Reminiscence - mysterious phenomenon, the mechanisms of which are not completely clear to researchers. Human memory is selective and those events and materials that were emotionally colored and had practical sense. But it would seem: a lot of time has passed and everything has been forgotten ... and suddenly it pops up in memory unexpectedly and so vividly.
What is reminiscence?
Each person has met with such a phenomenon as an unexpected recollection of a seemingly long-forgotten childhood event, an old song or poem - this is a reminiscence (Latin reminiscentia - a reminder), an effect in which traces of processed information remain throughout a person’s life, which cannot be erased and pop up in the memory of the incident time.
What is reminiscence in psychology?
Reminiscence in psychology is a phenomenon of memory. Pierre Janet, a French scientist who studied the phenomenon, came to the conclusion that reminiscence does not depend on external events and factors and is a completely automatic repetition of actions. Psychologists believe that memory reminiscence is normal condition psyche: during overcrowding with joyful or stressful events, a person’s mnestic processes are inhibited, due to overload - this. Subsequently, emotionally colored events are suddenly remembered.
Allusion and reminiscence - differences
Allusions and reminiscences are almost identical concepts in the literary sphere. An allusion is a "hint" or "joke" referring to another literary work, the author of the event, specific person. Elements of allusion are dispersed throughout the text. Without knowing the source to which the allusion refers, it is difficult for the reader to perceive the text. The concept of reminiscence differs from allusion in that it is always an unconscious "memory", an echo of "literature within literature", while an allusion is a clear, clear reference to another source.
Reminiscence - types
The phenomenon of reminiscence as a process can be seen in various fields applied sciences, art, everyday life. Most famous species reminiscences:
- Historical and philosophical reminiscence. ancient greek philosopher Plato reasoned that all the surrounding phenomena and objects are related to each other and thanks to this, everything can be remembered about everything. Any knowledge is a memory or recollection. In his work Phaedra, Plato claims that reminiscence is like the sacrament of initiation and approach to the spiritual.
- Cinematic reminiscence. Bright stylistic devices and effects, what attracts the viewer in the cinema. Reminiscence in cinema - frequent use. The viewer's attention is sent to any cross events, a return to the past, works of art by great artists are used, such as in L. Riefenstahl's film "The Triumph of the Will", when an analogy is shown with C. Monet's painting "Saint-Denis Street on the day of the national holiday »: waving flags, without designation of figures holding banners.
- Reminiscence - as a phenomenon of the psyche. Delayed recall of some material or event.
- Philological (literary) reminiscence. Text reminiscences are of the following varieties:
§ 3. Reminiscence
This term refers to the "references" to the previous ones present in literary texts. literary facts; individual works or their groups, reminders of them. Reminiscences, in other words, are images of literature in literature. The most common form of reminiscence is a quotation, whether exact or inexact; "Quote" or remaining implicit, subtext. Reminiscences can be included in works consciously and purposefully, or arise independently of the will of the author, involuntarily (“literary recollection”).
Among the implicit, only guessed (presumably!) reminiscences is the word "beggars" in the 1915 poem that opens Akhmatova's book "The White Flock" (a quarter of a century later, according to L.K. Chukovskaya, A.A. Akhmatova called him the best of of all the poems she wrote).
We thought: we are poor, we have nothing,
And how they began to lose one after another,
So what happened every day
memorial day -
Started making songs
About the great bounty of God
Yes, about our former wealth.
Combined with a supporting pronoun plural“we”, “we”, “our”, instead of “I” and “you” prevailing in the lyrics (including Akhmatov’s), the words “beggar” and “former wealth” take on a historical meaning, and the whole poem - a civil sound, barely whether not journalistic. And there are associations with a wide stream of judgments of the pre-revolutionary years about supposedly eternal Russian squalor and poverty, to which both Bunin and Gorky paid tribute, to some extent - Chekhov with his "Men", and Blok with memorable words about love for " impoverished Russia” with its gray huts (“Again, as in the golden years…”, 1908).
Reminiscences in the form of quotations constitute an essential variety of non-author's word. They signify either acceptance and approval by the writer of his predecessor, following him, or, on the contrary, arguing with him and parodying a previously created text: “... with all the variety of citations, different and often dissimilar “voices” are always placed in such a context that hear the author's (agreement or disagreement with this someone else's word).
At the same time, the scope of reminiscences is much wider than the area of citation as such. Reminiscences often become simple references to works and their creators, coupled with their evaluation characteristics. So, in the sixth chapter of the first part of the novel by M. de Cervantes, the priest and the barber sort out the books read by Don Quixote in order to burn some of them, and talk about them, so that the image of literature (mainly chivalric novels) is created in the complete absence of citation.
Reminiscences as single links of verbal and artistic texts are of the same nature as the borrowing of plots, the introduction of characters, previously created works, imitation, as well as free translations of foreign-language works, the origins of which in Russian classical poetry are poems and ballads by V.A. Zhukovsky.
