Meaning of ARTISTIC FICTION in the Dictionary of Literary Terms
FICTION ARTISTIC
Creator artistic images: a form of recreating and displaying life inherent only in art in plots and images that do not have a direct correlation with reality. Measure V. x. in a work it can be different: there is a "setting" for fiction, but there are also documentary works (see documentary), where fiction is excluded.
Dictionary of literary terms. 2012
See also interpretations, synonyms, word meanings and what is ARTISTIC FICTION in Russian in dictionaries, encyclopedias and reference books:
- FICTION in Literary Encyclopedia:
see "Fantasy ... - ART in encyclopedic dictionary:
, -th, -th; -ven, -ve nna. 1. see art. 2. full f. Relating to the arts, to activities in the field of art. … - FICTION in the Encyclopedic Dictionary:
, -ela, m. 1. That which is created by imagination, fantasy. Poetic c. 2. Fiction, lies. Do not believe … - ART
bad "feminine, bad" feminine, bad "feminine, bad" feminine, bad "feminine, bad" feminine, bad "feminine, bad" feminine, bad "feminine, bad" feminine, bad "feminine, bad" feminine, bad feminine, badly "feminine, badly" feminine, badly "feminine, badly" feminine, badly "feminine, badly "feminine, badly" feminine, ... - FICTION in the Full accentuated paradigm according to Zaliznyak:
you"thought, you"thoughts, you"thoughts, you"thoughts, you"thought, you"thoughts, you"thought, you"thoughts, you"thought, you"thoughts, you"thought, ... - ART
-th, -th; thin "artistic, -enna 1) full. f. Depicting reality in images. Artistic creativity. Fiction. Feature Film. Piece of art. AT … - FICTION in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
-sla, m. 1) only units. AT artistic creativity: a figment of the writer's imagination, something created by his imagination. It is impossible to write without fiction ... ... - FICTION in the Thesaurus of Russian business vocabulary:
Syn: see conjecture, see... - FICTION in the Russian Thesaurus:
Syn: see conjecture, see... - ART
cm. … - FICTION in the Dictionary of synonyms of Abramov:
see anecdote, fiction, deceit, ... - ART
highly artistic, picturesque, beautiful, figurative, poetic, ... - FICTION in the dictionary of Synonyms of the Russian language:
fable, fiction, conjecture, invention, slander, legend, lie, myth, fiction, fable, fiction, untruth, deceit, fable, ghost, tale, fairy tale, composition, fantasy, phantom, ... - ART
adj. 1) Related by value. with noun: the art associated with it. 2) a) Associated with activities in the field of art. b) ... - FICTION in the New explanatory and derivational dictionary of the Russian language Efremova:
m. 1) a) What is created is created by imagination, fantasy. b) The plot of a work of art (in the speech of writers, literary critics, etc.); plot. … - FICTION in the Dictionary of the Russian Language Lopatin:
in`invention, ... - FICTION in the Complete Spelling Dictionary of the Russian Language:
invention, ... - ART in the Spelling Dictionary:
artistic; cr. f. -ven and -venen, ... - FICTION in the Spelling Dictionary:
in`invention, ... - ART
pertaining to the arts art school. X. head of the theater. Gymnastics. Amateur art. Artistic design (design). … - FICTION in the Dictionary of the Russian Language Ozhegov:
fiction, lie Do not believe in fiction. fiction is what is created by imagination, poetic ... - FICTION in the Dahl Dictionary:
invent, etc. see invent ... - ART
artistic, artistic; artistic and (rarely) artistic, artistic, artistic. 1. full only forms. App., by value associated with art, with activities ... - FICTION in the Explanatory Dictionary of the Russian Language Ushakov:
fiction, m. Fantasy, sth. created by imagination (book poet.). Sometimes I’ll get drunk again with harmony, I’ll shed tears over fiction. Pushkin. || Invention, sth... - ART
artistic app. 1) Related by value. with noun: the art associated with it. 2) a) Associated with activities in the field of art. … - FICTION in the Explanatory Dictionary of Efremova:
fiction m. 1) a) What is created is created by imagination, fantasy. b) The plot of a work of art (in the speech of writers, literary critics, etc.); … - ART
adj. 1. ratio with noun. art associated with it 2. Associated with activities in the field of art. ott. Peculiar to people of art, ... - FICTION in the New Dictionary of the Russian Language Efremova:
