Artistic image. The concept of an artistic image

In the evenings, the floors of the Atlantis gaped in the darkness with countless fiery eyes, and a great many servants worked in the cook, scullery and wine cellars. Oksan, who walked outside the walls, was terrible, but they did not think about him, firmly believing in the power over him of the commander, a red-haired man of monstrous size and weight, always as if sleepy, similar in his uniform with wide gold stripes to a huge idol and very rarely appeared on people from their mysterious chambers; a siren on the forecastle kept screaming with hellish gloominess and squealing with furious malice, but few of the diners heard the siren - it was drowned out by the sounds of the beautiful string orchestra, who played exquisitely and tirelessly in a two-light hall, festively flooded with lights, overflowing with low-cut ladies and men in tailcoats and tuxedos, slender footmen and respectful head waiters, among whom one, the one who took orders only for wine, walked even with a chain around his neck, like lord mayor. The tuxedo and starched underwear made the gentleman from San Francisco very young. Dry, short, oddly tailored, but strongly sewn, he sat in the golden-pearl radiance of this hall behind a bottle of wine, behind glasses and goblets of the finest glass, behind a curly bouquet of hyacinths. There was something Mongol in his yellowish face with trimmed silver mustaches, his large teeth glittered with gold fillings, his strong bald head was old ivory. Richly, but according to the years, his wife was dressed, a woman large, wide and calm; complex, but light and transparent, with innocent frankness - a daughter, tall, thin, with magnificent hair, charmingly done up, with aromatic breath from violet cakes and with the most delicate pink pimples near her lips and between her shoulder blades, slightly powdered ... Dinner lasted more than an hour , and after dinner, dances opened in the ballroom, during which men - including, of course, the gentleman from San Francisco - with their legs up, their faces crimson red, smoked Havana cigars and drank liquors in a bar where Negroes served in red camisoles, with squirrels like peeled hard-boiled eggs. The ocean roared behind the wall in black mountains, the blizzard whistled strongly in the heavy gear, the steamer trembled all over, overcoming both it and these mountains, - as if with a plow, tearing apart their unsteady, now and then boiling up and high foamy tails huge masses, the siren, choked with mist, groaned in mortal anguish, the watchmen on their tower froze from the cold and went crazy from the unbearable strain of attention, to the gloomy and sultry bowels of the underworld, its last, ninth circle was like the underwater womb of a steamboat, - the one where the gigantic fireboxes, devouring with their red-hot mouths of a pile of coal, with a roar thrown into them, doused with caustic, dirty sweat and waist-deep naked people, purple from the flames; and here, in the bar, they carelessly threw their legs on the arms of their chairs, sipped cognac and liqueurs, floated in waves of spicy smoke, in dance hall everything shone and poured out light, warmth and joy, the couples now whirled in waltzes, then bent in tango - and the music insistently, in sweetly shameless sadness, begged all for one thing, all for the same ...

(I.A. Bunin "The Gentleman from San Francisco")

1. 
   What term in literary criticism refers to an artistic image that contains a generalized polysemantic meaning (ocean, steamship "Atlantis")?
2. 
   To which of the epic genres does the work of I.A. Bunin "The Gentleman from San Francisco"?
3. 
   What term denotes the means of allegorical expressiveness, to which the author refers, describing the giant steamship "Atlantis" and its passengers: "... the floors ... gaped with countless fiery eyes"; “floated in waves of spicy smoke”?
4. 
   Describing the appearance of the commander of Atlantis, I. A. Bunin depicts him as "a red-haired man of monstrous size and heaviness, always as if sleepy, similar in his uniform with wide gold stripes to a huge idol and very rarely appeared to people from his mysterious chambers." What is the name of such a method of characterization of the hero in literary criticism?
5. 
   Specify the term that refers to the image inner life character, analysis of the character's personality traits.
6. 
   What technique associated with endowing inanimate objects with the properties of living beings is contained in the following words: “... a siren choked by mist wailed in mortal anguish ...”?
7. 
   Indicate the name of the artistic figurative definition (“Something Mongolian was in his yellowish face with trimmed silver mustaches, golden fillings glittered on him large teeth, old ivory - strong bald head".)

1. 
   What is manifested author's attitude to the gentleman from San Francisco and the passengers of the Atlantis?
2. 
   Which of the Russian writers of the 20th century turned to the theme of “well-fed” and how is this theme refracted in the fate of the gentleman from San Francisco?

