1) Sierotwinski S.
2) Wielpert G. von. Sachwörterbuch der Literatur.
“Author(lat. auktor - own patron; creator), creator, in particular. lit. labor: writer, poet, writer. <...>Poetological the problem offers an expansive but dubious equating of A. lyric. I in the sense of the lyrics of experience and the figure of the narrator in the epic, which, most often being fictitious, fictitious roles, do not allow identification” (S. 69).
“Narrator (narrator)
3) Dictionary of Literary Terms / By H. Shaw.
“Narrator- one who tells a story, orally or in writing. In fiction, it can mean the imaginary author of the story. Whether the story is told in the first or third person, the narrator in fiction is always assumed to be either someone involved in the action or the author himself” (p. 251).
4) Timofeev L. The image of the narrator, the image of the author // Dictionary of literary terms. pp. 248-249.
"O. on. a. - the bearer of the author's (i.e., not related to the speech of the CP character) speech in a prose work.<...>Very often, speech that is not associated with the images of characters is personified in prose, that is, it is transmitted to a specific person-narrator (see. Narrator), which tells about certain events, and in this case it is motivated only by the features of his personality, since he is usually not included in the plot. But if there is no personified narrator in the work, we catch a certain assessment of what is happening in the work by the very structure of speech.
“At the same time, O. p. does not directly coincide with the position of the author, who usually narrates, choosing a certain artistic angle of view on events<...>therefore, the terms "author's speech" and "image of the author" seem less accurate.
“Modern. lit-knowledge explores the problem of A. in the aspect author's position; at the same time, a narrower concept is singled out - “the image of the author”, indicating one of the forms of the indirect presence of A. in the work. In a strictly objective sense, the "image of the author" is present only in the works. autobiographical, "autopsychological" (L. Ginzburg's term), lyric. plan (see Lyrical hero), that is, where the personality of A. becomes the theme and subject of his work. But more broadly, under the image or “voice” of A., we mean the personal source of those layers of art. speeches that cannot be attributed to either the heroes or the one specifically named in the work. narrator (cf. The image of the narrator, v. 9)”.
“... a primary form of narration is emerging, tied no longer to the narrator (a persistent tradition of short stories - right up to the stories of I.S. Turgenev and G. Maupassant), but to a conditional, semi-personalized literary “I” (more often - “we”). With such an “I” openly addressed to the reader, not only elements of presentation and awareness are linked, but also rhetorical. figures of persuasion, argumentation, exposition of examples, extraction of morals...”. “In lifelike realism. 19th century prose<...>the consciousness of A.-narrator acquires unlimited. awareness, it<...>alternately combined with the consciousness of each of the characters...”
6) Korman B.O. The Integrity of a Literary Work and an Experimental Dictionary of Literary Terms // Problems of the History of Criticism and Poetics of Realism. pp. 39-54.
“Author - subject(carrier) consciousness, the expression of which is the whole product or their combination.<...> Subject of consciousness the closer to A., the more it is dissolved in the text and invisible in it. As subject of consciousness becomes an object of consciousness, it moves away from A., that is, to a greater extent subject of consciousness becomes a certain personality with his own special way of speech, character, biography, the less he expresses the author's position” (pp. 41-42).
Narrator and narrator
1) Sierotwinski S. Slownik terminow literackich.
2) Wielpert G. von. Sachwörterbuch der Literatur.
“narrator. Narrator (narrator), now in esp. narrator or facilitator epic theater, which, with its comments and reflections, takes the action to another plane, and resp. for the first time, through interpretation, he attaches individual episodes of the action to the whole” (S. 606).
3) Modern foreign literary criticism: Encyclopedic reference book.
“I. a. - English. implied author, French auteur implicite, German. impliziter autor, - the concept of "abstract author" is often used in the same sense, - narrative instance, not embodied in thin. text in the form of a character-narrator and recreated by the reader in the process of reading as an implied, implicit "image of the author". According to the ideas narratology, I. a. together with the paired communicative instance corresponding to it - implicit reader- Responsible for providing art. communications of all lit. work as a whole."
b) Ilyin I.P. Narrator. S. 79.
“H. - fr. narrateur, eng. narrator, German Erzähler - narrator, narrator - one of the main categories narratology. For modern narratologists, who in this case share the opinion of structuralists, the concept of N. is purely formal and is categorically opposed to the concept of “concrete”, “real author”. W. Kaiser once argued: "The narrator is a created figure, which belongs to the whole whole of a literary work"<...>
English-speaking and German-speaking narratologists sometimes distinguish between "personal" narration (in the first person of an unnamed narrator or one of the characters) and "impersonal" (anonymous third-person narration).<...>... Swiss researcher M.-L. Ryan, based on the understanding of the artist. text as one of the forms of a "speech act", considers the presence of N. obligatory in any text, although in one case he may have a certain degree of individuality (in the "impersonal" narrative), and in another - be completely devoid of it (in " personal" storytelling): "Zero degree of individuality occurs when N.'s discourse assumes only one thing: the ability to tell a story." Zero degree is represented primarily by the "omniscient third-person narrative" classic. nineteenth century novel and in the “anonymous narrative voice” of certain 20th-century novels, such as H. James and E. Hemingway.”
