The means and form of mastering life by art; way of being a work of art. The artistic image is dialectical: it combines living contemplation, its subjective interpretation and evaluation by the author (and also by the performer, listener, reader, viewer). An artistic image is created on the basis of one of the means: image, sound, language environment, or a combination of several. It is inseparable from the material substratum of art. For example, meaning internal structure, definition musical image largely determined by the natural matter of music - acoustic qualities musical sound. In literature and poetry artistic image created on the basis of a specific language environment; V theatrical art all three are used. At the same time, the meaning of the artistic image is revealed only in a certain communicative situation, and final result such communication depends on the personality, goals and even the momentary mood of the person confronted with him, as well as on the specific culture to which he belongs.
The artistic image is the form artistic thinking. Image includes: reality material, recycled creative fantasy the artist, his attitude to the depicted, the wealth of the creator's personality. Hegel believed that the artistic image "reveals to our eyes not an abstract essence, but its concrete reality." V. G. Belinsky believed that art is figurative thinking. For positivists, an artistic image is a visual demonstration of an idea that delivers aesthetic pleasure. Theories arose that denied the figurative nature of art. Thus, the Russian formalists replaced the concept of image with the concepts of construction and device. Semiotics has shown that the artistic image is created by a system of signs, it is paradoxical, associative, it is an allegorical, metaphorical thought that reveals one phenomenon through another. The artist, as it were, pushes phenomena against each other and carves out sparks that illuminate life with a new light. In art, according to Anandavardhana (India, ninth century), figurative thought (dhvani) has three main elements: a poetic figure (alamkara-dhvani), meaning (vast-dhvani), mood (rasa-dhvani). These elements are connected. The poet Kalidasa thus expresses the dhvani of mood. This is what King Dushyanta says to the bee circling near the face of his beloved: “You continually touch her trembling eyes with their moving corners, you gently buzz over her ear, as if telling her a secret, although she waves her hand away, you drink her nectar lips - the focus of pleasure. O bee, indeed you have reached your goal, and I wander in search of the truth. The poet, without directly naming the feeling that took possession of Dushyanta, conveys to the reader the mood of love, comparing the dreaming of a lover's kiss with a bee flying around the girl.
In the most ancient works, the metaphorical nature of artistic thinking appears especially clearly. Thus, products of Scythian artists in the animal style whimsically combine real animal forms: predatory cats with bird claws and beaks, griffins with a fish body, a human face and bird wings. Images of mythological creatures are a model of an artistic image: an otter with a human head (tribes of Alaska), the goddess Nui-wa - a snake with a woman's head (Ancient China), the god Anubis - a man with a jackal's head (Ancient Egypt), a centaur - a horse with a torso and the head of a man (Ancient Greece), a man with the head of a deer (Lapps).
Artistic thought combines real phenomena, creating an unprecedented creature that whimsically combines the elements of its progenitors. The ancient Egyptian sphinx is a man represented through a lion, and a lion understood through a man. Through a bizarre combination of man and the king of beasts, we come to know nature and ourselves - royal power and domination over the world. Logical thinking establishes the subordination of phenomena. Equivalent objects are revealed in the image - one through the other. Artistic thought is not imposed on the objects of the world from the outside, but organically follows from their comparison. These features of the artistic image are clearly visible in the miniature of the Roman writer Elian: “... if you touch a pig, it naturally starts to squeal. A pig has no wool, no milk, nothing but meat. When touched, she immediately guesses the danger that threatens her, knowing what people are good for. Tyrants behave in the same way: they are always full of suspicions and are afraid of everything, because they know that, like a pig, they must give their lives to anyone. Elian's artistic image is metaphorical and built like a sphinx (man-lion): according to Elian, a tyrant is a man-pig. A comparison of beings far from each other unexpectedly gives new knowledge: tyranny is disgusting. The structure of the artistic image is not always as clear as in the sphinx. However, even in more complex cases in art, phenomena are revealed one through the other. So, in the novels of L.N. Tolstoy's heroes reveal themselves through the reflections and shadows that they throw at each other, at the world around them. In War and Peace, the character of Andrei Bolkonsky is revealed through love for Natasha, through relationships with his father, through the sky of Austerlitz, through thousands of things and people that, as this mortally wounded hero realizes in agony, are associated with every person.