"Clean Monday" story

Bunin's heroes are uncompromising in their quest for absolute love. “We were both rich, healthy, young and so good-looking that in restaurants, at concerts they saw us off with their eyes,” says the hero “ Clean Monday". It would seem that they have everything for absolute happiness. What else is needed? The hero of "Clean Monday" is an "ordinary", for all his physical attractiveness and emotional fullness, a person. Not the heroine. In her strange actions, one can feel the significance of her character, the rarity of her "chosen" nature. Her mind is torn apart. She is not averse to plunging into the “today's” life of that elite Moscow, but internally she is alien to all this. She is intensely looking for something whole, heroic, selfless and finds her ideal in serving God. The present seems to her miserable and untenable. On "Clean Monday" she paid off with the "peace" - alluring love and beloved, and went to the "great tonsure", to the monastery.
!Perform tasks of the USE format!

On the ground floor in the Yegorov's tavern Okhotny Ryad it was full of shaggy, thickly dressed cabbies cutting piles of pancakes filled with excess butter and sour cream, it was steamy, like in a bathhouse. In the upper rooms, also very warm, with low ceilings, old-time merchants washed down fiery pancakes with grainy caviar with frozen champagne. We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God with three hands, a lamp was burning, we sat down at a long table on a black leather sofa ... Fluff on her upper lip was in hoarfrost, the amber of her cheeks was slightly pink, the blackness of the ray completely merged with the pupil - I could not take my rapturous eyes off her face. And she said, taking out a handkerchief from a fragrant muff:

Fine! At the bottom wild men, and then pancakes with champagne and the Mother of God with three hands. Three hands! After all, this is India! You are a gentleman, you cannot understand all this Moscow the way I do.

I can, I can! I answered. - And let's order lunch strong!

How is it "strong"?

It means strong. How can you not know? "Gyurgi's speech..."

How good! Gyurgi!

Yes, Prince Yuri Dolgoruky. “Gyurgi’s speech to Svyatoslav, Prince of Seversky: “Come to me, brother, to Moscow” and afterward arrange a dinner strong.

How good. And now only in some northern monasteries this Rus' remains. Yes, even in church hymns. Recently I went to the Zachatievsky Monastery - you cannot imagine how wonderfully the stichera are sung there! And Chudovoe is even better. Last year I went there on Strastnaya. Ah, how good it was! There are puddles everywhere, the air is already soft, the soul is somehow tender, sad, and all the time this feeling of the homeland, its antiquity ... All the doors in the cathedral are open, the common people come in and out all day, the whole day of the service ... Oh, I’ll leave I'm going somewhere to a monastery, to some of the most deaf, Vologda, Vyatka!<...>

And I listened absentmindedly to what she had to say next. And she spoke with a quiet light in her eyes:

I love Russian chronicles, I love Russian legends so much that until then I re-read what I especially like until I memorize it. “There was a city in the Russian land, the name of Murom, in which a noble prince, named Pavel, ruled as autocrat. And the devil instilled in his wife a flying serpent for fornication. And this serpent appeared to her in human nature, very beautiful ... "

I jokingly made scary eyes:

Oh, what a horror!

She continued without listening.

This is how God tested her. “When the time came for a blessed death, this prince and princess begged God to repose them in one day. And they agreed to be buried in a single coffin. And they ordered to carve out two coffin beds in a single stone. And they put on, at the same time, in a monastic robe ... "

And again my absent-mindedness was replaced by surprise and even anxiety: what is the matter with her today?

(I.A. Bunin "Clean Monday")

1. 
   The conflict associated with the relationship between the hero and the heroine determines the plot action of "Clean Monday" by I.A. Bunin. Define this conflict.
2. 
   To what genre does “Clean Monday” by I.A. Bunin?
3. 
   Indicate the term that is used in literary criticism to describe the situation of an action, interior decoration rooms (“We went into the second room, where in the corner, in front of the black board of the icon of the Mother of God with three hands, a lamp was burning, we sat down at a long table on a black leather sofa ...”).
4. 
   name artistic medium, based on the image of a person's appearance, his face, clothes, etc. (“The fluff on her upper lip was covered in hoarfrost, the amber of her cheeks turned slightly pink, the blackness of the ray completely merged with the pupil ...”).
5. 
   Describing the tavern to which the heroes arrived, I.A. Bunin uses a figurative expression built on a comparison of two objects, concepts or states that have common feature(“it was steamy, like in a bathhouse”). What is the name of this artistic technique?
6. 
   name the shape artistic speech- exchange of remarks between characters, which is used by I.A. Bunin.
7. 
   Describing the conflicting feelings of the heroine, I.A. Bunin contrasts objects and phenomena: “There are wild men below, and here are pancakes with champagne and the Mother of God with three hands ...”. What is the name of this artistic technique?