4) Kozhinov V. Narrator // Dictionary of literary terms. pp. 310-411.
“R. - a conditional image of a person, on behalf of whom the narration is conducted in a literary work.<...>image of R. (unlike the image of the narrator- see) in the proper sense of the word is not always present in the epic. Thus, a “neutral”, “objective” narrative is possible, in which the author himself, as it were, steps aside and directly creates pictures of life in front of us.<...>. We find this way of outwardly “impersonal” narration, for example, in Goncharov’s Oblomov, in the novels of Flaubert, Galsworthy, A.N. Tolstoy.
But more often the narration is conducted from a certain person; in the work, in addition to other human images, there is also the image of R. This, firstly, is the image of the author himself, who directly addresses the reader (cf., for example, “Eugene Onegin” by A.S. Pushkin). However, one should not think that this image is completely identical to the author - this is precisely the artistic image of the author, which is created in the process of creativity, like all other images of the work.<...>the author and the image of the author (narrator) are in a complex relationship”. “Very often, a special image of R. is also created in the work, which appears as a person separate from the author (often the author directly presents him to readers). This R. m. close to the author<...>and m. b., on the contrary, is very far from him in character and social position<...>. Further, R. can act both as just a narrator who knows this or that story (for example, Gogol's Rudy Panko), and as the acting hero (or even the main character) of the work (R. in Dostoevsky's "Teenager").
“A particularly complex form of story, characteristic of the latest literature, is the so-called. improperly direct speech(cm.)".
5) Prikhodko T.F. The image of the narrator // KLE. T. 9. Stlb. 575-577.
"O. R. (narrator) occurs when personalized storytelling from the first person; such a narrative is one way to implement copyright positions in art. production; is an important means of compositional organization of the text. “... direct speech of the characters, personalized narration (subject-narrator) and non-personal (from the 3rd person) narration constitute a multi-layered structure that cannot be reduced to the author's speech.” “An extrapersonal narrative, not being a direct expression of the author's assessments, like a personalized one, can become a special intermediate link between the author and the characters.”
6) Korman B.O. Integrity of a literary work and an experimental dictionary of literary terms. pp. 39-54.
“Narrator - subject of consciousness, which is predominantly characteristic of epic. It is related to its objects spatial and temporary points of view and, as a rule, is invisible in the text, which is created due to the exclusion phraseological point of view <...>“(p. 47).
“Narrator - subject of consciousness, characteristic for dramatic epic. He, like narrator, is connected with its objects by spatial and temporal relations. At the same time, he himself acts as an object in phraseological point of view” (p. 48-49).
II. Textbooks, teaching aids
1) Kaiser W. Das sprachliche Kunstwerk.
“In individual stories told by a role-playing narrator, it usually happens that the narrator relates events as experienced by himself. This form is called Ich-Erzählung. Its opposite is Er-Erzählung, in which the author or fictitious narrator is not in the position of a participant in the events. As the third possibility of the narrative form, the epistolary form is usually singled out, in which the role of the narrator is shared by many characters at the same time or, as in the case of Werther, only one of the participants in the correspondence is present. As you can see, this is a modification of the first-person narrative.
Nevertheless, the deviations are so profound that this variant can be characterized as a special form: there is no narrator here who conveys events, knowing their course and final outcome, but only perspective dominates. Already Goethe rightly ascribed a dramatic character to the epistolary form” (pp. 311-312).
2) Korman B.O. The study of the text of a work of art.
“ One's own life, biography, and inner world largely serve as the source material for the writer, but this source material, like any life material, undergoes processing and only then acquires a general meaning, becoming a fact of art.<...>The artistic image of the author (as well as the entire work as a whole) is ultimately based on the worldview, ideological position, creative concept of the writer” (p. 10).
“In the passage from Dead Souls, the subject of speech is not revealed. Everything that is described (the cart, the gentleman sitting in it, the peasants) exists, as it were, on its own, and we do not notice the speaker when we directly perceive the text. Such a carrier of speech, not identified, not named, dissolved in the text, is defined by the term narrator(sometimes called author).
In an excerpt from Turgenev's story, the speaker is identified. For the reader, it is quite obvious that everything described in the text is perceived by the one who speaks. But the identification of the subject of speech in Turgenev's text is limited mainly by its naming ("I").<...>Such a carrier of speech, which differs from the narrator mainly by name, we will denote further by the term personal narrator.
In the third passage (from "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich") we have a new degree of identification of the subject of speech in the text.<...>For a native speaker, the objects are Ivan Ivanovich and his amazing bekesha with smushkas. And for the author and reader, the subject of speech itself becomes an object with its naive pathos, ingenuous envy and Mirgorod narrow-mindedness.