m. 1. What is created is created by imagination, fantasy. ott. The plot of a work of art (in the speech of writers, literary critics, etc.); plot. 2. … - ART
adj. 1. ratio with noun. art associated with it 2. Associated with activities in the field of art. ott. Inherent in people... - FICTION in the Big Modern explanatory dictionary Russian language:
I m. What is created is created by imagination, fantasy. II m. Plot scheme events, actions of heroes, etc. in work of art; … - IMAGE. in the Literary Encyclopedia:
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. . 4. Typification of reality... - TALLINN ART MUSEUM
art museum, Art Museum of the Estonian SSR (since 1970), the largest art museum Estonia. T.'s predecessor x. m. was the Tallinn branch of the Estonian ... - MOSCOW ART ACADEMIC THEATER in big Soviet encyclopedia, TSB:
Art academic theater them. M. Gorky (MKhAT), a Soviet theater that made a great contribution to the development of the national Russian and world theater. Founders... - ARTISTIC METHOD in the Great Soviet Encyclopedia, TSB:
artistic, a system of principles governing the process of creating works of literature and art. Category M. x. was introduced into aesthetic thought at the end... - CONFLICT ARTISTIC in the Great Soviet Encyclopedia, TSB:
artistic, artistic conflict, confrontation, contradiction between those depicted in the work active forces- character and circumstances, several characters or different parties ... - ART in the Newest Philosophical Dictionary:
a term used in two senses: 1) skill, ability, dexterity, dexterity, developed by knowledge of the matter; 2) creative activity aimed at creating artistic ... - CORTASAR in the Dictionary of Postmodernism:
(Cortazar) Julio (1914-1984) - Argentine writer, poet, playwright and essayist. He taught literature at the University of Mendoza, worked as a translator, participated in ... - SYMBOLISM in the Lexicon of non-classics, artistic and aesthetic culture of the XX century, Bychkov:
(French symbolisme) Literary, artistic and ideological direction in the culture of the last quarter. XIX - perv. third of the 20th century S. arose as a reaction ... - TREDYAKOVSKY VASILY KIRILLOVYCH in the Brief Biographical Encyclopedia:
Tredyakovsky (Vasily Kirillovich) - an outstanding Russian scientist of the 18th century. and an unsuccessful poet, whose name has become a household name for mediocre poets. … - FICTION in the Dictionary of Literary Terms:
- (from the Greek phantastike - the art of imagining) - view fiction, based on a special fantastic type of imagery, which is characterized by: ... - REALISM in the Literary Encyclopedia:
" id=Realism.Table of Contents> I. General character of realism II. Stages of realism A. Realism in the literature of pre-capitalist society B. Bourgeois realism ... - MYTHOLOGY. in the Literary Encyclopedia:
" id=Contents> The content of the concept. The origin of M. . The specificity of M. . The history of the science of myths. Bibliography. CONTENT OF THE CONCEPT. ... - PROMOTIONAL LITERATURE in the Literary Encyclopedia:
a set of artistic and non-artistic works, to-rye, influencing the feeling, imagination and will of people, induce them to certain actions, action. The term... - YAROSLAVL REGION in the Great Soviet Encyclopedia, TSB:
region, part of the RSFSR. It was formed on March 11, 1936. The area is 36.4 thousand km2. Population 1414 thousand people (as of January 1 ... - ESTONIAN SOVIET SOCIALIST REPUBLIC in the Great Soviet Encyclopedia, TSB:
Soviet Socialist Republic, Estonia (Eesti NSV). I. General information The Estonian SSR was formed on July 21, 1940. From August 6, 1940 in ... - AESTHETICS in the Great Soviet Encyclopedia, TSB:
(from the Greek aisthetikos - feeling, sensual), philosophical science, which studies two interrelated circles of phenomena: the sphere of the aesthetic as a specific manifestation of a value attitude ... - ART HIGHER EDUCATIONAL INSTITUTIONS in the Great Soviet Encyclopedia, TSB:
higher educational institutions train artists, architects-artists and art historians of the highest qualification in the following specialties: painting, graphics, sculpture. arts and crafts, decoration…
5. artistic fiction in the image
The fact that in the image the typical is expressed through the individual leads to another feature characteristic of the image, which can be defined as fiction.