1. 
   What is the difference spiritual world hero and heroine, and how did she determine their future fate?
2. 
   What is the similarity of “Clean Monday” by I.A. Bunin with other works of Russian classics of the XIX-XX centuries. about love? (When comparing, indicate works and authors.)

Zinaida Nikolaevna Gippius

(1869-1945)

Z.N. Gippius is a poetess and prose writer, critic, author of many collections of poems, short stories, dramas, and articles. D.S.'s wife Merezhkovsky.

Not accepting the revolution of 1917, she emigrated to France. Born in Belev. For some time she lived in Tula. Living in a foreign land, she was tormented by the memory of Russia: “Lord, let me see! I pray at night. Let me see my Russia again!. However, she was not destined to see her, to return to Russia. The work of the poetess is a characteristic phenomenon of Russian decadence. At the beginning of the 20th century, she was a recognized authority in literature.

Know!

She will not die - know!

She will not die, -Russia.

They will jump up - believe me!

Its fields are golden.

And we will not perish - believe!

What is our salvation for?

Russia will be saved - know!

And close to her Sunday.

1918

Yaroslav Vasilyevich Smelyakov

(1913-1072)

Ya.V. Smelyakov is a poet. Fate connected the classic of Russian poetry with the Tula region. After being released from captivity in 1945-1947, Smelyakov, a camper, lived in Novomoskovsk. I worked in a bath. He spoke to the miners. Collaborated with a local newspaper, led a literary association in it.

This period of his life was surprisingly fruitful. Such poems were written: “Someone came up with it happily”, “Here again I remembered you, mother”, “Cemetery of locomotives”, the poem “The miner's lamp”, the play “Friends of Mikhail Yugov”. A memorial plaque was installed on the building of the editorial office of the newspaper, where the poet worked as an executive secretary. Novomoskovites are proud of the remarkable Russian poet, who was given a home and a job during a difficult period of his life.

We have not once spent the night in schools.

We have not once spent the night in schools,

Attached weapons in the heads,

Among the white walls, peeled and bare,

On hastily swept floors.

And we dreamed that in schools we could dream:

Bird cherry, the buzzing of May bees,

Eyes and braids of the first student,

Chalk and ink, globe and football.

We got up at dawn

Having taken off their tunics, they washed by the river.

And they went forward, calm as children,

All-knowing, like old people.

We went forward - retribution and retribution,

Leaving the classroom against the wall

Pages of Pravda, crumpled grenade,

Replicated Blood Bandage Soldier -

Visual aids of war.
Igor Talkov

(1956-1991)
Igor Talkov is a poet, singer, composer. Born on November 4, 1956 in the town of Shchekino, Tula Region. In 1975 he creates the first in his life Music band, and his VIA takes over first the Shchekino and then the Tula dance floors. Talkov becomes a Tula celebrity.

Igor considered himself a patriot, because he was not indifferent to what was happening with Russia. Talkov loved Russia, wanted her revival.

September 6, 1991 in St. Petersburg in sports - concert hall"Jubilee" Igor Talkov was killed.

In his work, he knew how to combine the incongruous: soft, lyrical love songs sounded against the backdrop of harsh political, screaming compositions. But this is the essence of his soul. Talkov did not compose on purpose, he wrote only when something deeply worried him.

***

Someday, when evil is tired

To rape you, barely alive, and on your withered forehead

The Lord will shed a tear of rain,

You will straighten your broken camp,

Like before, feel like a mission

And bloom to the envy of all enemies,

Unfortunate Great Russia.
Pavel Adamovich Lagun
P.A. Lagun lives in the city of Donskoy, Tula region. Philologist by education; graduated from the Tula State pedagogical institute them. L.N. Tolstoy. Member of the Union of Writers of Russia. Author of poetry collections "The Winged Horse", "Loneliness", "The Rotation of the Earth", "The Philosophical Stone", and also prose works, novels "One millionth life", "Procrustean bed"; stories " astral body"," Debt hole "," Bifurcation. Author of a number of articles and publications in the national press.