A speaker who openly organizes the entire text with his personality is called storyteller.
A story told in a sharply characteristic manner, reproducing the vocabulary and syntax of a native speaker and designed for the listener, is called a tale” (pp. 33-34).
3) Grekhnev V.A. Verbal image and literary work: A book for the teacher.
“... it begs the distinction between two main narrative forms: from author's face and by the narrator. The first variety has two options: objective and subjective". "AT objective-author's The stylistic norm of the author's speech reigns supreme in the narrative, not obscured by any biases in the character word.<...>“The subjective form of the author's narration, on the contrary, prefers to demonstrate manifestations of the author's “I”, his subjectivity, not constrained by any restrictions, except perhaps those that affect the area of taste” (p. 167-168).
“Three varieties include it<«рассказовое повествование» - N. T.>: narration of the narrator, conditional narration, tale. They differ from each other in the degree of objectification and the measure of speech coloring. If the objectification of the narrator from the first type of narration to the last becomes less and less noticeable, then the degree of coloring of the word, its individualizing energy, clearly increases.<...> Narrator's story one way or another attached to the character: this is his word, no matter how weakened the individualizing principle was in it. “In Gogol's stories "The Nose" and "The Overcoat"<...>as if some formless narrator is grimacing in front of us, constantly changing intonations<...>this subject, in essence, is a multitude of faces, an image of mass consciousness...” “..in a tale<...>social and professional dialects sound more tangible”. “The bearer of a tale, its speech subject, even if he is endowed with the status of a character, always fades into the shadows before his depicted word” (pp. 171-177).
III. Special Studies
1) Croce B. Aesthetics as a science of expression and as general linguistics. Part 1. Theory.
[Regarding the formula “style is a person”]: “Thanks to this erroneous identification, many legendary ideas were born regarding the personality of artists, just as it seemed impossible that one who expresses generous feelings was not himself a noble and magnanimous person in practical life. , or that the one who in his dramas often resorts to dagger blows, and himself in a particular life was not the culprit of any of them” (p. 60).
2) Vinogradov V.V. Queen of Spades style // Vinogradov V.V. Fav. works. On the language of artistic prose. (5. The image of the author in the composition of The Queen of Spades).
“The subject of the narration itself, the “image of the author,” fits into the sphere of this depicted reality. It is a form of complex and contradictory relationships between the author's intention, between the fantasized personality of the writer and the faces of the characters.
“The narrator in The Queen of Spades, at first not indicated by either a name or pronouns, enters the circle of players as one of the representatives of secular society.<...>The story has already begun<...>the repetition of indefinitely personal forms creates the illusion of the author's inclusion in this society. Such an understanding is also prompted by the order of words, which expresses not the objective detachment of the narrator from the events being reproduced, but his subjective empathy with them, active participation in them.
3) Bakhtin M.M. Aesthetics of verbal creativity.
a) The problem of text in linguistics, philology and other humanities. An Experience in Philosophical Analysis.
“We find the author (perceive, understand, feel, feel) in every work of art. For example, in a painting, we always feel its author (artist), but we never see him as we see the images depicted by him. We feel it in everything as a pure depicting principle (depicting the subject), and not as a depicted (visible) image. And in a self-portrait, we do not see, of course, the author depicting it, but only the image of the artist. Strictly speaking, the image of the author is a contradictio in adiecto” (p. 288). “Unlike the real author, the image of the author created by him is deprived of direct participation in the real dialogue (he participates in it only through the whole work), but he can participate in the plot of the work and act in the depicted dialogue with the characters (the conversation of the “author” with Onegin). The speech of the depicting (real) author, if any, is speech of a fundamentally special type, which cannot lie on the same plane as the speech of the characters” (p. 295).
b) From the records of 1970-1971.
“Primary (not created) and secondary author (an image of the author created by the primary author). Primary author - natura non creata quae creat; secondary author - natura creata quae creat. The image of the hero is natura creata quae non creat. The primary author cannot be an image: he eludes all figurative representation. When we try to figuratively imagine the primary author, we ourselves create his image, that is, we ourselves become the primary author of this image.<...>The primary author, if he speaks with a direct word, cannot be simply writer: nothing can be said on behalf of the writer (the writer turns into a publicist, moralist, scientist, etc.)” (p. 353). “Self-portrait. The artist portrays himself as an ordinary person, and not as an artist, the creator of a picture” (p. 354).
4) Stanzel F.K. Theorie des Erzahlens.