In striving to express the generalization created by observations of many phenomena in any one individualized phenomenon, the artist must inevitably go beyond any immediately given to him. life fact, those or other points in it discarding, those or other - adding. It is clear, of course, that in practice the fact itself may turn out to be beyond the understanding of the artist and, consequently, its reflection will be incomplete - for example. this is still the problem of creating the image of Lenin in literary literature - but in principle, O. is always wider, more generalized than the specific fact to which it corresponds in reality. Goethe said that in his "Elective Affinity" "there is not a single feature that has not been experienced, but at the same time - not a single feature is presented exactly in the form in which it is experienced." In some cases, of course, O. can be close to some extent to any fact (for example, the proximity of many of L. Tolstoy's characters to real historical figures, to his relatives, etc. is known: L. Tolstoy spoke about O Natasha Rostova that he "took Tanya (T. Kuzminskaya, his wife's sister), pushed her with Sonya (S. A. Tolstaya - his wife) and Natasha came out"), but nevertheless, in principle, we always deal with the position that the O. of a work of art does not coincide with a real life fact; as an individual phenomenon, he is invented by the artist, created by him by the power of his creative imagination; his vitality, individuality - secondary, past hard way characteristic of human knowledge in general. But fiction, the creation of the creative imagination of the writer is not something divorced from reality, in it we find a peculiar form of generalization, which necessarily follows from the unity of typification and individualization of life, which is inherent in the image as a specificity of fiction. The very nature of fiction (up to its most distorted forms - mysticism, fantasy, etc.) is due to the real-class situation that determines the consciousness of the artist.
For an artist, it is important to depict one or another concrete, life fact, not due to direct real value exactly this fact, but due to the fact that the demonstration of a concrete, life fact is for him a form of a generalized disclosure of life patterns that govern (in his opinion) facts of this kind. Aristotle’s remarks on this matter are curious: “The poet’s task is not to speak about what really happened, but about what could happen, therefore, about the possible by probability or by necessity. It is the historian and the poet ... who differ in that the former speaks of what actually happened, and the latter of what could have happened.” Developing this position, Lessing wittily remarked that "a poet ... a historical event is needed not because it happened, but because it happened in such a way that he could hardly think of a better one for his goal ..." We can now establish as the essential properties of the image its typifying meaning, its individualized form, and finally, the necessity of imagination, fiction.
6. Image and figurativeness; image system.
As you can see, O. expresses the idea of the artist about any phenomena of life, and the idea is given by reflecting the phenomenon in his individual form with the allocation, with the help of fiction, of the most characteristic, typical features for a given range of phenomena. So, M. Gorky in "Foma Gordeev" expressed his ideas about capitalism in the individual figure of Yakov Mayakin, created by artistic fiction (i.e., by concentrating a number of properties of Russian capitalists, noticed by M. Gorky, in the typical image of Yakov Mayakin) and which is typical. Clearly, phenomena in objective reality itself do not exist in isolation from each other; they are interconnected by a most complex system of connections and mutual transitions, they form ever more complex phenomena, etc., etc. Therefore, the artist does not create a separate isolated object; reflecting the connection and interaction of phenomena, he also creates a number of images, connected and intertwined, reflecting the whole complex of phenomena inherent in this side of reality and expressing his holistic attitude towards it (the main idea of the work). Therefore, speaking of the concept of "O.", we abstract it to a certain extent from the specific fabric of a work of art, we denote by it the very type of the artist's display of reality, which is actually much more complicated. Each individual image is fully revealed only in the entire complex of images. this work, in the main idea expressed in them, organizing them.