P. Laguna's poems were published in the magazines "Young Guard", "Change", almanacs "Istoki", "Oka", the newspaper "Literary Russia".

Based on the novel "One Millionth Life" in Poland in 1995, a full-length film was made. Feature Film. This novel won a literary competition announced in 1996 by the Russian Committee of Former Concentration Camp Inmates.

***

No one will return

You love, hope, faith.

No one will ever knock

At your open doors.
Only the wind with a rusty noose

Creaks with an unbearable whistle;

Yes, autumn with a dirty broom

Rakes heaps of yellow leaves.
And like leaves in the wind

Souls unleashed particles ...

An old friend will not return

And the rain is knocking on the door.

Vladimir Ivanovich Filatov

(1949-1996)

V. Filatov was born in 1949 in the town of Donskoy. At the age of two, he fell seriously ill and stopped walking in the fourth grade. Studied at home.

Poetry began to write at the age of 12, was fond of reading historical novels and playing chess, painting on wood, photography. His favorite poets were V. Vysotsky, B. Okudzhava, B. Pasternak, M. Tsvetaeva.

Vladimir felt stronger than those around him, and brighter, because next to him, chained by illness into disability, everyone was warm. Everyone needed his supportive words, his remarkable knowledge, his spiritual complicity, his ability to see light and kindness in everything that is called the surrounding world.

For everyone, he was that candle that was lit not for light, but for spiritual warmth. And like a lit candle, it slowly melted away. V. Filatov passed away on July 17, 1996.

Like a wire the soul is exposed -

I don't recommend touching it.

It didn't work out, unfortunately it didn't work out.

My unforgettable happiness.

They fell apart like cubes at once

All attempts to find and add.

And fate bares its teeth, "contagion"

Doesn't let me die or live.

Grief is easier to bear alone:

Less groans, resentment and tears.

So I didn't sleep tonight

And took it to the dump of resentment.

It became easier to meet eyes

But do not touch the soul, it hurts.

There's only one thing left to say goodbye

And pray to Christ for salvation.

The artistic image is the central concept of aesthetics, therefore this problem is the object of research by a number of scientists. Among them, of considerable interest are the works of Leizerov N. L. "Imagery in Art" (M., 1974), D. Likhachev "Man in the Literature of Ancient Rus'" (M.-L., 1958, etc.).

The artistic image is 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.). The phrase is an image of something (war), someone (the image of Natalia), etc. indicates the stable ability of the artistic image to correlate with non-artistic phenomena, therefore the image is a category that occupies a dominant place in aesthetics. In the image, the objective-cognitive, subjective-creative principle is merged. The traditional specificity of the image is determined in relation to two areas: reality and the process of thinking. The image not only reflects reality, but generalizes it. From this it is correctly emphasized that the image is a concretely generalized picture of life, which has found expression in a verbal image. According to Hegel, "the image stands in the middle between immediate sensitivity and the ideal thought belonging to the field" and represents "in the same integrity, both the concept of an object and its external being." The image represents the unity of sensitive and generalizing thinking.

The artistic specificity of the image is represented not only by the fact that it meaningfully reflects reality, but also by the fact that it creates a new, fictional world. The creative and cognitive nature of the image manifests itself in two ways: 1) the artistic image is the result of the activity of the imagination, along with the objective, it embodies the individual, the subjective; 2) the image is the result not only of the creative reproduction of reality, but of its active transformation. The transition of sensual reflection into a mental generalization and further into fictional reality and its sensual embodiment - such is the inner moving essence of the image. The image is the suppression of the subject and semantic series of the verbally designated and implied. Lermontov's poetry is "a bell on a string tower" ("Poet"), F. Tyutchev's lightning is "deaf-mute demons", "the night sky is so gloomy." The purpose of the image is to transform a thing, to reveal the interpenetration of the most diverse aspects of being.

One of the most important functions literary image- to give words that fullness, integrity and self-significance that things have. “Poetry,” wrote G. E. Lessing, “has the means to elevate its arbitrary signs to the degree and strength of natural ones, “as it compensates for the dissimilarity of its signs with things” by the similarity of the designated thing with any other thing” (Laocoon. - M., 1957, p. 437, p. 440.)