“If the narrator lives in the same world as the characters, then he is, in traditional terminology, an I-narrator. If the narrator exists outside the world of characters, then it is, in the traditional terminology, He-narrative. The ancient concepts of I-narrative and He-narrative have already created many misconceptions, because the criterion for their distinction, the personal pronoun, in the case of I-narrative refers to the narrator, and in the case of He-narrative, to the speaker of the narration, who is not the narrator. Also sometimes in He-narrative, for example, in "Tom Jones" or "Magic Mountain", there is an I-narrator. It is not the presence of the first person of the pronoun in the narrative (excluding, of course, the dialogue) that is decisive, but the place of its bearer inside or outside the fictional world of the novel or story.<...>An essential criterion for both determinants<...>- not the relative frequency of the presence of one of the two personal pronouns I or He / She, but the question of identity and resp. non-identity of the realm of being in which the narrator and characters live. The narrator of "David Copperfield" - I am the narrator (narrator), because he lives in the same world as the other characters in the novel<...>'Tom Jones' narrator - He is a narrator or an auctorial narrator, because he exists outside the fictional world in which Tom Jones, Sophia Western live...” (S. 71-72).
5) Kozhevnikova N.A. Narrative types in Russian literature of the 19th-20th centuries.
“The types of narration in a work of art are organized by a marked or unmarked subject of speech and clothed in the corresponding speech forms. The relationship between the subject of speech and the type of narration is, however, indirect. In third-person narration, either the omniscient author or the anonymous narrator expresses himself. The first person can belong both directly to the writer, and to a specific narrator, and to a conditional narrator, in each of these cases differing in a different measure of certainty and different possibilities. “Not only the subject of speech determines the speech embodiment of the narration, but the forms of speech themselves evoke, with a certain certainty, an idea of the subject, build his image” (p. 3-5).
QUESTIONS
1. Try to divide the definitions that we have grouped under the heading “Author and the image of the author” into two categories: those in which the concept of “author” is mixed with the concepts of “narrator”, “narrator”, and those that have the goal of distinguishing the first concept from the two others. What are the criteria for differentiation? Is it possible to more or less accurately define the concept of "the image of the author"?
2. Compare those definitions of the subject of the image in a work of art that belong to V.V. Vinogradov and M.M. Bakhtin. What content is invested by scientists in the phrase "image of the author"? In what case does he distinguish himself from the author-creator, on the one hand, and from the narrator and narrator, on the other? By what criteria or concepts is the distinction made? Compare from this point of view the definitions of M.M. Bakhtin and I.B. Rodnyanskaya.
3. Compare the definitions of the concepts "narrator" and "narrator" given by us: first - taken from reference and educational literature, and then - from special works (just like you did with the definitions of the concepts "author", "image of the author") . Try to identify different ways and options to solve the problem. What place among them is occupied by the judgments of Franz K. Stanzel?
The narrator, unlike the author-creator, is outside only that depicted time and space in which the plot unfolds. Therefore, he can easily go back or look ahead, and also know the prerequisites or results of the events of the depicted present. But at the same time, its possibilities are determined because of the boundaries of the entire artistic whole, which includes the depicted “event of the story itself”.
The "omniscience" of the narrator (for example, in "War and Peace") enters into the author's intention in the same way as in other cases - in "Crime and Punishment" or in Turgenev's novels - the narrator, according to the author's attitudes, by no means possesses complete knowledge about causes of events or about the inner life of the characters.
In contrast to the narrator, the narrator is not on the border of the fictional world with the reality of the author and reader, but entirely inside the depicted reality.
All the main moments of the "event of the story itself" in this case become the subject of the image, the "facts" of fictional reality: the "framing" situation of storytelling (in the short story tradition and the prose of the 19th-20th centuries oriented towards it); the personality of the narrator: he is either biographically connected with the characters about whom the story is being told (the writer in The Humiliated and Insulted, the chronicler in Dostoevsky's Possessed), or in any case has a special, by no means comprehensive, outlook; a specific speech style attached to a character or depicted on its own (“The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich” by Gogol, miniatures by I. F. Gorbunov and early Chekhov).
The "image of the narrator" - as a character or as a "linguistic person" (M. M. Bakhtin) - is a necessary distinguishing feature of this type of depicting subject, while the inclusion in the field of depiction of the circumstances of the story is optional. For example, in Pushkin's "Shot" there are three narrators, but only two situations of storytelling are shown.
If such a role is entrusted to a character whose story does not bear any signs of either his horizons or his speech manner (the insert story of Pavel Petrovich Kirsanov in Fathers and Sons, attributed to Arkady), this is perceived as a conditional device. Its purpose is to relieve the author of responsibility for the authenticity of what is told. In fact, the subject of the image in this part of Turgenev's novel is the narrator.
So, the narrator is a personified subject of the image and / or an “objectified” speaker; he is associated with a certain socio-cultural and linguistic environment, from the positions of which (as happens in the same “Shot”) the image of other characters is conducted. On the contrary, the narrator is depersonalized (impersonal) and in his outlook is close to the author-creator.