Actually, literary reminiscences are also related to references to creations of other types of art as real ones (a majestic monument gothic architecture in V. Hugo's novel "Notre Dame Cathedral" or Mozart's "Requiem" in a small tragedy by A.S. Pushkin) and a fictional writer (“Portrait” by N.V. Gogol or “Doctor Faustus” by T. Mann, extensively “drawing” picturesque and musical creations). Artistic reminiscences widely used in the literature of the 20th century. A lot is said about painting in A. Blok's Italian Poems, musical images underlie his Carmen cycle; outside of persistent appeals to the motives of architecture, the work of O.E. Mandelstam: “I am talking with the Architect’s Muse again ...” (from a draft version of the poem “Admiralty”). According to D.S. Likhachev, "A Poem without a Hero" by A.A. Akhmatova "belongs to the number of works that are thoroughly permeated with literary, artistic, theatrical (in particular, ballet), architectural and decorative-painting associations and reminiscences."
Reminiscences constitute one of the links in the content form of literary works. They embody (realize) the cultural-artistic and genre-stylistic problems of the writers' creativity, their need for an artistic-figurative response to the phenomena of previous art, primarily verbal. Expressing the comprehension and evaluation of literary facts, reminiscences often turn out to be a kind of literary-critical speeches - a kind of essay-criticism that invaded the world of artistic texts proper, which is clear in Pushkin's Eugene Onegin (for example, judgments about ode and elegy), Poor people” by Dostoevsky (where Makar Devushkin, apparently expressing the opinion of the writer, speaks enthusiastically about Pushkin’s “Station Master” and very unkindly about Gogol’s “Overcoat”), in the cycles of poems by M.I. Tsvetaeva and B.L. Pasternak dedicated to Alexander Blok.
Reminiscences are deeply significant in fiction different countries and epochs. So, in the works of Russian literature (not only ancient, but also modern) there are no number of direct and indirect references to canonical Christian texts. Writers' appeals to previous fiction are plentiful and very diverse. Endless responses to the "Divine Comedy" by A. Dante, "Don Quixote" by Cervantes, "Hamlet" by Shakespeare, to "The Bronze Horseman" by Pushkin, " Dead Souls» Gogol, on the works of L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.
In the work of writers, including major, original ones, there is a huge number of reminiscences from a variety of sources. So, Pushkin's works - his lyrics, poems, "Eugene Onegin", "Belkin's Tales" - are saturated to the limit with references (often implicit) to literature, both domestic and Western European, including contemporary poet. Here again Dante, Shakespeare, Byron, Derzhavin come to life; present K.N. Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, P.A. Vyazemsky and many others. In the infinitely varied Pushkin's reminiscences, one can feel the poet's grateful acceptance of the art of his predecessors and contemporaries, and creative polemics with them, and ridicule of late classic and sentimental-romantic stereotypes, cliches, clichés.
Let's turn to the story Stationmaster”, which is slyly attributed by Pushkin to the inexperienced provincial writer Ivan Petrovich Belkin. Here the narrator listened to Samson Vyrin's sad story, accompanied by tears, about how he lost his only daughter. Further we read (we have highlighted the reminiscent phrases in italics): “ These tears they were somewhat excited by the punch, of which he drew out five glasses in the continuation of his narration; but anyway, they touched my heart so much. Having parted with him, for a long time I could not forget the old caretaker, long thought I'm about poor Duma... ". (Recall that it is clear from Vyrin’s story that Dunya is not “poor” at all: she lives in wealth and luxury, is loved by Minsky and loves him herself.) a traveler who enriched himself another sadly touching story, indulges in "long" reflections about it on the way), and the stylistic incompatibility of vocabulary that characterizes the naive literary consciousness Belkin (neighborhood in one phrase of the archaically elevated phrase “these tears” and the sentimentalist stereotype “strongly touched my heart” with five glasses of punch, which the caretaker “pulled out”), and the helpless slip of the narrator associated with this detail (be that as it may, he is heartily touched), and, most importantly, the inapplicability of the stamped epithet “poor” to the fate of Dunya (Pushkin’s contemporary remembered not only poor Karamzin Liza, but also the “unfortunate” Masha, Margarita, etc. who followed her). A similar "flaw" of Belkin the writer was slyly ridiculed by Pushkin and in last episode story: “In the hallway (where poor Dunya once kissed me) a fat woman came out” and said that the caretaker had died. The close proximity of the stylistically polar phrases "poor Dunya" and "fat woman" is very funny. In the above episodes of Belkin's cycle (the number of examples can be greatly increased), Pushkin's penchant for reminiscences of a playful, jokingly parodic nature has clearly affected. A significant fact: upon returning from Boldin in 1830, Pushkin informed P.A. Pletnev that Baratynsky, reading Belkin's stories, "neighs and beats." Apparently, this stormy laughter was caused precisely by reminiscences:
Reminiscences are also quite significant in post-Pushkin literature. Thus, explicit and implicit references to Gogol's work are numerous in Dostoevsky's works. But the appeals of Russian writers to Pushkin and his texts are the most persistent. Their own, so to speak, reminiscent history are also lyric poems great poet, and "Eugene Onegin", " Bronze Horseman", "Captain's daughter". Pushkin's creations, perceived by writers primarily as the highest examples of art, sometimes become occasions for familiar retellings. So, in the chapter of the poem “Good!”, dedicated to the political conversation between Milyukov and Kuskova, V. Mayakovsky parodies Tatyana’s conversation with the nanny. I.A. Brodsky sharply transforms the text of the poem "I loved you ..." to express his mercilessly hard look at a person, the world, love:
I loved you. Love still (perhaps
that's just pain) drills into my brain.