The concept of "O." designates the very type of reflection by the artist of life; in the very practice of art we are dealing with more complex shapes this reflection. artistic process(even in the most compressed lyric poem) creates not a separate image, but a work of art as a whole, that is, as a complex of objects, as a system of them, united by the main idea. Therefore, terminologically it would be more correct to speak not about O. as a specific art, but about figurativeness (this term is used in a narrower sense, denoting specific features artistic literary language, about which below) as a designation of the very type of this kind of ideological activity, as a broader concept that includes the fact that O. does not exist in isolation, but in a system, realizing the main idea of the writer. But in the work itself, of course, we are dealing with a number of individual, single objects, reflecting certain aspects of life, which are the artist's judgments about them. Analyzing a work, we establish what elements of life are included in it, what aspects of life are reflected in them, how they are related, what a holistic conclusion follows from the whole work about that side of life that is reflected in all the complexity of these objects.
Along with the complexity of a work of art, in which an individual object plays the role of only an element of the system, we can consider the object itself as complex construction, resulting from the combination by the writer of a number of elements, as a structure. So, O. Eugene Onegin appears before us continuously throughout the story, acquiring more and more new signs that help us present Eugene Onegin as a specific, individual figure. Gogol described his work on the creation of O. as follows: “Containing everything in his head large features character, I will gather around him all the rags to the smallest pin ... all those countless little things and details that say that the taken person really lived in the world. In this regard, the structure of O. (historically very different in various works Gogol) differs significantly from the structure of the concept, where we are dealing, on the contrary, with the rejection of individual properties, details by highlighting in them only the general, the main one. Lenin emphasized that the law takes what is essential, settled in the phenomenon, and that in this sense the phenomenon is richer than the law ... Hence the differences in the structure of the O. and the concept. However, the writer makes a selection of "countless little things and features", highlighting only what can most clearly characterize the phenomenon. The writer, as it were, highlights the main links of this chain of properties that make up the image, leaving the reader to supplement and finish the rest. This is especially pronounced in lyrical verses, where the poet emphasizes only two or three strokes, but with such force that the experience he draws appears with all concreteness. Chekhov speaks about this ability to most economically create the O. of some phenomenon in Treplev’s famous monologue (“The Seagull”): “His neck glitters on the dam broken bottle and the shadow of the mill wheel turns black - here Moonlight night ready, and I have a trembling light, and the quiet twinkling of stars, and the distant sounds of the piano, fading in the still fragrant air ... this is painful. This savings opportunity artistic means is explained, in particular, by the fact that O. is in the system of other O., which supplement the omitted details in their interaction, creating a holistic individualized display of this aspect of life. Depending on the complexity of the O. structure, we encounter very different types of it - from the most complex and expanded to the most compressed, primary elements of imagery. A whole series of elements of a work of art does not in itself represent a complete figurative expression, but, entering the O. system, it enriches it and acquires figurative character. So, drawing O. of his character on the street, the writer does not seek to give O. streets, cities, etc., but in connection with the whole nature of the narrative, a figurative depiction of the city, street, etc. appears in the work. Thanks to this, we, despite the sharp difference between O. and the concept in their most complete forms, we will encounter their close relationship; the writer can operate with concepts, but, entering the system of images, as well as artistic narrative, they acquire a figurative character to a certain extent; on the contrary, elements of figurative narration may appear in the system of concepts, individualizing this or that phenomenon, but it will no longer have an artistic character.
How the artist builds his image, what elements he singles out, in what sequence he arranges them, etc., depends of course on specific historical conditions that determine both the nature of reality reflected by the artist and the quality of its subjective understanding. Therefore, the structure of romantic poetry will be sharply different from the structure of realistic poetry, etc. And within the same style, we will deal with structurally different poetry, both in connection with different genders (original poetry and epic poetry), genres, and in connection with the individual nature of the writer's work (for example, schematic O., etc.).