At the same time, compared to the characters, he is the bearer of a more neutral speech element, generally accepted linguistic and stylistic norms. (The closer the hero is to the author, the less speech differences between the hero and the narrator. Therefore, the leading characters of a great epic, as a rule, are not the subjects of stylistically sharply distinguished inserted stories: compare, for example, the story of Prince Myshkin about Marie and the stories of General Ivolgin or a feuilleton Keller in The Idiot.)
The "mediation" of the narrator helps the reader, first of all, to get a more reliable and objective idea of the events and actions, as well as the inner life of the characters. The "mediation" of the narrator allows you to enter the depicted world and look at events through the eyes of the characters. The first has to do with certain advantages of an external point of view.
And vice versa, works that seek to directly involve the reader in the perception of events by the character do without a narrator at all or almost, using the forms of a diary, correspondence, confession (“Poor people” by Dostoevsky, “The Diary of an Extra Man” by Turgenev, “Kreutzer Sonata” by L. Tolstoy) .
The third, intermediate option is when the author-creator seeks to balance the external and internal positions. In such cases, the image of the narrator and his story may turn out to be a “bridge” or a connecting link: this is the case in “A Hero of Our Time”, where Maxim Maksimych’s story connects the “travel notes” of the Author-character with Pechorin’s “journal”.
The "attachment" of the narrative function to the character is motivated, for example, in "The Captain's Daughter" by the fact that Grinev is credited with the "authorship" of the notes. The character, as it were, turns into an author: hence the expansion of horizons. The opposite course of artistic thought is also possible: the transformation of the author into a special character, the creation of his “double” inside the depicted world.
This is what happens in the novel "Eugene Onegin". The one who addresses the reader with the words “Now we will fly to the garden, / Where Tatyana met him”, of course, is the narrator. In the reader's mind, he is easily identified, on the one hand, with the author-creator (the creator of the work as an artistic whole), on the other hand, with the character who, together with Onegin, recalls "the beginning of a young life" on the banks of the Neva.
In fact, in the depicted world, as one of the characters, there is, of course, not the author-creator (this is impossible), but the “image of the author”, the prototype of which is for the creator of the work himself as a “non-artistic” person - as a private person with a special biography (“But the north is harmful to me”) and as a person of a certain profession (belonging to the “fervent shop”). But this issue should be considered already on the basis of the analysis of another initial concept, namely “author-creator”.
Theory of Literature / Ed. N.D. Tamarchenko - M., 2004
Inventor, storyteller, storyteller, storyteller, storyteller, narrator, reteller, anecdote, storyteller, fabulist Dictionary of Russian synonyms. narrator narrator (outdated) Dictionary of synonyms of the Russian language. Practical guide. M.:… … Synonym dictionary
- [ask], narrator, husband. A person who says something. The narrator is silent. || A person who knows how to speak expressively. Gorbunov was a natural storyteller. || The person, the character of the work, on whose behalf it is conducted ... ... Explanatory Dictionary of Ushakov
NARRATOR, a, husband. The one who tells what. Good r. (a person who knows how to talk interestingly). The image of the narrator (in a tale in 2 meanings, in an artistic narration from whose n. person: the image of the one on whose behalf the story is being told). | wives… … Explanatory dictionary of Ozhegov
narrator- narrator. Pronounced [narrator] ... Dictionary of pronunciation and stress difficulties in modern Russian
narrator- I. NARRATOR NARRATOR, narrator, narrator, colloquial interpreter II. story … Dictionary-thesaurus of synonyms of Russian speech
M. 1. The one who tells something. ott. Someone who can speak well. 2. The writer who owns the skill of the story. 3. An artist performing with oral stories. Explanatory Dictionary of Efremova. T. F. Efremova. 2000... Modern explanatory dictionary of the Russian language Efremova
Narrator, narrators, narrator, narrators, narrator, narrators, narrator, narrators, narrator, narrators, narrator, narrators (Source: "Full accentuated paradigm according to A. A. Zaliznyak") ... Forms of words
narrator- See the image of the narrator... Dictionary of literary terms
narrator- narrator, and ... Russian spelling dictionary
narrator- see the image of the narrator ... Terminological dictionary-thesaurus on literary criticism
Books
- Best storyteller wins
- The best storyteller wins. How to Persuade and Influence with Eloquence by Annette Simmons. The gift of eloquence is one of the most valuable communication tools and is gaining popularity in the business world. A sincere remark or a story told from the heart is not just ...