Everything was blown to pieces.
I tried to shoot myself, but it's difficult
I loved you so much, hopelessly,
how God grant you others - but will not!
In the literature of the last two centuries, freed from traditionalist "monophony", from genre and style norms, rules, canons, reminiscences have gained especially great significance. According to I.Yu. Podgaetskaya, "poetry of the 19th century begins where "one's own" and "alien" are understood as a problem. Let us add to this: literary reminiscences mark the discussion of "one's own" and "alien" both in poetry and in prose, and not only in the 19th, but also in the 20th century.
The art of the word of the eras close to us is reminiscent to a different extent. References to literary facts are an integral and, Furthermore, the dominant component of V.A. Zhukovsky (almost all his said to them about the stranger and in his footsteps). Reminiscences are abundant and varied in A.S. Pushkin, A.A. Akhmatova, O.E. Mandelstam. But they are far from being so significant in L.N. Tolstoy, A.A. Feta, S.A. Yesenina, M.M. Prishvin, A.I. Solzhenitsyn: the reality comprehended by these artists of the word is most often removed from the world of literature and art.
The internal norm of literary creativity of the XIX-XX centuries is the active presence of reminiscences in it. The isolation of writers and their works from the experience of their predecessors and contemporaries marks their limitations and narrowness. However, hypertrophied, self-sufficient reminiscence, coupled with the isolation of literature in the world of artistic phenomena, interests, problems, is by no means favorable for culture and art itself. This idea is embodied in the novel of the Austrian writer of the beginning of our century R. Musil "A Man without Qualities". Here the author, according to him, set as his task "to show people entirely composed of reminiscences of which they are unaware." A number of ironic judgments by M.M. Prishvin about what he called "meaningfulness" - about the complete, and therefore one-sided and even flawed immersion of a person (in particular, an artist) in the world of other people's thoughts and words that are far from living life. distrust of " book culture” and “the principle of citation” was repeatedly expressed in Blok’s poetry. It was clearly reflected in the free verses of the second volume: "She came from the cold...", "When you stand in my way...". IN last poet addresses a fifteen-year-old girl with the words:
<…>I would like to,
So that you fall in love with a simple person,
Who loves earth and sky
More than rhymed and unrhymed
Talk about earth and sky.
Blok's quotation "carries both a store of "cultural poisons" and the high pathos of Vita nuova."
The reminiscent layer of literary works, for all its great significance, does not need to be absolutized, to be considered as some kind of indispensable center writing creativity: a truly artistic work is necessarily marked by direct contacts not only with previous literature, but also with “extra-artistic” reality. The words of one of the Russian cultural philosophers of our century are significant: the sounds of Pushkin were inspired by Russian (Zhukovsky) and world literature (antiquity, Horace, Shakespeare, Byron), “but still, maybe more - by the Kremlin fire, snows and battles of 1812, and the fate of the Russian people, and<…>Russian village and nanny. Let me also remind you of the harsh words of A.A. Akhmatova about critics of N.S. Gumilyov: "Deaf-mute<…>literary scholars do not understand at all what they are reading, and see Parnassus and Lecomte de Lisle where the poet bleeds<…>His terrible burning love masquerades as leconte de lileve<…>Is the whole history of literature constructed in this manner?
And creative in nature, this is how it differs from ordinary copying, compilation, or, even more so, plagiarism. For the same reason, it is necessary to distinguish between reminiscence and quotation.
The earliest reminiscences should be recognized as the silhouettes, proportions and plots of the ancient rock carvings, repeated in the "animal style" of the Scythians or in the work of masters modern era(painters, jewelers, designers, etc.). Some totems, coats of arms and trademarks are of a clear reminiscent nature. Distinguish between historical, compositional, deliberate and unsuccessful reminiscence. Reminiscences can be present both in the text itself, in the image or in the music, and in the title, subtitle or chapter titles of the work in question. Artistic images have a reminiscent nature, the names of some literary characters, individual motifs and stylistic devices (see the relationship between post-impressionists and the founders of impressionist painting).
Plato
The authorship of the ancient Greek philosophical term should be attributed to Plato. The concept was used in the Platonic doctrine of nature human soul and the doctrine of ideas. Plato believed that for the soul, intuition serves as a tool for collecting information about another world. This term found in three program works Plato. In Menon, Socrates talks about the universal affinity of objects to each other, thanks to which you can literally remember everything and find everything. The Platonic concept put into the mouth of Socrates is that the mechanism of recall ( anamnes, anamnesis, other Greek ἀνάμνησις ) opens access to judgments about causes. The Phaedo repeats the dogma that knowledge is really recollection. In Phaedra, Plato postulates reminiscence (remembrance) as an initiation into the mysteries and an approach to spiritual perfection.