The specificity of the verbal image is also manifested in its temporal organization. artistic time and artistic space is the main specificity of the literary image. Since two components are singled out in the image - subject and semantic, hence the following classification of images is possible: subject, generalized semantic and structural.

Subject matter is divided into a number of layers. The first one includes: images - details, landscape, portrait, interior. Their distinctive property is static, descriptive, fragmentary. From them grows a 2 - figurative layer - a plot, thoroughly imbued with purposeful action, linking together all the subject details - actions, moods, aspirations - all dynamic moments deployed in the time of a work of art. The third layer - standing behind the action and causing it impulses - images of characters and circumstances, individual and collective. Finally, from the characters and circumstances, as a result of their interaction, integral images are formed. The image of fate and the world is being in general.

By semantic generalization, images are divided into individual, characteristic, typical, images, motifs, topoi, archetypes. Individual images created by the original, sometimes bizarre imagination of the artist. Typicality is the highest degree of specificity. The typical image, incorporating the essential features of the concrete historical, socially characteristic, at the same time outgrows the boundaries of its era and acquires universal human features, revealing the stable eternal properties of human nature. These are eternal image Don Quixote

Hamlet, Oblomov (these images are individual, characteristic, typical - single in the sphere of existence). The following three varieties: motive, topos, archetype. A motif is an image that is repeated in several works by one or many authors. Such are the images of a snowstorm and wind at Blok, the sea - at Pushkin. topos(" common place") is an image characteristic of the whole culture of a given period, a given science. Topoi "road" or "winter" in Pushkin, Gogol. Nekrasov. The image "archetype" contains the most stable and ubiquitous schemes or formulas of the human imagination, manifested as in mythology, and in art at all stages of its historical development (a fund of plots and situations transmitted from writer to writer).

Together with the separation of the artistic image from the syncretic integrity of the world, the process of its theoretical understanding begins. The ancient term is equivalent to the concept - the image of "Eidos". Eidos is both the external appearance, the appearance of an object and its pure out-of-body and timeless essence, ideas that share the new European theories, emphasizing the inseparability in its essence of the form and idea.

IN Lately in criticism, there has been a widespread desire to give the concept of an image a collective meaning and to speak in this sense about the “image of the collective”, “the image of the people.” We find a typical example in B. Bursov’s article “Character Structure in Tolstoy’s War and Peace. It talks about the images of Bolkonsky, Bezukhov, puts forward the concept of “democratic Russia.” Then the image of the people is formulated as the image of the masses. At the same time, the images of representatives of the nobility are also included in the “image of the people”, the image of the masses is included in the image of the nation. It is necessary to streamline the understanding of the category of character, character, actor, hero, type. The protagonist and character are the concepts by which we designate the person shown in the work without regard to the extent to which they are deeply and truly depicted by the writer.

Character is a more definite concept: we are talking about character in the event that the person depicted in the work is described with sufficient completeness and certainty. The figurative reflection of life depends, first of all, on how the artist understands life in general, and this, in turn, depends on historical conditions in which it is located. While essentially retaining its general functional properties, the figurative reflection of reality practically depends on the uniqueness of the historical situation. Character is a type of human social behavior created by certain social conditions.

The composition of a literary and artistic work, as well as images and language, plays big role in the expression of ideological meaning. The writer, focusing on those phenomena of life that he this moment attract, embodying them in artistic images, characters, landscape, thoughts, mood, strives to combine them in a work of art so that they sound with the greatest persuasiveness: they reveal the essential aspects of reality more clearly, cause a deep work of thought in the reader.

Belinsky repeatedly emphasized in his critical articles the importance of composition in revealing the ideological meaning in a literary and artistic work: the distribution of roles for all persons is strictly proportional ... the completeness, completeness and isolation of the whole, he believed that these criteria should naturally follow from the unity of thought.

In literary criticism, there have been different points view on the problem of composition of a work of art. To this day, there is no generally accepted definition of the very concept of composition. The most commonly used definition is:

“Composition is the construction of a work of art, the correlation of all parts of the work into a single whole. To depict a picture of life, writers use various elements of composition: titles, epigraphs, digressions, introductory, inserted episodes, plot, portrait, landscape, environment.

Titles and epigraphs play a significant role in a work of art.

Titles - may be related to different aspects artistic work. Most often with themes (“Autumn” by Pushkin, “Motherland” by Lermontov, “Nanny” by Pushkin and many others) with images (“Eugene Onegin” by Pushkin, “Oblomov” by Goncharov, “Rudin” by Turgenev and others): with problems (“Who is to blame?" Herzen, "What is to be done?" Chernyshevsky, "How the steel was tempered" by Ostrovsky and others.)