Author. Narrator. Hero AUTHOR. NARRATOR. HERO. AT prose and poems L. means. the place belongs to the narrator, whether the narration is in the name of a nameless narrator or in the first person. The narrator in L. either sets out the plot or puts it into action, recreating the external environment (“Demon”, “Mtsyri”, “Tambov Treasurer”), and serves the creatures. form of manifestation of the position of the author. However, the identification of the narrator with the author often leads to a narrowing of the problematics of works, especially L.'s poems, which, with this approach, turn out to be closed within the individual romantic consciousness of Ch. hero ("Mtsyri", "Demon"). But Lermont. the poems are not reduced to the plot and spiritual "adventures" of the hero: his fate seems to be important, but in a certain sense a "private" phenomenon, to be included in the universal world. Thus, the existence of the Demon intersects with the course of earthly life (nature, the life of the Gudala family, weddings, funerals, battles; it is no coincidence that the description of the horse takes up a whole chapter). Similarly, Pechorin's life intersects with the orbits of the lives of many people, even those who hardly know him. The fate of Mtsyri is included in the events of the Caucasus. war, and the history of the heroes of the "Tambov Treasurer" - not only in the provinces. everyday life, but also in the circle of interests of the reading public. Mtsyri's confession is preceded by a prologue in the form of a nameless narration, uniting the position of an external observer ("And now he sees a pedestrian") and the narrator, delving into reflections on the fate of Georgia (five verses of the first chapter); the latter unexpectedly uses the verb "blossomed" in the past tense. The effect of being ahead of time is necessary for L. in order to take a position that is historically justified, a position in which the security of Georgia would already be a fait accompli and, therefore, could be an argument explaining the actions of the Rus. army. The word of the hero in the poem, in contrast to the epic-detached word of the narrator, is extremely confessional, however, with the so-called. vocabulary, style, verse, there is no sharp line between them, which indicates a certain spiritual unity of all word carriers in the poem. Romantic solution. conflict - in the dying words of Mtsyri and in the last verse of the poem: "And I will not curse anyone"; but it is also the word of the author, a direct expression of the author's position. It is essential that such a decision must be made by the hero himself. This is how the attitude of the author to the word of the hero and the narrator is revealed. The positions of the narrators and the hero in the poem have a local meaning; only the position of the author is comprehensive. In The Demon, the narrator has unlimited knowledge of the past and the future, earthly and heavenly, and because of this, the impassibility of his “observing” position: the narrator’s word reflects the absence of a hierarchy of values (which the author establishes), the entire temporal world for him lies in one value plane . For him, they are equal in describing the suffering of the Demon and the galloping horse. The word of the narrator is ascertaining and pictorial. In the last chapter of the epilogue, the author’s word sounds, colored with a majestic, royally imperturbable tone, as if absorbing the characteristic words of the hero and the narrator and standing above him. Some convergence of the hero's word with the narrator's word is found in ch. VII, where the words of the Demon become the words of the poet himself: "Since the world lost paradise, / I swear, such a beauty / Under the sun of the south did not bloom." The epilogue of the author-narrator, separated from the completely completed line of spiritual "search" demonic. hero, points to the local nature of the “narrated” plot, which, according to the narrator, has become a story “terrible for children” (another time ahead of time by a century), and at the same time to the universal nature of the “conclusions” arising from the ratio of the tragedy that once played out and the passage of time . (The description of the fallen house of Gudal is not a decrease, but the removal of the former.) In the Tambov Treasurer, author. the position is expressed in a combination of two styles in the narrative - high and low, which, however, do not exist separately. The same is at the heart of the collision of the poem, dramatic and anecdotal at the same time. This also determines the composition with its interruption of plans, lyric. digressions - sometimes in the spirit of lofty dreaming (XLII), sometimes in the tone of philistine reasoning (XI, XIII). The poem is held together by the author's ironic illumination, penetrating all levels of the narrative. Here the principle of correlation between the author and the narrator corresponds to the stylistic principles of depicting reality. This is not observed in other poems. In the novel "Hero ..." the change in the points of view of the author, narrator and hero is directly found in the composition of the work. The nameless narrator actually acts as an arbiter between Maxim Maksimych and Pechorin (in the preface to Pechorin's journal). This is also confirmed by the preface. from the author: it has the same position regarding the hero. The composition of the novel is subordinated to the task of revealing the essence of the hero: first - the preliminary story of Maxim Maksimych, then - the explanatory journal of Pechorin, between which the figure of the narrator appears. The narrator's opinion about Maxim Maksimych is not without a touch of romanticism. enthusiasm - has long been accepted by researchers as artistically objective and final, due to the identification of the narrator with the author. In the novel, the "story" is conducted on behalf of the narrator, Maxim Maksimych, Pechorin and the author of the first preface (see. Style). The difference in the positions of the narrating characters determines the versatile coverage of the phenomena of reality, creating in meaning. degree of impression of self-expression of life - a fact that testifies to the strengthening of realism. positions in Russian prose of the 40s. 19th century Auth. L.'s position in "Hero ..." is also manifested in relation to word hero. In the novel there is a sharp line between the word internal and external. Int. the word - the word of the hero about himself and before himself - is truthful and sincere. External in L. (as opposed to F. M. Dostoevsky) is the word that sounds in the dialogue; it is devoid of sincerity, it is only a means to an end. External, i.e. dialogical in form, the word in essence is not, it tends to become monologue, since it is a form of self-affirmation of the hero. The inner word, monologic in form, is essentially dialogical: it is in the word addressed to itself that Pechorin correlates reflections on the value of one's own. personality with the opinion of others about him. It is precisely this that takes into account someone else's tz. the word contains the self-condemnation of the hero, embodying the power of his merciless reflection in relation to himself and the surrounding reality. In the unfinished novels "Vadim", "Princess Ligovskaya", prose. sketches "I want to tell you", "Stoss" the position of the author is manifested directly and openly in commenting and evaluating the feelings of the characters, author. characterization of persons and events, intervention in the train of thought of the characters. In "The Hero..." these narrative techniques are replaced by an alternation or juxtaposition of the positions of the narrator, the author, and the characters. On the whole, auth. position in major L. can be defined as transpersonal: in the "Hero ..." he stands above the modern. society; in poems, through the narrator, the author takes a position of superiority over heroes and events due to foreknowledge: historical in Mtsyri and universal in Demon. At the same time, the word of the hero is the most important, but not the only one. means of expression understanding the implementation of the course of events on the scale of whether society, history or all of humanity.