Russia
At the same time, the word entered the Russian language as everyday gallicism and allusion. In a letter dated February 1, 1840 to the Russian historian T.N. musical term. In a letter to Russian composer On June 10, 1863, pianist and conductor M. A. Balakirev gave a description of the past opera through musical “reminiscences” to M. P. Mussorgsky.
In the modern period in Russia methodological problems M. M. Bakhtin, D. S. Likhachev, Yu. M. Lotman, A. Gollovacheva (), A. Arkhangelsky () and P. Bukharkin () were engaged in literary reminiscence. A number of fruitful solutions were found by Lotman in the article “Tyutchev and Dante. To the formulation of the problem "().
Movie
Leni Riefenstahl used reminiscence as a method of maximum impact on the viewer. For example, in the film Triumph of the Will, the climax was reached in shots in which the viewer could see the sea of poles and waving banners from above, but the figures of the standard-bearers were not visible. These frames should be considered as a reminiscence of the famous painting canvas Claude Monet, founder of Impressionism, Rue Saint-Denis. Holiday June 30, 1878. (Flags)."
Explicit reminiscences from the film "Triumph of the Will" are often found in modern world documentary cinema. For example, in English film"Lord of the "Golden Triangle", dedicated to the fusion of rebellious armies with drug dealers on the territory of the Asian people Shan: in scenes with a youth brigade, a morning military review, in an episode with a solemn raising of the flag in the army of an Asian drug lord and during outdoor shooting of singing soldiers moving in army columns Without entering into an open conflict with the commander of an illegal army, the authors of the film designate the analyzed social phenomenon as a “great threat Western world” solely due to reminiscence as a technique available only to the viewer of Western European culture.
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Literature
- Reminiscence / Al. Morozov. // . - M. : Owls. Encikl, 1971. - T. 6. - S. 254.
An excerpt characterizing Reminiscence
- Well, go, go with your freak! - said the mother, pushing her daughter away in mock angrily. “This is my smaller one,” she turned to the guest.Natasha, tearing her face away from her mother's lace scarf for a moment, looked at her from below through tears of laughter, and again hid her face.
The guest, forced to admire the family scene, considered it necessary to take some part in it.
“Tell me, my dear,” she said, turning to Natasha, “how do you have this Mimi? Daughter, right?
Natasha did not like the tone of condescension to the childish conversation with which the guest turned to her. She did not answer and looked seriously at the guest.
Meanwhile, all this young generation: Boris - an officer, the son of Princess Anna Mikhailovna, Nikolai - a student, the eldest son of the count, Sonya - the fifteen-year-old niece of the count, and little Petrusha - the youngest son, all settled in the living room and, apparently, tried to keep within the boundaries of decency animation and gaiety that still breathed in every feature. It was evident that there, in the back rooms, whence they had all come running so swiftly, they had more cheerful conversations than here about city gossip, the weather, and comtesse Apraksine. [about Countess Apraksina.] From time to time they glanced at each other and could hardly restrain themselves from laughing.
Two young men, a student and an officer, friends since childhood, were of the same age and both were handsome, but did not resemble each other. Boris was a tall, fair-haired youth with regular, delicate features of a calm and beautiful face; Nicholas was a short curly young man with open expression faces. On upper lip his black hairs were already showing, and swiftness and enthusiasm were expressed all over his face.
Nikolai blushed as soon as he entered the living room. It was evident that he was searching and did not find what to say; Boris, on the contrary, immediately found himself and told calmly, jokingly, how he knew this Mimi doll as a young girl with an unspoiled nose, how she had grown old in his memory at the age of five, and how her head had cracked all over her skull. Having said this, he looked at Natasha. Natasha turned away from him, looked at younger brother, who, closing her eyes, was shaking with soundless laughter, and, unable to contain herself any longer, jumped and ran out of the room as quickly as her quick legs could carry. Boris didn't laugh.
- You, it seems, also wanted to go, maman? Do you need a card? he said, addressing his mother with a smile.
“Yes, go, go, tell them to cook,” she said, pouring herself.
Boris went quietly out the door and followed Natasha, the fat boy angrily ran after them, as if annoyed at the disorder that had occurred in his studies.
Of youth, not counting eldest daughter the countess (who was four years older than her sister and already behaved like a big lady) and the guests of the young lady, Nikolai and Sonya's niece remained in the drawing room. Sonya was a thin, petite brunette with a soft look tinted with long eyelashes, a thick black plait that twined around her head twice, and a yellowish tint of skin on her face and especially on her naked, thin, but graceful muscular arms and neck. With her fluidity of movement, the softness and suppleness of her small limbs, and her somewhat cunning and restrained manner, she resembled a beautiful, but not yet formed kitten, who would be a lovely kitty. She apparently considered it proper to show participation in the general conversation with a smile; but against her will, her eyes from under long thick eyelashes looked at her cousin [cousin] leaving for the army with such girlish passionate adoration that her smile could not deceive anyone for a moment, and it was clear that the cat sat down only to jump more energetically and play with your cousin, as soon as they, like Boris and Natasha, get out of this living room.