The artist thinks associatively. The cloud for Chekhov’s Trigorin (in the play “The Seagull”) looks like a piano, and “and the neck of a broken bottle shines on the dam and the shadow of the mill wheel blackens - that’s Moonlight night ready." The fate of Nina is revealed through the fate of the bird: “The plot for short story: a young girl has been living on the shore of the lake since childhood ... she loves the lake like a seagull, and is happy and free, like a seagull. But by chance a man came, saw and, having nothing to do, ruined her, like this seagull. In the artistic image, through the conjugation of phenomena far apart from each other, unknown aspects of reality are revealed.
Figurative thought is ambiguous, it is as rich and deep in its meaning and meaning as life itself. One of the aspects of the ambiguity of the image is understatement. For A.P. Chekhov, the art of writing is the art of crossing out. E. Hemingway compared a work of art with an iceberg: part of it is visible, the main part is under water. This makes the reader active, the process of perception of the work turns out to be co-creation, painting the image. However, this is not arbitrary conjecture. The reader receives an impulse for reflection, he is asked emotional condition and an information processing program, but it retains free will and scope for creative imagination. The understatement of the artistic image stimulates the thought of the perceiver. This also manifests itself in incompleteness. Sometimes the author breaks off the work in mid-sentence and keeps silent, does not untie storylines. The image is multifaceted, it has an abyss of meaning that opens up in time. Each era finds in classic look new sides and gives him his interpretation. In the 18th century Hamlet was considered as a reasoner, in the 19th century. - as a reflective intellectual ("Hamletism"), in the 20th century. - as a fighter "with a sea of troubles" (in the interpretation, he noted that he could not express the idea of \u200b\u200bFaust with the help of a formula. To reveal it, one would have to write this work again.
An artistic image is a whole system of thoughts, it corresponds to the complexity, aesthetic richness and versatility of life itself. If the artistic image could be fully translated into the language of logic, science could replace art. If it were completely untranslatable into the language of logic, then literary criticism, art criticism and art criticism would not exist. The artistic image is not translatable into the language of logic, because during the analysis there remains a “super-semantic residue”, and at the same time we translate, because, penetrating deeply into the essence of the work, it is possible to more fully reveal its meaning. Critical analysis is a process of endless deepening into the infinite meaning of the artistic image. This analysis is historically variable: new era gives a new reading of the work.
Artistic image
typical image
Image-motive
topos
Archetype.
Artistic image. The concept of the artistic image. Functions and structure of the artistic image.
Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of the artistic image, the main role is played by the mechanisms of identification and transfer.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.
Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.
The most important function of the plot is the discovery of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).
Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.
Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.
Stages of conflict development- basic plot elements:
Lyrical-epic genres and their specificity.
Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.
Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author
1. poem. – genre content can be either epic or lyrical. (In this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...
2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second sense of the word, a ballad is folk genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.
3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) feature genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.
4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together these lyrical works create a "circle": a unifying principle yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.
Basic concepts of poetic language and their place in school curriculum on literature.
POETIC LANGUAGE, artistic speech, is the language of poetic (poetic) and prose literary works, a system of means of artistic thinking and aesthetic development of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in in a certain sense slows down reading, destroying the usual automatic perception of the text; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is the language in it aesthetic function».
P. i. closely related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological linguistic means, for example. dialectisms when transmitting the speech of characters or to create a local color of the depicted. poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.
19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.
The artistic method (creative) method is a set of the most general principles of the aesthetic assimilation of reality, which is consistently repeated in the work of a particular group of writers that form a direction, trend or school.
O.I. Fedotov notes that “the concept of “creative method” is not much different from the concept of “artistic method” that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.
The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.
The artistic method has an aesthetic nature, it represents historically determined general forms emotionally colored figurative thinking.
Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through historical changes in the subject of art, but also through historical change aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the general philosophical and political worldview of the artist. “Method always appears before us only in its concrete artistic expression- in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)
The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.
The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.
The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.
The artist's method is felt through style his works, i.e. through the individual manifestation of the method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this way of figurative thinking gives rise to certain ideological and artistic features of art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.
Interaction method and style:
§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;
§ stylistic unity is possible only within the same method, since even the external similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;
§ Reverse influence of style on method.
The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.
Along with the concept of creative method, the concept direction or type of creativity, which in the most diverse forms and proportions will be manifested in any method that arises in the process of the development of the history of literature, since they express general properties figurative reflection of life. Taken together, the methods form literary currents(or directions: romanticism, realism, symbolism, etc.).
The method determines only the direction of the artist's creative work, and not its individual properties. The artistic method interacts with the creative individuality of the writer
The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. The concrete and real result of these properties in literature is style. The writer develops on the basis of one or another artistic method his own individual style. We can say that the creative individuality of the writer is a necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.