Epigraphs, as you know, represent the second name. Most often they are associated with the ideological meaning, with the ideological content of works, with feature one hero or another. ("Take care of honor from a young age", " Captain's daughter” Pushkin, “Vengeance is for me and I will repay.” "Anna Karenina" by Tolstoy, etc.)

Lyrical digressions make up extra-plot lines in which the author expresses a personal attitude to the depicted events, images, phenomena. So, N. Gogol, portraying Plyushkin, exclaimed sadly, trying to turn readers away from Plyushkin's type of human behavior:

“And to what insignificance, pettiness, vileness a person could descend! Could change! And does it look like it's true? - Everything seems to be true, everything can happen to a person, but the current fiery young man would jump back in horror if they showed him his own portrait in old age. Take it with you on the road, leaving the soft youthful years into a harsh, fierce courage - take with you all human movements, do not leave them on the road ... ".

Sometimes a lyrical digression dedicated to a character merges with the thoughts and feelings of another character, but nevertheless it is given in such a way that the reader perceives it as a direct expression of the author's thoughts and feelings. This is the lyrical digression in the "Young Guard" by A. Fadeev, dedicated to the mother - a hard worker.

"Mom mom! I remember your hands from the moment I became aware of myself in the world. During the summer, they were always covered with a tan, he no longer departed in the winter, he was so gentle, even, only a little bit darker on the veins. Or maybe they were even rougher than your hands, because they had so much work in life, but they always seemed so tender to me and I loved kissing them on their dark veins so much.

This digression sounds like a mother's anthem, her great maternal love, her labor exploits. It helps to more fully and vividly present the importance of a mother woman in our life.

Sometimes the writer resorts to lyrical digressions to communicate the nature and objectives of his work. A classic example of this kind of lyrical digression is Gogol's famous discourse in " Dead souls about two types of writers. It was important for the writer to explain to readers public importance and the patriotic meaning of his satire, which met the interests of the democratic circles of Russia and seemed unacceptable to the guardians of the autocratic-feudal system.

Along with lyrical digressions, introductory episodes are essential.

Introductory episodes are those that are directly related to the plot line of the story. This composite agent used by writers either to expand and deepen the content of a work, or to indicate its ideological meaning. In Chekhov's story "The Gooseberry", episodes that are not directly related to the main story are told about a certain Nikolai Ivanovich Chimsh-Himalayan.

Just like lyrical digressions, introductory episodes are also used to reveal the idea, the pathos of the work.

The elements of composition also include landscape and portrait. Masters of landscape and portrait sketches are Lermontov, Sholokhov, Turgenev, Dostoevsky, Tolstoy and others. In many works, the landscape performs an important ideological - compositional role. This, of course, is not about those works where nature is the direct subject of the image, but about those where the landscape plays an ideological-compositional, psychological role. In this regard, the example given by the literary critic L.A. Abramovich to the story "Lucerne" by L. Tolstoy is successful.

In the center of the story is an episode with a beggar tramp - a cripple singer, who sang and played the guitar for about half an hour for the rich who had gathered in Lucerne and settled in the most fashionable hotel in the city, who, standing on the balconies and at the windows, in "respectful silence" listened to wonderful singing. However, when later this singer turned to the listeners three times with a request to give him something, no one gave anything, and many laughed at him. In this episode, the writer shows the true face of contemporary bourgeois civilization, moreover, “where - as Tolstoy angrily writes” civilization, freedom and equality are brought to the highest degree, where travelers gather, the most civilized people, the most civilized nations.

In fact, as described in Lucerne, there could be no question of any true freedom and true equality: the blessings of civilization belonged only to exceptionally rich people who were used to living for themselves, protecting their peace, taking care of the comfort of their lives. life, remaining deaf and indifferent to the fate of the people of the poor, not invoking their right to human dignity and happiness.

In order for such an inhuman life to appear in all its ugly unnaturalness, insulting the feelings of beauty and goodness inherent in the masses of people, great artist introduces the magnificent nature of Lucerne into the world he depicts.

In order to make the meaning of certain phenomena and characters depicted especially clear, writers sometimes resort to artistic framing, i.e. to the creation of paintings and scenes that are close in essence to the depicted phenomena and characters. For example: in the story "Hadji Murat" L.N. Tolstoy creates a more complete picture of the fate of the hero of the story by introducing a scene with a burdock.