Lit.: Vinogradov V. V., The problem of authorship and the theory of styles, M., 1961; his own, On the theory of art. speeches, M., 1971; Bakhtin M. M., On the methodology of literary criticism, in the book: Context. 74, Moscow, 1975; his own, The problem of the text, "VL", 1976, No. 10; The problem of the author in the artist. liter-re, c. 1, Izhevsk, 1974; Kozhinov VV, The problem of the author and the path of the writer, in the book: Context. 77, M., 1978; Eichenbaum(12), p. 221-85.
E. A. Vedenyapina Lermontov Encyclopedia / USSR Academy of Sciences. In-t rus. lit. (Pushkin. House); Scientific-ed. Council of the publishing house "Sov. Enzikl."; Ch. ed. Manuilov V. A., Editorial staff: Andronikov I. L., Bazanov V. G., Bushmin A. S., Vatsuro V. E., Zhdanov V. V., Khrapchenko M. B. - M .: Sov. Encycl., 1981
See what "Author. Narrator. Hero" is in other dictionaries:
- "HERO OF OUR TIME" (1837-40), L.'s novel, his top creation, the first prose writer. social psychological. and philosophy. novel in Russian lit. re. "A Hero of Our Time" absorbed the diverse creatively transformed in the new historical. and national ... ... Lermontov Encyclopedia
- "DEMON", a poem, one of the central products. L., the poet returned to work on Crimea for almost the entire creative work. life (1829-39). Based on the biblical myth of a fallen angel who rebelled against God. To this image, personifying the "spirit of denial" ... Lermontov Encyclopedia
STYLE Lermontov, perhaps the most difficult, but at the same time a promising problem of modern. Lermontov studies. Attempts to define the style of L. either as romantic, or as realistic with elements of romance (see Romanticism and Realism), then as ... ... Lermontov Encyclopedia
POEM, one of the central genres of L.'s poetry, important for understanding Russian. romanticism in general. During the period 1828 41 L. created approx. 30 P. He himself published. three P .: "Song about ... the merchant Kalashnikov" and "Tambov Treasurer" in 1838, "Mtsyri" in 1840. "Hadji ... ... Lermontov Encyclopedia
RUSSIAN LITERATURE OF THE 19TH CENTURY and Lermontov. 1. Lermontov and Russian poetry of the 19th century. L. the heir to the Pushkin era, who began directly from that turn, which was designated in Russian. poetry by A. S. Pushkin. He expressed the new position of the litre, characteristic ... ... Lermontov Encyclopedia
LERMONT STUDY, the study of Lermontov's life and work. The first attempts to comprehend Lermontov's work began already in lifetime criticism, with the publication of "Poems by M. Lermontov" (1840) and "A Hero of Our Time" (1840, 1841). In the 40s. prose and poetry L... Lermontov Encyclopedia
Romanticism and realism in the work of L. ROMANTISM AND REALISM in the work of Lermontov, one of the central problems of Lermontov's studies; its insufficient elaboration is explained by the complexity, inseparability of the very concepts of "romanticism" and "realism", in total ... ... Lermontov Encyclopedia
PROSE Lermontov. Lit. L.'s path began in the late 1820s. during the reign of the poetic genres in Russian lit. re. Starting as a poet, L. comes to prose relatively late; his prose. experiments, reflecting the process of formation of Russian. prose as a whole, were one ... Lermontov Encyclopedia
STYLIZATION and skaz. S. emphasized imitation of someone else's style, felt as belonging to a particular culture, typologically sharply different from the modern author. In a broad sense, the concept of S. is used to refer to a number of kinships. phenomena: ... ... Lermontov Encyclopedia
PLOT in Lermontov's lyrics. Lit by S. in lyrics is often considered as a reflection of the process of development of feelings and is called lyric. plot; in this sense, we can talk about the lyric. plot Lermont. poems that do not contain a plot ... ... Lermontov Encyclopedia
The narrative in a work of art is not always conducted on behalf of the author.