Artistic invention. Fiction
artistic fiction - everything that is created by the imagination of the writer, his fantasy. Artistic fiction is a means of creating artistic images. It is based on the life experience of the writer. But at the same time, in a work of art, the writer depicts not what actually happened, but what could happen. Fiction, creative fantasy The artist's image does not oppose reality, but is a special form of reflection of life inherent only in art. Far from all events of any particular human life are important and non-random, and with the help of fiction, the writer highlights the most significant events, leaving in the shadows not so significant. Thus, only the most basic and important from the point of view of the writer comes to the fore. Thanks to fiction, the writer gets used to his characters so much that for him they seem to exist in reality. For example, L. N. Tolstoy wrote about this process of “getting used to” his hero: “Until he becomes a good friend to me, until I see him and hear his voice, I don’t start writing.” The power of imagination and knowledge of life help the writer imagine how the character he created would act in each specific situation. The image comes to life independent life in accordance with the laws artistic logic and even performs acts unexpected for the writer himself. So, Pushkin wrote about the main character of "Eugene Onegin": "Imagine what a thing Tatyana ran away with me! She got married. I didn't expect that from her." Something similar was said by Turgenev about his Bazarov, who "vdrcame to life" under his pen and began to act at his own discretion. J.I. N. Tolstoy admitted the possibility of fiction even if it was about specific historical material: “You ask if it is possible to “compose” a biography historical face? Must. But to make it so that it is probable, to make it so that it (composed), if not, then it should have been ... there are random dates that do not matter in development historical events. They can be treated as the artist pleases."
But at the same time, there are works where not so much is “composed”, invented. For example, Balzac wrote about one of his novels that any fact described there is taken from life, up to the very romantic stories. Hemingway wrote The Old Man and the Sea based on the story of the old Cuban fisherman Miguel Ramirez, who became the prototype of the Old Man. Kaverin created "Two Captains" without deviating from the facts known to him.
The measure of fiction in a work of art can be different. It varies depending on the personality of the writer, his creative principles, design and many other factors. But fiction is always present in a work, because it allows you to select only the most significant and essential from a variety of real factors and translate it into an artistic image.
Fiction - depiction of implausible objects and phenomena, the introduction of fictitious images that do not coincide with reality, the violation by the artist of natural forms, connections, patterns. This term comes from the word "fantasy" (in Greek mythology Fantasy - a deity that caused illusions, apparent images, brother of the god of dreams Morpheus). Fantasy - necessary condition any kind of art, regardless of its nature (idealistic, realistic, naturalistic) and even any creativity in general - scientific, technical, philosophical.
There are two types of fiction in art:
1) explicit: the obvious fantastic nature of artistic images. For example, in Gogol's "Nose" one of the main characters of the work is a clearly fantastic creature - the nose of a collegiate assessor Kovalev, who leads a completely independent lifestyle and even has a rather high rank;
2) unconsciously fantastic refraction of reality in the minds of people, which may be associated, for example, with religious thinking or superstitions. This type of fantasy is typical, for example, for myths. Unlike a fairy tale, which is perceived as fiction, a myth has an attitude towards authenticity, is perceived as a reflection real world. For example, Dante in the Divine Comedy portrays afterworld(hell, purgatory and paradise) as something completely authentic, real.
In the first case, fantasy is art form, which can be compared with poetic means like hyperbole, metaphor, trope. In this case, the illusory nature, the conventionality of the fantastic image, the attitude towards it as a fiction is obvious. In the second case we are talking about the unconscious distortion of reality.
Thus fantasy is one of the means artistic image, a method of artistic construction, which consists in depicting clearly implausible, incredible objects and phenomena.
On the early stages In the development of mankind, fantasy was embodied in various religions, in mythology, in the creation of pagan cults. Fantasy was actively used in the creation.Fairy tales, both folk and literary: Baba Yaga, Koschey the Immortal, Aladdin's lamp, treasure sword, flying carpet, self-collected tablecloth, mermaids, genies, trolls, elves, firebirds, etc. As science develops and fantasy techniques are used to look into the future (for example, Jules Verne's novel "Twenty Thousand Leagues Under the Sea", "The Time Machine" by HG Wells and others).