In some works, artistic framing leads directly to main point depicted type of person. For example: in Chekhov’s “The Man in the Case”, the description of Belikov, who surrounds himself with some kind of shell that separates him from people, prepares the formulation of the problem of the formation of “case” characters in the then “official” as Chekhov called him Russia.

Of great ideological and compositional significance is the image depicted in the works environment. Her image, as well as pictures of nature, can also be correlated with common sense works, its separate sides.

Gogol in "Old World Landowners" showed the "extraordinary solitary life" of his heroes. Everything in this life is closed within their home and its immediate surroundings.

Often the image of the setting has a more local meaning: it is the key to recreating the characters depicted by the author.

The composition of a literary and artistic work is not only a phenomenon of form. In a truly artistic work, it is closely connected with the theme and idea, follows from the life material that the artist operates on: just like images and language, it is a means (form) of revealing the ideological and thematic content. literary work and is subordinated to its main idea.

Belinsky considered the indispensable features of an artistically perfect work: “A strictly commensurate distribution of roles for all persons ... completeness, completeness and isolation of the whole”, which should naturally follow from “unity of thoughts”.

literary language

In numerous works on language works of art one can find basically two approaches to the problem: linguistic and literary criticism.

The first is to determine the features of artistic speech this work in connection with national literary language, as they had developed by the time of the appearance of this work.

The literary approach is based on the thesis of the unity of content and form, on the position of the primacy of content.

Artistic speech is one of the sides of the form and therefore it is determined by the content of the work.

Artistic stylistic originality ultimately follows from the originality of ideological artistic problem and the tasks set by the writer. At the same time, he, of course, takes into account the general norms of the literary language, builds on them but is not limited to them, takes non-literary dialects, and most importantly, extracts from the wealth of the literary language only that which can serve as a means of expression. ideological content specific work of art.

To create an artistic image, you must use various resources language. But it is not always the case. The creation of living pictures is possible only if the writer owns all his wealth. national language. However, their use is not very large. It is important here, as N.G. Chernyshevsky "so that every word is not only in place, - so that it is necessary inevitably and so that there are as few words as possible."

We find a similar statement in V. G. Belinsky: “The artistry of the language of the work lies in the fact that one line, one word vividly and fully represents what without it can never be expressed even in 10 volumes,” the critic wrote.

The language of any person characterizes the features of his culture, life experience, mind, psychology. Often literary hero with just one phrase can reveal his cultural level. In the speech of the nanny Tatyana Larina, there are vernacular that characterizes her as a peasant woman.

The individualization of the speech of characters is not always created by means that are noticeable to readers. It is more tangible when the writer wants to emphasize in the faces of the most characteristics. So with an abundance of metaphors, in comparison with the type “red mountain ash fire”, “smelling silence”, “icy maple” and many others, Yesenin tends to complex style language of Russian poetry in the 20s of the twentieth century.

literary image. Word and image

A literary image is an artistic reflection with the help of a word of human characters, events, objects, phenomena in a specific, individually sensual form.

The term "image" in literary criticism is understood as 1) the character of a work of art (hero, protagonist, character), and as 2) a reflection of reality in an individual form (verbal image or trope).

The images created by the writer are distinguished by emotionality, associativity, originality, capacity.

Artistic image. Image and sign

Referring to the ways (means) by which literature and other forms of art with figurativeness carry out their mission, philosophers and scientists have long used the term "image" ( other-gr. eidos - shape, appearance). As part of philosophy and psychology, images are concrete representations, that is, a reflection by human consciousness of individual objects (phenomena, facts, events) in their sensually perceived appearance. They oppose the abstract concepts, which capture the general, recurring properties of reality, ignoring its unique individual features. In other words, there are sensory-figurative and conceptual-logical forms of mastering the world.

Further, figurative representations (as a phenomenon of consciousness) and images proper as sensual (visual and auditory) embodiment of representations are distinguishable. A.A. Potebnya in his work "Thought and Language" considered the image as reproduced representation - as a kind of sensually perceived reality 1 . It is this meaning of the word “image” that is essential for the theory of art, which includes scientific-illustrative, factographic (informing about the facts that really took place) and artistic images. 2 . The latter (and this is their specificity) are created with the explicit participation of the imagination: they do not simply reproduce single facts, but condense, concentrate aspects of life that are essential for the author in the name of its evaluative comprehension. The artist's imagination is, therefore, not only a psychological stimulus for his creativity, but also a certain given that is present in the work. In the latter there is a fictitious objectivity that does not fully correspond to itself in reality.

