusion. As an example, A. Pushkin's poem "To Chaadaev" can be cited.
Part 1 Love, Hope, Quiet Glory
The deceit did not last long.
Part 2 We wait with languor of hope
Minutes of liberty saint ...
Part 3 Comrade, believe! She will rise
Star of captivating happiness...
The lyrical development of the theme is of two types: deductive - from the general to the particular, and inductive - from the particular to the general. The first is in the above poem by A. Pushkin, the second in the poem by K. Simonov "Do you remember, Alyosha, the roads of the Smolensk region ...".
In some lyrical works there is a plot: " Railway» I. Nekrasov, ballads, songs. They are called story lyrics.
Fine details serve to reproduce the concrete-sensual details of the world of characters, created by the creative imagination of the artist and directly embodying the ideological content of the work. The term "pictorial details" is not recognized by all theorists (the terms "thematic" or "objective" details are also used), but everyone agrees that the artist recreates the details of the appearance and speech of the characters, their inner world, environment in order to express your thoughts. However, accepting this position, one should not interpret it too straightforwardly and think that every detail (eye color, gestures, clothing, description of the area, etc.) is directly related to the author's goal setting and has a very definite unambiguous meaning. If this were so, the work would lose its artistic specificity and become tendentious and illustrative.
Visual details contribute to the fact that the world of characters appears before the reader's inner gaze in all its fullness of life, in sounds, colors, volumes, smells, in spatial and temporal extent. Not being able to convey all the details of the picture being drawn, the writer reproduces only some of them, trying to give an impetus to the reader's imagination and force him to complete the missing features with the help of his own imagination. Without “seeing”, without imagining “living” characters, the reader will not be able to empathize with them, and his aesthetic perception of the work will be inferior.
Fine details allow the artist to plastically, visibly recreate the life of the characters, to reveal their characters through individual details. At the same time, they convey the author's evaluative attitude to the reality depicted, create an emotional atmosphere of the narrative. So, rereading the mass scenes in the story "Taras Bulba", one can be convinced that seemingly scattered remarks and statements of the Cossacks help us "hear" the polyphonic crowd of Cossacks, and various portrait and household parts visualize her. At the same time, the heroic warehouse of folk characters, formed in the conditions of wild freemen and poeticized by Gogol, is gradually becoming clearer. At the same time, many details are comical, cause a smile, create a humorous tone of the narration (especially in the scenes of peaceful life). Fine details perform here, as in most works, pictorial, characterizing and expressive functions.
In drama, pictorial details are conveyed not by verbal means, but by other means (there is no description of the appearance of the characters, their actions, or the situation, because there are actors on the stage and there are scenery). The speech characteristics of the characters acquire special significance.
In the lyrics, pictorial details are subordinated to the task of recreating the experience in its development, movement, and inconsistency. Here they serve as signs of the event that caused the experience, but they mainly play the role of a psychological characteristic of the lyrical hero. At the same time, their expressive role is also preserved; the experience is conveyed as sublimely romantic, heroic, tragic, or in reduced, for example, ironic tones.
The plot also belongs to the realm of pictorial detail, but stands out for its dynamic character. In epic to dramatic works, these are the actions of the characters and the events depicted. The actions of the characters that make up the plot are diverse - these are all kinds of actions, statements, experiences and thoughts of the characters. The plot most directly and effectively reveals the character of the character, the protagonist. However, it is important to understand that the actions of the characters also reveal the author's understanding of the typical character and the author's assessment. By forcing the hero to act in one way or another, the artist evokes in the reader a certain evaluative attitude not only towards the hero, but towards the whole type of people that he represents. So, forcing his fictional hero to kill a friend in a duel in the name of secular prejudices, Pushkin evokes a feeling of condemnation in the reader and makes him think about Onegin's inconsistency, about the inconsistency of his character. This is the expressive role of the plot.
The plot moves due to the emergence, development, resolution of various conflicts between the characters of the work. Conflicts can be of a private nature (Onegin's quarrel with Lensky), or they can be a moment, part of socio-historical conflicts that arose in historical reality itself (war, revolution, social movement). By depicting plot conflicts, the writer draws attention to the problems of the work to the greatest extent. But it would be wrong to identify these concepts on the basis of this (there is a tendency towards such an identification in Abramovich's textbook, section 2, ch. 2). Problematics is the leading side of the ideological content, and plot conflict- form element. It is equally wrong to equate plot with content (as is common in colloquial language). Therefore, the terminology of Timofeev, who proposed calling the plot, together with all the other details of the depicted life, “direct content” (Fundamentals of the Theory of Literature, part 2, ch. 1, 2, 3), did not receive recognition.
The question of the plot in the lyrics is solved in different ways. However, there is no doubt that this term can be applied to lyrics only with great reservations, denoting by it the outline of those events that “shine” through the hero’s lyrical experience and motivate him. Sometimes this term refers to the very movement of lyrical experience.