The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images, the construction of motives.
mythological school
The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.
Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.
Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.
biographical method
Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).
Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.
Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.
Psychological direction
Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.
Psychological approach in Tatar literary criticism of the early twentieth century. Views of M. Marjani, J. Validi, G. Ibragimov, G. Gubaydullin, A. Mukhetdiniya and others. G. Battala's work "Theory of Literature".
Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.
Psychoanalysis
Theoretical basis psychoanalytic criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.
Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.
Sociologism
The emergence of sociology. The difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.
Vulgar sociologism: genesis and essence (V.M. Friche, later works V.F. Pereverzeva). FG Galimullin about vulgar sociologism in Tatar literary criticism.
Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).
The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.
Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.
formal school.
Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.
Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.
Structuralism
The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.
Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).
Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis (A.G. Yakhin), in the study of the history of Tatar literature (D.F. Zagidullina and others).
emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.
B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.
An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.
hermeneutics
The first information about the problem of interpretation in Ancient Greece and the East. Views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).
Artistic image. The concept of the artistic image. Classification of artistic images according to the nature of generalization.
Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologems).
Individual images characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Notre Dame Cathedral" by V. Hugo, the Demon in poem of the same name M. Lermontov, Woland in "The Master and Margarita" by A. Bulgakov.
A characteristic image is generalizing. It contains common features of characters and mores inherent in many people of a certain era and its public spheres(characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements of the realistic literature XIX century. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal character traits of a particular hero.
Image-motive- this is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “ Beautiful lady» from A. Blok).
topos(Greek topos - place, area) denotes general and typical images created in the literature whole era, nation, and not in the work of an individual author. An example is the image " little man» in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term is first encountered in German romantics V early XIX century, however, the work of the Swiss psychologist C. Jung (1875-1961) gave him a true life in various fields of knowledge. Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. The most common archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.
Artistic image
Image in general, it is a kind of subjective spiritual and psychic reality that arises during inner world a person in the act of perceiving any reality, in the process of contact with the outside world - in the first place, although, naturally, there are images of fantasy, imagination, dreams, hallucinations, etc., reflecting some subjective (internal) realities. In the broadest general philosophical terms, the image is a subjective copy of objective reality. Artistic image- this is an image of art, i.e. specially created in the process of special creative activity according to specific (although, as a rule, unwritten) laws by the subject of art - the artist - is a phenomenon. In the future, we will only talk about the artistic image, so for brevity I call it simply way.
In the history of aesthetics, the first modern form posed an image problem Hegel in the analysis of poetic art and outlined the main direction of its understanding and study. In the image and figurativeness, Hegel saw the specifics of art in general, and poetic art in particular. "On the whole," he writes, "we may designate a poetic performance as a performance figurative, since it presents to our gaze not an abstract essence, but its concrete reality, not an accidental existence, but such a phenomenon in which directly through the external itself and its individuality we, in inseparable unity with it, cognize the substantial, and thus we find ourselves in the inner world of representation as one and the same integrity both the concept of an object and its external being. In this respect there is a great difference between what gives us a figurative representation and what becomes clear to us through other modes of expression.
The specificity and advantage of the image, according to Hegel, lies in the fact that, unlike the abstract verbal designation of an object or event that appeals to the rational consciousness, it represents an object to our inner vision and vision in the fullness of its real appearance and essential substantiality. Hegel explains this with a simple example. When we say or read the words "sun" and "morning", it is clear to us what is being said, but neither the sun nor the morning appear before our eyes in their real form. And if, in fact, the poet (Homer) expresses the same thing with the words: “A young woman arose from darkness, with purple fingers Eos,” then we are given something more than a simple understanding of the sunrise. The place of abstract understanding is replaced by “real certainty”, and our inner gaze sees the whole picture dawn in the unity of its rational (conceptual) content and concrete visual appearance. Therefore, in the image of Hegel, the poet's interest in the external side of the object from the point of view of the illumination of its "essence" in it is essential. In this regard, he distinguishes between images "in the proper sense" and images "in the improper" sense. To the first German philosopher relates a more or less direct, immediate, we would now say isomorphic, image (literal description) of the appearance of an object, and to the second - a mediated, figurative image of one object through another. Metaphors, comparisons, all kinds of figures of speech fall into this category of images. Hegel pays special attention to fantasy in creating poetic images. These ideas of the author of the monumental "Aesthetics" formed the foundation of the aesthetic understanding of the image in art, undergoing certain transformations, additions, changes, and sometimes complete denial at various stages in the development of aesthetic thought.