Now the words “sign” and “significance” have taken root in literary criticism. They noticeably pushed the usual vocabulary ("image", "imagery"). The sign is the central concept of semiotics, the science of sign systems. Structuralism is guided by semiotics, which took root in the humanitarian sphere in the 1960s and was replaced by post-structuralism.

A sign is a material object that acts as a representative and substitute for another, “foreseeable” object (or properties and relations). Signs make up systems that serve to receive, store and enrich information, i.e., they have primarily a cognitive purpose.

The creators and supporters of semiotics consider it as a kind of center of scientific knowledge. One of the founders of this discipline, the American scientist C. Morris (1900 - 1978) wrote: “The relationship of semiotics to the sciences is twofold: on the one hand, it is a science in a number of other sciences, and on the other hand, it is an instrument of sciences”: a means of combining different areas of scientific knowledge and giving them "greater simplicity, rigor, clarity, the path to liberation from the" web of words "that a man of science has woven" 3 .

Domestic scientists (Yu.M. Lotman and his like-minded people) placed the concept of a sign at the center of cultural studies; substantiated the idea of ​​culture as a phenomenon primarily semiotic. “Any reality,” wrote Yu.M. Lotman and B.A. Ouspensky, referring to the French structuralist philosopher M. Foucault, - being involved in the sphere of culture, begins to function as a sign<...>The very attitude towards sign And significance constitutes one of the main characteristics of culture" 4 .

Speaking about the sign process in the life of mankind ( semiotics), experts identify three aspects of sign systems: 1) syntactics(relation of signs to each other); 2) semantics(the relation of the sign to that which signifies: the signifier to the signified); 3) pragmatics(the relation of signs to those who operate and perceive them).

Signs are classified in a certain way. They are combined into three large groups: 1) index sign (sign- index) points to an object, but does not characterize it, it relies on the metonymic principle of contiguity (smoke as evidence of a fire, a skull as a warning about danger to life); 2) sign- symbol is conditional, here the signifier has neither similarity nor connection with the signified, what are the words of a natural language (except for onomatopoeic) or components of mathematical formulas; 3) iconic signs reproduce certain qualities of the signified or its integral appearance and, as a rule, are visual. In a number of iconic signs, they differ, firstly, diagrams- schematic recreations of objectivity that is not quite specific (graphic designation of the development of industry or the evolution of fertility) and, secondly, images that adequately recreate the sensually perceived properties of the designated single object (photographs, reports, as well as capturing the fruits of observation and fiction in works of art) 5 .

Thus, the concept of "sign" did not cancel the traditional ideas about the image and figurativeness, but placed these ideas in a new, very broad semantic context. The concept of a sign, vital in the science of language, is also significant for literary criticism: firstly, in the field of studying the verbal fabric of works, and secondly, when referring to the forms of behavior of actors.

In images-tropes, one object is equated to another by association, the unknown is explained by the known, the so-called “portable” meaning is manifested.

There are different types of images and different ways their classifications. If we consider everything imagined by the writer in a work of art as an image, then according to its objectivity, one can build a series from the image-detail in its varieties such as the image of trails, the image of landscape, the image-thing, the image-portrait, through the image-plot, then the image-character , and to holistic images of fate and the world, the image of being.

By semantic generalization, images can be divided into individual, characteristic and image types. Separately, one can distinguish the image-motive, the image-topos and the image-archetype, as well as the concept of chronotope. These are images that go beyond the limits of a single work, they can be repeated.

The image-motif is repeated in several works by one author or by many authors. (The image of a blizzard and wind at Blok, rain and a garden at Pasternak.

Image-topos (common place) - an image characteristic of a whole culture certain period, for the whole nation. (topos of the road, winters in Russian literature).

Image-archetype - the most stable images that appear in the literature different peoples throughout the course of development.

Chronotope is a term proposed by D. Bakhtin. This is “an essential interrelation of temporal and spatial relations, artistically mastered in literature”, otherwise called also “time-space”.

In poetry, there is also the concept of a "lyrical hero" - a collective image behind the lyrical verses of a particular poet.