The composition of pictorial, including plot details, is their location in the text. Using antitheses, repetitions, parallelisms, changing the pace and chronological sequence of events in the narrative, establishing chronicle and causal connections between events, the artist achieves such a relationship that expands and deepens their meaning. In all textbooks, the compositional techniques of narration, the introduction of the narrator, the framing, introductory episodes, the main points in the development of the action, and the various motivations for plot episodes are quite fully defined. The discrepancy between the order of plot events and the order of narration about them in the work makes us speak of such an expressive means as the plot. It should be borne in mind that another terminology is also common, when the actual compositional device of permuting events is called the plot (Abramovich, Kozhinov, etc.).
In order to master the material in this section, we recommend that you independently analyze the visual details, the plot and their composition in any epic or dramatic work. It is necessary to pay attention to how the development of the action serves the development of artistic thought - the introduction of new themes, the deepening of problematic motives, the gradual disclosure of the characters' characters and the author's attitude towards them. Each new plot scene or description is prepared, motivated by the entire previous image, but does not repeat it, but develops, supplements and deepens it. These form components are most directly related to artistic content and depend on it. Therefore, they are unique as well as the content of each work.
In view of this, the student needs to get acquainted with those theories that ignore the close connection between the plot-pictorial sphere of form and content. This is primarily the so-called comparative theory, which was based on a comparative historical study of the literatures of the world, but misinterpreted the results of such a study. Comparatives focused on the influence of literatures on each other. But they did not take into account that influence is due to the similarity or difference in social relations in the respective countries, but proceeded from immanent, that is, internal, supposedly completely autonomous laws of the development of literature. Therefore, the comparativists wrote about "sustainable motives", about the "images bequeathed" of literature, and also about " wandering plots”, without distinguishing between the plot and its scheme. The characteristic of this theory is also in the textbook, ed. G.N. Pospelov and G.L. Abramovich.
QUESTIONS FOR SELF-EDUCATION (m. 2)
1. A literary work as an integral unity.
2. The theme of the work of art and its features.
3. The idea of a work of art and its features.
4. Composition of a work of art. External and internal elements.
5. The plot of a literary work. The concept of conflict. Plot elements. Extra-plot elements. Plot and plot.
6. What is the role of the plot in revealing the ideological content of the work?
7. What is plot composition? What is the difference between narrative and description? What are off-plot episodes and lyrical digressions?
8. What is the function of the landscape, everyday environment, portrait and speech characteristics of the character in the work?
9. Features of the plot of lyrical works.
10. Spatio-temporal organization of the work. The concept of the chronotope.
LITERATURE
Korman B.O. The study of the text of a work of art. - M., 1972.
Abramovich G.L. Introduction to Literary Studies. Ed.6. - M., 1975.
Introduction to Literary Studies / Ed. L.V. Chernets/. M., 2000. - S. 11 -20,
209-219, 228-239, 245-251.
Galich O. ta in. Theory of Literature. K., 2001. -S. 83-115.
Getmanets M.F. Suchasiny dictionary of lgeraturoznavchih terminiv. - Kharkiv, 2003.
MODULE THREE
LANGUAGE OF ART LITERATURE
STYLE DOMINANTS
In the text of a work there are always some points at which the style "comes out". Such points serve as a kind of stylistic "tuning fork", tune the reader to a certain "aesthetic wave" ... Style is presented as "a kind of surface on which a unique mark has been identified, a form that betrays the presence of one guiding force with its structure." (P.V. Palievskiy)
Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, they, the dominants, must be subject to all techniques and elements.
Style dominants- This:
Plot, descriptiveness and psychologism,
Conditionality and lifelikeness,
monologism and heterogeneity,
Verse and prose
Nominativity and rhetoric
- simple and complex types compositions.
COMPOSITION -(from lat. compositio - compilation, binding)
The construction of a work of art, due to its content, character, purpose, and largely determining its perception.
Composition is the most important, organizing element of the artistic form, giving unity and integrity to the work, subordinating its components to each other and to the whole.
IN fiction composition - a motivated arrangement of the components of a literary work.
A component (UNIT OF COMPOSITION) is considered to be a ""segment"" of a work, in which one image method (characteristic, dialogue, etc.) or a single point of view(author, narrator, one of the characters) to the depicted.
The mutual arrangement and interaction of these "segments" form the compositional unity of the work.
Composition is often identified both with the plot, the system of images, and with the structure of a work of art.
In the very general view There are two types of composition - simple and complex.
SIMPLE (linear) composition comes down only to the unification of the parts of the work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.
With COMPLEX (transformational) composition the order of combination of parts reflects a special artistic meaning.
For example, the author does not start with an exposition, but with some fragment of a climax or even a denouement. Or the narration is conducted, as it were, in two times - the hero “now” and the hero “in the past” (remembers some events that set off what is happening now). Or a double hero is introduced - generally from another galaxy - and the author plays on the comparison / opposition of episodes.
In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.
DIFFERENT ASPECTS OF COMPOSITION:
character system change of points of view,
parts system,
plot and plot
conflict art speech,
off-plot elements
COMPOSITE FORMS:
narration
description
characteristic.