Fiction is often used as a means of satirical coverage of reality. So, Swift in Gulliver's Travels uses fantastic images as a means of satire on contemporary society.
Fiction is a fruit of the author's imagination (fantasy), the creation of plots and images that do not have direct correspondences in previous art and reality. Through fiction, the writer embodies his view of the world, and also demonstrates creative energy. The activity of the writer's imagination, as Z. Freud spoke about, is often generated by unsatisfied inclinations and suppressed desires driven into the subconscious. Along with reliance on the facts directly observed by the writer, the use of prototypes and mythological, historical, literary sources, fiction is the most important and universally significant way of artistic generalization, without which art is unimaginable, because it is based on “the ability to endow productivity with the power of imagination” (Humboldt V. Language and philosophy of culture). Consistent and complete rejection of fiction puts creativity on the border with other forms literary activity(philosophical essays, documentary information, journalism), and even leads beyond the limits of verbal art in the strict sense; artistry without the participation of fiction, according to M. Gorky, "is impossible, does not exist." Fiction in literature is invaluably important as a means of creating an organic holistic figurative world; with his constant participation, “labyrinths of links” (L. Tolstoy) are created, which have semantic richness and aesthetic expressiveness. At the same time, fiction is not arbitrary fantasizing: it has certain limits. Fiction appears in literature either as conjecture (often inconspicuous) of mythological and historical sources(antique drama, old Russian story) or life prototypes ( autobiographical works; "War and Peace" by Leo Tolstoy; many stories by N.S. Leskov), or in the form of active transformation of the material and demonstration of a flight of imagination with the help of conditional forms (works by Dante and J. Milton, J. Swift, N.V. Gogol).
Sphere of fiction - individual components of the form of the work (coincidences that make up the plot; unique individual features of the characters and their behavior; household parts and their combinations), but not the initial principles of shaping. The latter are determined by non-artistic reality and, above all, by the forms of nature and culture (in the broad sense), acting as life analogues of imagery (for example, the comic in the "low" genres of ancient and medieval literature like a refraction of carnival laughter; adventurous plot as a reflection of a person's adventurous behavior; artistic paths as the embodiment of the associating ability of people; syntax artistic speech as the implementation of the expression of colloquial and oratorical statements). Fiction is not included in the scope artistic content, which is predetermined by the spiritual world of the writer and the primary reality (mainly ideological life and the psychology of society): the author, according to M.M. Bakhtin, “finds” his hero, but cannot “invent” him (Bakhtin M.M. Aesthetics of verbal creativity).
In the early stages of verbal art, still involved in the mythological worldview, fiction was pronounced and acted as unbridled fantasy, but it was not fixed by consciousness. Vital and artistic truth in folklore, the literatures of antiquity and the Middle Ages were usually not distinguished; the events of traditions, legends, epic poems, chronicles, lives were thought of as having taken place, these genres constituted the area of unconscious fiction. An essential milestone in the formation conscious fiction was a fairy tale, which entered into a spontaneous contradiction with the mythologized consciousness and anticipated later genres by the fact that "it never passes off as reality" (Propp V.Ya. Folklore and reality). The ever-living fairy-tale beginning, the core of which is the most active fiction, artistically embodies the most cherished human aspirations. Plots fairy tales they distance and free people from reality that does not satisfy them, encourage a person to hope (guess) that “he can really contribute to the decoration and increase in the riches of creation” (Tolkien).
Already ancient Greek thinkers, who understood poetry primarily as imitation, also recognized the rights of fiction, which, according to Plato, is present in myth; according to Aristotle, the poet speaks not of the past, but of the possible; the role of artistic fantasy in the era of Hellenism was more persistently noted. The historical formation of fiction proceeded mainly in the form of initiative conjecture of myths ( ancient tragedy) and historical traditions(songs about exploits, sagas, epics). Serious-comical genres of late antiquity (“”) were especially favorable for strengthening individual fiction, where the authors, having come into contact with a reality close to them, were freed from the power of legend. Fiction is clearly realized in the courtly and animal epic, fablio and other forms of short stories of the Western European Middle Ages, which in the main genres ancient Russian literature(military tales, lives of saints) did not exist until the 17th century: the authors thought of themselves as the keepers of tradition, but not writers.