As a result of the relatively long historical development today in classical aesthetics there is a fairly complete and layered view about the image and figurative nature of art. In general, under in an artistic way, an organic spiritual-eidetic integrity is understood, expressing, presenting a certain reality in the mode of greater or lesser isomorphism (likeness of form) and realized (having existence) in its entirety only in the process of perception specific work art by a specific recipient. It is then that the unique artistic world is fully revealed and actually functions, folded by the artist in the act of creating a work of art into its objective (pictorial, musical, poetic, etc.) reality and unfolding already in some other concreteness (different incarnation) in the inner world subject of perception. The image in its entirety is complex process artistic exploration of the world. It presupposes the existence of an objective or subjective reality, that gave impetus to the process of artistic display. It is more or less essentially subjectively transformed in the act of creating a work of art into a certain reality of the works. Then, in the act of perceiving this work, another process of transformation of features, form, even the essence of the original reality (the prototype, as they sometimes say in aesthetics) and the reality of the work of art (the "secondary" image) takes place. A final (already third) image appears, often very far from the first two, but nevertheless retaining something (this is the essence of isomorphism and the very principle of mapping) inherent in them and uniting them in unified system figurative expression, or artistic display.
From this it is obvious that, along with the final, most general and complete image that arises during perception, aesthetics distinguishes a number of more particular understandings of the image, which it makes sense to dwell on at least briefly here. A work of art begins with the artist, more precisely, with a certain idea that arises in him before starting work on the work and is realized and concretized in the process of creativity as he works on the work. This initial, as a rule, still quite vague, idea is often already called an image, which is not entirely accurate, but can be understood as a kind of spiritual and emotional sketch of the future image. In the process of creating a work, in which, on the one hand, all the spiritual and spiritual forces of the artist participate, and on the other hand, the technical system of his skills in handling (processing) with a specific material from which, on the basis of which the work is created (stone, clay, paints , pencil and paper, sounds, words, theater actors, etc., in short - the entire arsenal of visual and expressive means of a given type or genre of art), the original image (= idea), as a rule, changes significantly. Often nothing remains of the original figurative-semantic sketch. It performs only the role of the first stimulus for a fairly spontaneous creative process.
The resulting work of art is also and already with great reason is called an image that, in turn, has a number of figurative levels, or sub-images - images of a more local nature. The work as a whole is concretely sensual embodied in the material of this art form. way spiritual objective-subjective unique world in which the artist lived in the process of creating this work. This image is a set of visual and expressive units of this type of art, which is a structural, compositional, semantic integrity. It is an objectively existing work of art (a painting, architectural structure, novel, poem, symphony, film, etc.).
Inside this folded image-work, we also find a number of smaller images determined by the pictorial and expressive structure of this type of art. For the classification of images of this level, in particular, the degree of isomorphism (the external similarity of the image to the depicted object or phenomenon) is essential. The higher the level of isomorphism, the closer the image of the figurative-expressive level to the external form of the depicted fragment of reality, the more “literary” it is, i.e. lends itself to verbal description and evokes the corresponding "picture" representations in the recipient. For example, a picture historical genre, classical landscape, realistic story, etc. At the same time, it is not so important whether we are talking about the visual arts proper (painting, theater, cinema) or about music and literature. At high degree isomorphism "picture" images or representations arise on any basis. And they do not always contribute to the organic development of the actual artistic image of the whole work. Quite often, it is this level of figurativeness that turns out to be oriented towards non-aesthetic goals (social, political, etc.).
However, ideally, all these images are included in the structure of the general artistic image. For example, for literature, one speaks of a plot as a image some life (real, probabilistic, fantastic, etc.) situation, about images specific heroes of this work (images of Pechorin, Faust, Raskolnikov, etc.), about image nature in specific descriptions, etc. The same applies to painting, theater, cinema. More abstract (with a lesser degree of isomorphism) and less amenable to concrete verbalization are images in works of architecture, music or abstract art, but even there one can speak of expressive figurative structures. For example, in connection with some completely abstract "Composition" by V. Kandinsky, where visual-subject isomorphism is completely absent, we can talk about compositional way, based on the structural organization of color forms, color relationships, balance or dissonance of color masses, etc.