“Yes, ma chere,” said the old count, turning to the guest and pointing to his Nicholas. - Here is his friend Boris promoted to officer, and out of friendship he does not want to lag behind him; throws both the university and the old man me: goes to military service, ma chere. And a place in the archive was ready for him, that's all. Is that friendship? said the Count inquiringly.
“But war, they say, has been declared,” said the guest.
“They have been talking for a long time,” said the count. - Again they will talk, talk, and leave it like that. Ma chere, that's friendship! he repeated. - He goes to the hussars.
The guest, not knowing what to say, shook her head.
“Not out of friendship at all,” answered Nikolai, flushing and making excuses, as if from a shameful slander against him. - Not friendship at all, but I just feel called to military service.
He looked back at his cousin and at the guest, the young lady: both looked at him with a smile of approval.
“Today, Schubert, Colonel of the Pavlograd Hussar Regiment, is dining with us. He was on vacation here and takes it with him. What to do? said the Count, shrugging his shoulders and speaking jokingly about a business that apparently cost him a lot of grief.
“I already told you, daddy,” the son said, “that if you don’t want to let me go, I’ll stay. But I know I'm no good for anything but the military; I’m not a diplomat, I’m not an official, I don’t know how to hide what I feel, ”he said, looking all the time with the coquetry of beautiful youth at Sonya and the guest young lady.
The kitty, glaring at him with her eyes, seemed every second ready to play and show all her feline nature.
- Well, well, well! - said the old count, - everything is getting excited. All Bonaparte turned everyone's head; everyone thinks how he got from lieutenant to emperor. Well, God forbid,' he added, not noticing the guest's mocking smile.
The big ones started talking about Bonaparte. Julie, daughter of Karagina, turned to young Rostov:
- What a pity that you were not at the Arkharovs on Thursday. I was bored without you,” she said, smiling gently at him.
The flattered young man with the coquettish smile of youth moved closer to her and entered into a separate conversation with the smiling Julie, not at all noticing that this involuntary smile of his with a knife of jealousy cut the heart of Sonya, who was blushing and pretending to smile. In the middle of the conversation, he looked back at her. Sonya looked at him passionately and vexedly, and, barely able to keep the tears in her eyes and a feigned smile on her lips, got up and left the room. All of Nikolai's animation was gone. He waited for the first break in the conversation and, with a distressed face, went out of the room to look for Sonya.
- How the secrets of all this youth are sewn with white thread! - said Anna Mikhailovna, pointing to the exit of Nikolai. - Cousinage dangereux voisinage, [Disaster business - cousins,] - she added.
“Yes,” said the countess, after the ray of sunshine that had entered the living room with this young generation had disappeared, and as if answering a question that no one asked her, but which constantly occupied her. - How much suffering, how much anxiety endured in order to now rejoice in them! And now, really, more fear than joy. Everything is afraid, everything is afraid! It is the age at which there are so many dangers for both girls and boys.
“It all depends on upbringing,” said the guest.
“Yes, you are right,” continued the Countess. “Until now, thank God, I have been a friend of my children and enjoy their full confidence,” the countess said, repeating the error of many parents who believe that their children have no secrets from them. - I know that I will always be the first confidente [attorney] of my daughters, and that Nikolenka, in her ardent character, if she is naughty (the boy cannot do without it), then everything is not like these St. Petersburg gentlemen.
“Yes, nice, nice guys,” the count confirmed, always resolving questions that were confusing for him by finding everything glorious. - Look, I wanted to be a hussars! Yes, that's what you want, ma chere!
On the eve of the Eleventh K2 Contest “THE ALL IS THERE TIME”, it's time to talk about such stylistic devices as reminiscence, allusion and quotation, because these are the skills that the contestants must demonstrate.
Stop! Don't faint yet, read the article to the end and you will understand how much you know without knowing about your knowledge (emoticon).
Yes exactly! I'll start the article with a suitable quote.
Philosophy teacher. For the reason, sir, that we can express our thoughts in no other way than prose or verse.
Mr Jourdain. Not otherwise than prose or poetry?
Philosophy teacher. Not otherwise, sir. Everything that is not prose is poetry, and everything that is not poetry is prose.
Mr Jourdain. And when we talk, what will it be?
Philosophy teacher. Prose.
Mr Jourdain. What? When I say, "Nicole, bring me shoes and a nightcap," is that prose?
Philosophy teacher. Yes, sir.
Mr Jourdain. Honestly, I had no idea that for more than forty years I have been speaking prose. Thank you very much for saying.