The increase in the activity of fiction in the literature of the New Age is preceded by " Divine Comedy» (1307-21) Dante. Traditional images and plots are dramatically transformed in the works of J. Boccaccio and W. Shakespeare; unprecedentedly dared fiction in the stories of F. Rabelais. In the literature of pre-romanticism and especially romanticism, he showed himself with maximum completeness and brightness. Here fiction is understood as the most important property poetry, whereas earlier (especially in the aesthetics of classicism) verbal art was understood as a reliable recreation of nature; The traditional orientation towards the literary samples of the past as a modern norm began to be opposed to "writing according to one's own laws" (Kleist G. Selected). Based on mythological, folklore and literary sources writers of the first third of the 19th century renew and transform their very meaning: J.W. Goethe turns to old plots and images in order to fill them with new content each time (“Faust”, 1808-31); A. S. Pushkin's work is replete with borrowings, imitations, reminiscences, quotations, while remaining deeply original. In the 20th century, the tendency to update and rethink traditional images and motifs was inherited in the dramaturgy of I.F. Annensky, Y. O'Neill. J. Anuya, in the poetry of V.Ya. » (1929-40) M.A. Bulgakov, historical novels T. Wilder. At the same time, fictional images and plots are widely used in literature, which have no direct analogues either in history and previous literature, or in reality close to the writers (the plots of the stories of E.T. A. Hoffman, E.A. Po, N.V. Gogol, poems by J. Byron, A.S. Pushkin, M.Yu. Lermontov). The understanding of poetry as "writing" is associated with the authors' attitude to the original generalization, often with their claim to complete spiritual independence, sometimes with elitist aspirations. In the era of romanticism, new boundaries of fiction were also identified: the author’s attitude to the development of close reality and self-expression awakened the energy of direct observation of life and self-observation, so that the characters of the work often imprinted features of the author’s immediate environment (Byron’s poem).
AT realistic literature 19-20 centuries., which sharply reduced the distance between the primary reality and the artistic world, fiction often retreats before personal reproduction known to the author facts and people. Selectively including in their works real faces and real events, imperceptibly conjecturing and “rebuilding” them, writers of the 19th century (following the sentimentalists) often preferred real facts to fictional ones and sometimes emphasized the advantage of writing “from nature” (S.T. Aksakov, N.S. Leskov). The late Tolstoy, doubting the possibilities of art, subjected fiction to a severe trial: “It is shameful to write a lie that there was something that was not. If you want to say something, say it directly" ( complete collection essays). F.M. Dostoevsky also preferred “nature” over V., noting, however, that an adequate reproduction of a single fact cannot exhaust its essence. “Trace another fact of real life, even not so bright at first glance, and if only you are able and have an eye, you will find in it a depth that Shakespeare does not have ... But, of course, we will never exhaust the whole phenomenon, not get to the end and start it. We are familiar with only the vital apparently current, and even then by sight, but the end and the beginning are still fantastic for a person ”(Dostoevsky F.M. On Art). What is depicted by a realist writer is, as a rule, an organic alloy of the fictional and the non-fictional. So, A.P. Chekhov relied in his works on faces, events, everyday details drawn from the surrounding reality, and at the same time rearranged what he saw beyond recognition; T. Mann spoke about the "stimulating effect of facts" and "living details" on his work, in the fruits of which the primary reality, however, is dramatically transformed (Mann T. Letters).
In the 20th century, fiction was repeatedly criticized as a phenomenon that had exhausted itself and was forced to give way to the “literature of fact”. This look goes back to the avant-garde aesthetic of the 1920s. In the literature of the 20th century, fiction is very clearly manifested (along with a fairy tale) in works marked by conventional images and flashy generalizations ( romantic works M. Gorky, "City of Gradov", 1928, A.P. Platonov). The currently predominant sphere of open active fiction is the genres of detective, adventure literature, science fiction. The types and forms of the use of fiction in literature, apparently, are very diverse: writers can talk about the real past, and about the possible (Aristotle), and, on the contrary, about the impossible.