Finally, in the act of perception (which, by the way, begins to be realized already in the process of creativity, when the artist acts as the first and extremely active recipient of his emerging work, correcting the image as it develops), a work of art is realized, as already mentioned, the main image of this work, for the sake of which it actually was manifested into being. In the spiritual and mental world of the subject of perception, a certain ideal reality, in which everything is connected, fused into an organic integrity, there is nothing superfluous and no flaw or lack is felt. She belongs at the same time this subject(and only to him, because another subject will already have a different reality, a different image based on the same work of art), a work of art(occurs only on the basis of this particular work) and the universe as a whole, for really attaches the recipient in the process of perception (i.e. the existence of a given reality, this image) To universal plerome of being. Traditional aesthetics describes it supreme art event differently, but the meaning remains the same: comprehension of the truth of being, the essence of a given work, the essence of the depicted phenomenon or object; the manifestation of truth, the formation of truth, the comprehension of an idea, an eidos; contemplation of the beauty of being, familiarization with ideal beauty; catharsis, ecstasy, insight, etc. and so on. The final stage of perception of a work of art is experienced and realized as a kind of breakthrough of the subject of perception to some levels of reality unknown to him, accompanied by a feeling of fullness of being, unusual lightness, exaltation, spiritual joy.
At the same time, it does not matter at all what the specific, intellectually perceived content of the work (its superficial literary-utilitarian level), or more or less specific visual, auditory images of the psyche (emotional-mental level), arising on its basis. For the complete and essential realization of the artistic image, it is important and significant that the work be organized according to artistic and aesthetic laws, i.e. must ultimately cause aesthetic pleasure in the recipient, which is an indicator reality of contact– the entry of the subject of perception with the help of an actualized image to the level of the true being of the Universe.
Let's take, for example, famous painting"Sunflowers" by Van Gogh (1888, Munich, Neue Pinakothek), depicting a bouquet of sunflowers in a jug. On the “literary”-subject pictorial level, we see on the canvas only a bouquet of sunflowers in a ceramic jug standing on a table against a greenish wall. There is also a visual image of a jug, and an image of a bouquet of sunflowers, and a very different images each of the 12 flowers, which can all be described in sufficient detail in words (their position, shape, colors, degree of maturity, some even the number of petals). However, these descriptions will still have only an indirect relation to the integral artistic image of each depicted object (one can also talk about this), and even more so to the artistic image of the entire work. The latter is formed in the psyche of the viewer on the basis of such a multitude of visual elements of the picture that make up an organic (one might say, harmonic) integrity, and a mass of all kinds of subjective impulses (associative, memory, artistic experience of the viewer, his knowledge, his mood at the time of perception, etc. .), that all this defies any intellectual accounting or description. However, if we really have a real work of art before us, like these “Sunflowers”, then all this mass of objective (coming from the picture) and subjective impulses that arose in connection with them and on their basis forms such an integral reality in the soul of each viewer, such a visual and spiritual an image that arouses in us a powerful explosion of feelings, delivers indescribable joy, elevates us to the level of such a really felt and experienced fullness of being that we never achieve in ordinary (outside of aesthetic experience) life.
This is the reality, the fact of true being artistic image, as the essential basis of art. Any art, if it organizes its works according to unwritten, infinitely diverse, but really existing artistic laws.
Artistic image
Artistic image- general category artistic creativity, a form of interpretation and development of the world from the standpoint of a certain aesthetic ideal by creating aesthetically affecting objects. An artistic image is also called any phenomenon creatively recreated in a work of art. An artistic image is an image from art, which is created by the author of a work of art in order to most fully reveal the described phenomenon of reality. The artistic image is created by the author for the most complete development of the artistic world of the work. First of all, through the artistic image, the reader reveals the picture of the world, plot-plot moves and features of psychologism in the work.
The artistic image is dialectical: it combines living contemplation, its subjective interpretation and evaluation by the author (and also by the performer, listener, reader, viewer).
An artistic image is created on the basis of one of the means: image, sound, language environment, or a combination of several. It is inseparable from the material substratum of art. For example, the meaning, internal structure, clarity of the musical image is largely determined by the natural matter of music - the acoustic qualities of musical sound. In literature and poetry, an artistic image is created on the basis of a specific language environment; all three means are used in theatrical art.
At the same time, the meaning of an artistic image is revealed only in a certain communicative situation, and the final result of such communication depends on the personality, goals and even the momentary mood of the person who encountered it, as well as on the specific culture to which he belongs. Therefore, often after one or two centuries have passed since the creation of a work of art, it is perceived in a completely different way than its contemporaries and even the author himself perceived it.