COMPOSITE FORMS AND MEANS:
repetition, amplification, opposition, montage
matching,
"close" plan, "general" plan,
point of view,
temporal organization of the text.
REFERENCE POINTS OF THE COMPOSITION:
climax, denouement,
strong positions of the text,
repetitions, contrasts,
ups and downs in hero's fate,
spectacular artistic techniques and means.
The points of greatest reader tension are called COMPOSITION KEY POINTS. These are kind of milestones that lead the reader through the text, and in them the ideological issues works.<…>they are the key to understanding the logic of the composition and, accordingly, the entire internal logic of the work as a whole .
STRONG POSITIONS OF THE TEXT:
These include formally selected parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).
MAIN TYPES OF COMPOSITION:
ring, mirror, linear, default, flashback, free, open, etc.
STORY ELEMENTS:
exposure, connection
action development
(vices and turns)
climax, denouement, epilogue
OUTSIDE ELEMENTS
description (landscape, portrait, interior),
insert episodes.
Ticket number 26
1.Poetic vocabulary
2. Epic, dramatic and lyrical work of art.
3. The volume and content of the style of the work.
Poetic vocabulary
P.l.- one of key parties artistic text; the subject of study of a special section of literary criticism. Study vocabulary poetic (i.e., artistic) work involves correlating the vocabulary used in a separate sample of the artistic speech of a writer with the commonly used vocabulary, i.e., used by the writer's contemporaries in various everyday situations. The speech of the society that existed at that time historical period, to which the work of the author of the analyzed work belongs, is perceived as a certain norm, therefore, it is recognized as “natural”. The aim of the study is to describe the facts of the deviation of the individual author's speech from the norms of "natural" speech. The study of the lexical composition of the writer's speech (the so-called "writer's dictionary") in this case turns out to be a particular type of such stylistic analysis. When studying the "writer's dictionary", attention is paid to two types of deviations from "natural" speech: the use of lexical elements that are rarely used in "natural", everyday circumstances, i.e. "passive" vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargonisms (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The introduction by the author of the words of either group into the text determines the figurativeness of the work, and therefore its artistry.
(household vocabulary, business vocabulary, poetic vocabulary and so on.)
Poetic vocabulary. As part of the archaic vocabulary, historicisms and archaisms are distinguished. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October (a child of primary school age preparing to join the pioneers), enkavedist (an employee of the NKVD - the People's Commissariat of Internal Affairs), commissar, etc. .P.). Historicism can be associated both with very distant epochs, and with events of relatively recent times, which, however, have already become facts of history ( Soviet authority, party activist, general secretary, politburo). Historicisms do not have synonyms among active words vocabulary, being the only names of the corresponding concepts.
Archaisms are the names of existing things and phenomena, for some reason displaced by other words belonging to the active vocabulary (cf .: daily - always, comedian - actor, gold - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are native Russian (full, with a helmet), Old Slavonic (smooth, kiss, shrine), borrowed from other languages (abshid - “resignation”, voyage - “journey”).
Of particular interest in stylistic terms are the words of Old Slavonic origin, or Slavicisms. A significant part of the Slavic words assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also such Old Slavonic words that are perceived in the modern language as an echo high style and retain its characteristic solemn, rhetorical coloring.
The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols(lyre, ellisium, Parnassus, laurels, myrtle), artistic images ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavs, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already the successors of A.S. Pushkin's poeticisms are archaic. Writers often turn to obsolete words as an expressive means of artistic speech. The history of the use of Old Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary a source of sublimely romantic and "sweet" sounding of speech. Slavicisms that have consonant variants in Russian, primarily non-vowel ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the rights of "poetic liberties": poets could choose from two words one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp's voice, will die quietly in the air. - Bat.). Over time, the tradition of "poetic liberties" is overcome, but outdated vocabulary attracts poets and writers as a strong means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the color of distant times. In this function, they were used, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of full-flowing rivers and forest clearings where our ancestor came to live forever. (...) he fenced his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined a lot - heavy and hard times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears installed under the banners of Dmitry on the Kulikovo field, and the ice covered with blood Lake Peipus, and the Terrible Tsar, who parted the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea ... ".
Archaisms, especially Slavicisms, give speech an elevated, solemn sound. Old Slavonic vocabulary acted in this function back in ancient Russian literature. In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, Old Russianisms were stylistically equalized, which also began to be involved in creating the pathos of artistic speech. The high, solemn sound of obsolete words is also appreciated by writers of the 20th century. During the years of the Great Patriotic War I.G. Ehrenburg wrote: “Having repulsed the blows of predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, she saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which good will shine. Our people showed their military virtues…”
Outdated vocabulary can acquire an ironic connotation. For example: Which of the parents does not dream of a smart, balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from the gas.). The ironic rethinking of obsolete words is often facilitated by the parodic use of elements of high style. In a parody-ironic function obsolete words often appear in feuilletons, pamphlets, humorous notes. Let us refer to an example from a newspaper publication during the period of preparation for the day the president took office (August 1996).