The writer's goal is to understand and reproduce reality in its tense conflicts. The idea is the prototype of the future work, it contains the origins of the main elements of content, conflict, and the structure of the image. The birth of an idea is one of the mysteries of writing. Some writers find the themes of their works in newspaper headings, others in well-known literary plots others turn to their own worldly experience. The impulse to create a work can be a feeling, an experience, an insignificant fact of reality, a story accidentally heard, which, in the process of writing a work, grow to a generalization. The idea can stay in notebook as a modest observation.
The individual, private, observed by the author in life, in the book, passing through comparison, analysis, abstraction, synthesis, becomes a generalization of reality. Movement from idea to artistic expression includes the pangs of creativity, doubt and contradiction. Many artists of the word have left eloquent testimonies about the secrets of creativity.
hard to line up conditional scheme creation literary creation, since each writer is unique, however, revealing trends are revealed. At the beginning of the work, the writer faces the problem of choosing the form of the work, decides whether to write in the first person, that is, prefer a subjective manner of presentation, or from the third, preserving the illusion of objectivity and leaving the facts to speak for themselves. The writer can turn to the present, to the past or the future. Forms of understanding conflicts are diverse - satire, philosophical reflection, pathos, description.
Then there is the problem of organizing the material. literary tradition offers many options: you can follow the natural (plot) course of events in the presentation of facts, sometimes it is advisable to start from the finale, from the death of the protagonist, and study his life until his birth.
The author is faced with the need to determine the optimal limit of aesthetic and philosophical proportion, entertaining and convincing, which cannot be crossed in the interpretation of events, so as not to destroy the illusion of "reality" artistic world. L. N. Tolstoy argued: “Everyone knows that feeling of distrust and rebuff, which is caused by the apparent intention of the author. It is worth the narrator to say ahead: get ready to cry or laugh, and you probably will not cry and laugh.
Then the problem of choosing a genre, style, repertoire of artistic means is revealed. One should seek, as Guy de Maupassant demanded, “that single word that can breathe life into dead facts, the only verb that can only describe them.
Special Aspect creative activity— her goals. There are many motives that writers used to explain their work. A.P. Chekhov saw the writer’s task not in the search for radical recommendations, but in the “correct formulation” of questions: “In Anna Karenina and Onegin not a single question is resolved, but they are quite satisfying, only because all the questions are posed in them correctly. The court is obliged to put the right questions, and let the jury decide, each to his own taste.
Anyway, literary work expresses the author's attitude to reality , which becomes, to a certain extent, the initial assessment for the reader, the "plan" of the subsequent life and artistic creativity.
The author's position reveals a critical attitude towards the environment, activating people's desire for an ideal, which, like absolute truth, unattainable, but which must be approached. “Others think in vain,” I. S. Turgenev reflects, “that in order to enjoy art, one innate sense of beauty is enough; without understanding there is no complete enjoyment; and the very sense of beauty is also capable of gradually becoming clear and ripe under the influence of preliminary labors, reflection and study of great models.
artistic fiction - a form of recreating and recreating life inherent only in art in plots and images that do not have a direct correlation with reality; means of creating artistic images. Artistic fiction is a category that is important for the differentiation of the actual artistic (there is“installation” on fiction) and documentary-informational (fiction is excluded) works. Measureartistic fiction in a work may be different, but it is a necessary component of the artistic depiction of life.
Fiction - this is one of the varieties of fiction in which ideas and images are built solely on a fictional author wonderful world, on the image of the strange and implausible. It is no coincidence that the poetics of the fantastic is connected with the doubling of the world, its division into the real and the invented. Fantastic imagery is inherent in such folklore and literary genres like fairy tale, epic, allegory, legend, grotesque, utopia, satire.