(Molière. Tradesman in the nobility)
So, with allusions / reminiscences, it happens one on one. Each of us has used these stylistic devices and sometimes did not know about it!
Finally, it's time to open your eyes and put your practical skills on a theoretical basis.
We open and let down.
Let's start with the simplest - with the reception of quoting.
QUOTE - excerpt from literary work given with verbatim accuracy. It is used either for the sake of documentary accuracy or for the sake of expressiveness.
Everyone knows the polemical trick - when their own arguments are over, the opponent is finished off with a skillfully selected quote from the great ones.
Do not think that quotations are relevant only in scientific texts. They are widely used in fiction for additional characterization of characters.
Damn it! So you were in London? Have you brought back from London the beautiful diamond that sparkles on your finger? Beware, dear d "Artagnan! A gift from the enemy is not a good thing. There is one Latin verse on this score ... Wait ...
- Yes, yes, of course, - answered d "Artagnan, who could never get even the rudiments of Latin into his head and with his ignorance drove the teacher to despair. - Yes, yes, of course, there must be some kind of verse ...
"And, of course, it exists," said M. de Treville, who had a taste for literature. - Recently, Monsieur de Benserade read it to me ... Wait ... Aha, I remembered! Timeo Danaos et dona ferentes. This means: beware of the enemy who brings you gifts ”(Dumas. The Three Musketeers)
Usually a quote is marked with graphic means (formulation of someone else's speech, italics, detente, etc.). However, quotations can be included in the text without graphic marking. Such unmarked quotations in most cases obey the context and are included in the structure of a complex sentence.
Epigraphs can be considered a particular type of quotation.
For example,
“Keep your honor from a young age. Proverb" - an epigraph to "The Captain's Daughter" by Pushkin.
Or
"Vengeance is mine, and I will repay" - an epigraph to Tolstoy's "Anna Karenina".
In these cases, the quote gives additional expressiveness to the whole work.
Also, a quote can be used in the title. (M.M. Bakhtin introduced the term "foreign word").
Examples are the novels by A. Pristavkin “A golden cloud spent the night” and V. Kataev “A lonely sail turns white”. Both names, by the way, are quotes from Lermontov.
Thus, a quotation is a fragment of someone else's text, included by the author in his own. It is very important that the reader recognize this passage. Otherwise, he will not have the associations that the author was counting on, and the work will lose additional meanings.
In addition to explicit = literal quotations in work of art hidden (quotes) can also be used. Then they talk about the methods of reminiscence and allusion.
REMINISCENCE is a reference to previous literary facts, a reminder of individual works or their groups.
Otherwise, reminiscence is the images of literature in literature, implicit or subtextual quotations.
By its nature, reminiscence is always secondary. However, the method of reminiscence itself is always intellectual and creative, which is different from ordinary copying, compilation, or, moreover, plagiarism.
As a rule, authors use references to widely famous works art - and not necessarily literary. It can be architectural structures(Hugo. Cathedral Notre Dame of Paris), monuments (Pushkin. The Bronze Horseman), musical works(Tolstoy. Kreutzer Sonata), painting (Maugham. Moon and penny).
And, of course, the main measure of values (aesthetic and ethical) are biblical images, motifs and plots. Moreover, these reminiscences can be present in works of various genres, starting with deep psychology(the theme of the Babylonian harlot in Tolstoy's novel "Resurrection") and ending with detective stories.
But here's the strange thing, - I said on the way to the station. - If the husband's name was James, and that unfortunate man was Henry, then what does David have to do with it?
“My dear Watson, that name alone should have opened my eyes if I were the perfect logician you like to describe me. This word was thrown into reproach.
- In reproach?
- Yes. As you know, the biblical David continually strayed from the true path and once wandered into the same place as Sergeant James Barclay. Remember that little deal with Uriah and Bathsheba? I'm afraid I've pretty much forgotten the Bible, but if my memory serves me right, you will find it in the first or second book of Kings. (Conan Doyle. Hunchback)
The effect of reminiscence is achieved if the reader notices the similarity and draws the analogy conceived by the author. That is, the intellectual baggage of the reader and the author should be approximately the same - otherwise the text turns into a puzzle that cannot be solved without a hint.
As an example, I would like to cite Pelevin's novels.
The ideas of his works are quite difficult for the reader to understand if he is not familiar with the works of Freud, Jung, Castaneda, Hesse and other philosophers. Exactly like writers. So, in the novel "S.N.U.F.F." there is a reminiscence with A. Green's story "The Forgotten", in "Omon Ra" - with the works of B. Polevoy "The Tale of a Real Man" and A. Platonov "The Pit". Pelevin also famously uses Sumerian and ancient Egyptian mythology, as, for example, in the novel "Generation P".
The effect of reminiscence is achieved different ways. Most often, references relate to a particular character, a scene from another work, or the personality of the author himself. have a reminiscent nature artistic images, the names of some literary characters, individual motifs, etc.
I loved you. Love is still possible
that just pain, drills my brains.
Everything was blown to pieces.
I tried to shoot myself, but it's difficult
with weapon.