The author is a real person who lives in the real world. It is he who thinks through his work from the beginning (sometimes, from the epigraph, even from the numbering (Arabic or Roman) to the last dot or ellipsis. It is he who develops the system of heroes, their portraits and relationships, it is he who divides the work into chapters. For him, it does not exist " unnecessary "details - if there is a pot of balsam on the window in the stationmaster's house, then the author needed that flower.
Examples of works where the author himself is present are “Eugene Onegin” a. Pushkin and "dead souls" by N. Gogol.
Difference Between Narrator and Narrator
The narrator is a storyteller, this is a character of the artistic world. The narrator is the author who tells through the mouth of the character. The narrator lives in each specific text - this is, for example, an old man and an old woman who lived near the blue sea. He is a direct participant in some events.
And the narrator is always above the narrator, he tells the story in its entirety, being a participant in the events or a witness to the life of the characters. The narrator is a character who is presented as a writer in a work, but at the same time he retains the features of his speech, his thoughts.
The narrator is the one who wrote the story. It can be fictional or real (then the concept of the author is introduced; that is, the author and the narrator are the same).
the narrator represents the writer in the work. Often the narrator is also called the "lyrical hero." This is someone whom the writer trusts and his own assessment of events and characters. Or these points of view - the author-creator and the narrator - may be close.
in order to present and reveal his idea in its entirety, the author puts on various masks - including the narrator and storytellers. The last two are eyewitnesses of events, the reader believes them. This gives rise to a sense of authenticity. The author, as if on the stage - the pages of the work - plays one many roles of the performance he created. That's why it's so exciting to be a writer!
Who tells the story of Silvio?
To such a reception?
Pushkin went to Boldino as a fiance. However, financial difficulties prevented marriage. Neither Pushkin nor the bride's parents had an excess of money. Pushkin's mood was also influenced by the cholera epidemic in Moscow, which did not allow him to travel from Boldino. It was during the Boldin autumn, among many other things, that Belkin's stories were written.
In fact, the entire cycle was written by Pushkin, but the title and preface indicate another author, the pseudo-author Ivan Petrovich Belkin, but Belkin died and his stories were published by a certain publisher, A.P. it is also known that Belkin wrote each story based on the stories of several "persons".
The cycle begins with a preface "from the publisher", written on behalf of a certain a.p. Pushkinists believe that this is not Alexander Pushkin himself, since the style is not at all Pushkin's, but some kind of ornate, semi-clerical. The publisher was not personally acquainted with Belkin and therefore turned to the late author's neighbor for biographical information about him. A letter from a neighbor, a certain Nenaradovo landowner, is given in full in the preface.
Pushkin presents Belkin to the reader as a writer. Belkin himself conveys the narration to a certain narrator - lieutenant colonel and. L. P. (about which the message is given in a footnote: (note by A. S. Pushkin.)
The answer to the question: who tells the story of Silvio - is revealed as a matryoshka:
Pushkin biographical (it is known that once the poet himself ate cherries in a duel, he did not shoot) →
Publisher a.p. (but not Alexander Sergeevich himself) →
Nenaradovsky landowner (neighbor of Belkin, deceased by that time) →
Belkin biographical (a neighbor told about him in detail as best he could) →
Narrator (an officer who knew both Silvio and the lucky count) →
Narrators = heroes (silvio, count, "a man of about thirty-two, beautiful in appearance").
The story is told in the first person: the narrator takes part in the action, it is to him, a young army officer, that Silvio confides the secret of an unfinished duel. It is interesting that the finale of her i.l.p. learns Silvio from the enemy. Thus, the narrator in the story also becomes the attorney of two characters, each of whom tells his own part of the story, which is given in the first person and in the past tense. Therefore, the story told seems to be true.
this is such a complex construction of a seemingly uncomplicated story.
"Belkin's stories" is not just a cheerful Pushkin's work with funny plots. People who start playing literary heroes find themselves at the mercy of certain plot patterns and become not only funny, funny, but actually risk dying in a duel ... ”it turns out that these“ tales of Belkin ”are not so simple.
All other stories of the cycle are built in a similar way. Among other works, one can name the story "The Captain's Daughter", which is written on behalf of a fictional character - Peter Grinev. He talks about himself.
Grinev is young, honest and fair - only from such a position can one assess the honor of Pugachev, who was recognized by the defenders of the state as an impostor, "a despicable rebel."
in the last chapter (“trial”), Grinev tells about the events that occurred during his imprisonment, according to his relatives.
one can also recall the red-haired panko, to whom Nikolai Gogol conveyed the story of the “enchanted place”.
In the same way, the chapter “Maxim Maksimych” is constructed from the “hero of our time” M. Lermontov.