In the "Poetics" of Aristotle, the image-trope appears as an inaccurate exaggerated, diminished or changed, refracted reflection of the original nature. In the aesthetics of romanticism, similarity and similarity give way to a creative, subjective, transforming principle. In this sense, incomparable, like no one else, therefore, beautiful. This is the same understanding of the image in the aesthetics of the avant-garde, which prefers hyperbole, shift (B. Livshitz's term). In the aesthetic of surrealism, "reality multiplied by seven is the truth." IN the latest poetry the concept of “metametaphor” (K. Kedrov’s term) appeared. This is an image of transcendental reality beyond the threshold of light speeds, where science falls silent and art begins to speak. The metametaphor closely merges with the "reverse perspective" of Pavel Florensky and the "universal module" of the artist Pavel Chelishchev. It is about expanding the limits of human hearing and vision far beyond physical and physiological barriers.
see also
Links
- Tamarchenko N. D. Theoretical poetics: concepts and definitions
- Nikolaev A. I. Artistic image as a transformed model of the world
Literature: Romanova S. I. Artistic image in the space of semiotic relations. // Bulletin of Moscow State University. Series 7. Philosophy. 2008. No. 6. P.28-38. (www.sromaart.ru)
Wikimedia Foundation. 2010 .
See what "Artistic Image" is in other dictionaries:
ARTISTIC IMAGE, a form of artistic thinking. The image includes: the material of reality, processed by the artist's creative imagination, his attitude to the depicted, the richness of the creator's personality. Hegel (see HEGEL Georg Wilhelm Friedrich) ... ... encyclopedic Dictionary
General category of arts. creativity, a means and a form of mastering life by art. An image is often understood as an element or part of a product that has, as it were, self-standing. existence and meaning (for example, in literature, the image of a character, ... ... Philosophical Encyclopedia
A form of reflection (reproduction) of objective reality in art from the standpoint of a certain aesthetic ideal. The embodiment of the artistic image in various works art is carried out with the help of different means and materials ... ... Encyclopedia of cultural studies
artistic image- a way and form of mastering reality in art, characterized by an inseparable unity of sensual and semantic moments. This is a concrete and at the same time a generalized picture of life (or a fragment of such a picture), created with the help of creative ... ... Terminological dictionary-thesaurus in Literary Studies
IN fine arts, a form of reproduction, comprehension and experience of the phenomena of life by creating aesthetically affecting objects (paintings, sculptures, etc.). Art, like science, learns the world. However, unlike…… Art Encyclopedia
artistic image- ▲ image (to be) in, artwork hero literary image. type (positive #). figure. characters. ▼ literary type fairy tale character... Ideographic Dictionary of the Russian Language
The general category of artistic creativity: the form of reproduction, interpretation and mastery of life inherent in art (See Art) by creating aesthetically affecting objects. An image is often understood as an element or part of ... ... Great Soviet Encyclopedia
Professional communication in the "Man-Artistic image" system- The picture of the world among representatives of this field of activity is associated with highlighting beautiful beauty and bringing beauty, convenience, aesthetic pleasure into it (for example, the planet Earth can be imagined as “blue”, “small”, “defenseless” and ... ... Psychology of communication. encyclopedic Dictionary
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. 4. Typification of reality in O. 5. Artistic fiction in O. 6. O. and imagery; system O. 7. Content O. 8. Public ... ... Literary Encyclopedia
In philosophy, the result of the reflection of an object in the mind of a person. On feelings. stages of cognition images are sensations, perceptions and representations, at the level of thinking concepts, judgments and conclusions. O. is objective in its source ... ... Philosophical Encyclopedia
Books
- Artistic image in scenography. Textbook, Sannikova Lyudmila Ivanovna. The book is study guide for students studying the art of theater directing and directing theatrical performances and is designed to help young directors in working with ...
ARTISTIC IMAGE - one of the most important terms aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.
A truly artistic work is always distinguished by great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. By connecting the real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore bright artistic imagery not only the works of the great realist artists differ, but also those that are entirely built on fiction ( folk tale, fantasy story and etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.
Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both separate expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images medieval art, Renaissance, Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.
It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything that an artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result. creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, that is, the practice of the creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.
The main stages, or levels, of the formation of an artistic image are:
Image-intention
Piece of art
Image-perception.
Each of them testifies to a certain qualitative state in development. artistic thought. So, the further course of the creative process largely depends on the idea. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.
The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.
The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) ideological content works of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.