Or there:
I loved you so much, hopelessly,
how God grant you others - but will not!
(I.A. Brodsky. "Twenty sonnets to Mary Stuart")
Reminiscences in the form of quotations constitute an essential variety of non-author's word. They signify either acceptance and approval by the writer of his predecessor, following him, or, on the contrary, arguing with him and parodying a previously created text: “for all the variety of citations, different and often dissimilar “voices” are always placed in such a context that allows you to hear behind someone else’s word author's (agreement or disagreement with this someone else's word).
A curious comparison of original and reminiscent expressions in a poetic text is given in his Poetic Dictionary by A.P. Kwiatkowski:
Farewell, free element.
(A.S. Pushkin)
Farewell, unwashed Russia.
(M.Yu. Lermontov)
I've been through a lot and a lot.
(P.A. Vyazemsky)
I changed a lot and a lot.
(V.Ya. Bryusov)
And dressed in black sable
Her glorious shoulders.
(A.S. Pushkin)
I covered with canvas
Her glorious shoulders.
(V.D. Fedorov)
There are frequent cases when reminiscence slips in the text intuitively. The author did not want to point to something specific, he did it subconsciously. Then the effect of reminiscence will not be so obvious, and not only the reader, but also the author himself will have to unravel it.
In addition to reminiscence, there is an allusion technique.
There is no exact boundary between allusion and reminiscence.
The main difference, according to most literary critics, is that allusion is always conscious, and reminiscence is most often unconscious. In allusion - a clear, explicit indication of another work, and reminiscence - a memory, an echo, an echo, "the image of literature in literature."
So,
ALLUSION is a stylistic figure containing a clear indication or a distinct allusion to some literary, historical, mythological or political fact, enshrined in textual culture or in colloquial speech.
An allusion differs from a quotation in that the elements to which the reference is contained are dispersed throughout the text and are not a complete statement.
Deciphering allusions implies that the author and reader have general knowledge sometimes very specific.
For example, V. Nabokov, an entomologist by education, playing on the similarity of the names of butterflies and heroes of myths and alternating their Latin and Cyrillic spellings, introduces combinations into his works, parts of which are at the same time poetic allusions.
One of the butterflies in The Gift is named Orpheus Godunov; the first part of the name corresponds to the name of the poet-singer Orpheus, the second, reproducing the first part of the hero’s surname and at the same time the surname of the Russian tsar, placed in the title of Pushkin’s tragedy “Boris Godunov”, when spelled in Latin paradoxically highlights the root God (God), the name of the hero of the novel - Fedor in Greek means "God's gift."
At the same time, the novel plays on the line of Pushkin (the “priest” of Apollo, the god of arts): “Here Apollo is the ideal, there Niobe is sadness,” referring both to butterflies and gods: where in early June (cf. Pushkin's birthday - June 6) occasionally came across a small "black Apollo".
The colors are “black” and “white”, materialized in the “African heat” and the Russian “snow” also play all the time with Nabokov: therefore, “Black Apollo” is correlated in the framework of the novel with Pushkin-“Genius-Negr”, “which is in a dream. sees snow.
So everything is not easy for Nabokov.
In general, allusion as a stylistic device is very informative, but in order to catch it, one must exist (or at least be well oriented) in a certain cultural environment. After all, an allusion, in fact, is a hint at known circumstances. And for representatives of another culture, the text may be completely incomprehensible.
A classic example is Sallinger's The Catcher in the Rye (1951).
This novel was recognized as the best English-language work of the 20th century, literally "plowed" the whole of America, became a turning point in the development of world literature, and ... in Russia received practically no resonance.
If you think about it, the fact that the novel went unnoticed with us is more interesting than the fact that it was recognized "with them." And it's all about the misunderstood allusions that the text is saturated with.
Let's start with the title.
The original title of the novel is The Catcher in the Rye. The literal translation is "Catcher in the Rye". Here is a clear allusion to the gospel text, in which Christ calls himself "the fisher of the souls of men." The classic translation by Rita Wright-Kovaleva "lost" the meaning of the title, laid down by the author. The second translator, Nemtsov, tried to bring it back by naming the novel The Catcher in the Grain Field (2008), but the time has passed.
The second allusion in the title comes from a poem by Robert Burns.
It is familiar to Russian-speaking readers in Marshak's translation:
Making my way to the gate
Field along the boundary,
Jenny is soaked to the skin
Evening in the rye.
Very cold girl
Beats the girl trembling:
Soaked all the skirts
Walking through the rye
If someone called someone
Through thick rye
And someone hugged someone
What will you take from him!
And what do you care
If at the boundary
Kissed someone
Evening in the rye!
Question: What is this poem about? Difficult to answer?
And let's remember our, primordially Russian - "Oh, the box is full \ There is chintz and brocade in it."
Remember?
Come out, come out into the high rye,
I'll wait there until the night.
How I envy the black-eyed -
I will distribute all goods.
The plot of the song - a peddler appoints a "darling" with "scarlet lips" a date - by the way, at night and in rye - and promises to "spread all the goods" (this is at night, in the field! What kind of "goods" - a no brainer, and already clearer than they were going to do there). Yes, the song, in general, does not hide this, it directly sings:
Only the dark night knows
How did they get on.
Make way, high rye,
Keep the secret sacred.
True, it looks like “And what do you care, \ If at the boundary \ Kissed someone with someone \ In the evening in rye”?
And here we directly fall into the space of Sallinger's novel.
If you remember, in the thoughts of the protagonist, 16-year-old Holden Caulfield, great importance has sex. Here are memories of an unsuccessful date with a girl and a fight for her with a friend, a womanizer. And an attempt to have fun in the company of middle-aged tourists. AND night club, and as a culmination - unsuccessful communication with a prostitute.
The plot of the novel is a challenge to puritanical America (the time of action is 1949). Sallinger for the first time dared to expose the topic of sex, which until then was bashfully hushed up. For which he received in full - the novel was categorically not recommended for "youthful" reading, was withdrawn from public libraries, condemned, etc.
And having got to us, on an alien ideological field, in a "softened" translation, he lost a good half of the allusions understandable to the Americans, and therefore did not receive such a resonance as in his homeland.
Thus, it is proved that in order to understand the allusion, the reader must belong to a certain culture. And even - subculture, as in the examples with the works of Pelevin or, say, the songs of Boris Grebenshchikov.
So we remembered stylistic devices - quotation, reminiscence, allusion. Agree, the names are complex, but in fact - everything is quite simple and - for sure! You have already used them in your works. Sometimes unconsciously - like Mr. Jourdain, who did not even suspect that he was speaking in prose (smiley).
It is assumed that these techniques will play a leading role in the upcoming competition "ALL THERE IS TIME".
After all, according to the task “The text should use and MANDATORY be conditioned by the context one of the maxims of the book of Ecclesiastes” (c)
This article, rather, is intended not for the contestants, who probably already present the plot of their story, but for potential critics. Let them have another tool for evaluation. It's so nice to exclaim: "well, the author wrapped the reminiscence - it's just lovely!" Or - "Well, the author, gave out - an allusion to your side!"
K2 wishes good luck to all participants of the competition and looks forward to the stories on the topic "ALL IN TIME".
© Copyright: Copyright Contest -K2, 2013
Publication Certificate No. 213072101281
Discussion here
(in psychology) (from lat. reminiscentia - recollection) - reproduction of long-learned and forgotten material, delayed recall of information with later layers. Usually, the initial reproduction, immediately following the perception of the material, turns out to be less complete than the delayed, reminiscent one.
REMINISCENCE
in psychology - a more complete and accurate reproduction of the material stored in the memory in comparison with the originally imprinted (memorized); reproduction - some time after memorization - that which, with direct perception, was, as it were, inaccessible. It can be observed when memorizing a wide variety of verbal and visual material, as well as when consolidating sensorimotor skills. It is especially often manifested when working with a large amount of logically or objectively related material that has an emotional impact on a person. More pronounced in childhood- especially at the age of preschool and school younger.
The effect of reminiscence can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and affects emotionally.
A number of hypotheses have been proposed to explain the phenomenon of reminiscence. According to one of them, fatigue during memorization of the material leads to a deterioration in its direct reproduction. The delay allows you to restore the optimal functional state and thus improves the reproduction of the material. Another hypothesis is based on the assumption that there are processes of hidden repetition of material that continue after the cessation of explicit learning and lead to better reproduction after a delay. Reminiscence can also be explained by the fact that after the delay, the interference of the information stored in the memory decreases. But so far, none of the hypotheses can claim to fully explain all cases of reminiscence.
REMINISCENCE
from lat. reminiscor - I remember) - playback some time after remembering what was not available during direct playback. This effect can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and having an emotional impact on a person. It is especially common in preschool age and in younger students.
Reminiscence
Word formation. Comes from lat. reminiscor - I remember.
Specificity. This effect can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and having an emotional impact on a person. Especially often observed in preschool age and in younger students.
REMINISCENCE
1. The general meaning is similar to the meaning of the term memory, except that it is often considered as the unconscious retrieval of information, while memory is considered the result of mental efforts aimed at retrieving information from memory. 2. Chaotic, sequential retrieval of information from memory about some more early experience. It is understood that this process is quite leisurely and enjoyable. 3. Simple: a synonym for recall (1). In meanings 2 and 3, the unconscious aspect is absent. See oblivion, loss of information from memory.
REMINISCENCE
from lat. reministentia - recollection, vague recollection) - delayed reproduction of what was initially temporarily forgotten (not reproduced) during direct reproduction. As a result, there is a partial or even overall improvement in delayed playback compared to immediate. R. is observed in the process of memorizing a wide variety of verbal and visual material (texts, lists, sets of pictures, objects). R. manifests itself most clearly when working with logical related material, large in volume and having an emotional impact on a person. In different people there are very noticeable individual characteristics. The river is most brightly shown at children's age.
