The artistic image in art is an accessible definition. Artistic image

Artistic image

typical image
Image-motive
topos
Archetype.

Artistic image. The concept of the artistic image. Functions and structure of the artistic image.

Artistic image- one of the main categories of aesthetics, which characterizes the way of displaying and transforming reality inherent only in art. An image is also called any phenomenon creatively recreated by the author in a work of art.
The artistic image is one of the means of knowing and changing the world, a synthetic form of reflection and expression of feelings, thoughts, aspirations, aesthetic emotions of the artist.
Its main functions are: cognitive, communicative, aesthetic, educational. Only in their totality do they reveal specific features image, each of them separately characterizes only one side of it; an isolated consideration of individual functions not only impoverishes the idea of ​​the image, but also leads to the loss of its specificity as a special form public consciousness.
In the structure of the artistic image leading role mechanisms of identification and transfer play.
The identification mechanism carries out the identification of the subject and the object, in which their individual properties, qualities, signs are combined into a single whole; moreover, the identification is only partial, highly limited: it borrows only one feature or a limited number of features of the objective person.
In the structure of the artistic image, identification appears in unity with another important mechanism of primary mental processes - transference.
Transference is caused by the tendency of unconscious drives, in search of ways of satisfaction, to be directed in an associative way to all new objects. Thanks to transference, one representation is replaced by another along the associative series and the objects of transference merge, creating in dreams and neuroses the so-called. thickening.

Conflict as the basis of the plot side of the work. The concept of "motive" in Russian literary criticism.

The most important function of the plot is the discovery of life's contradictions, i.e. conflicts (in Hegel's terminology - collisions).

Conflict- confrontation of a contradiction either between characters, or between characters and circumstances, or within a character, underlying the action. If we are dealing with a small epic form, then the action develops on the basis of a single conflict. In works of large volume, the number of conflicts increases.

Conflict- the core around which everything revolves. The plot least of all resembles a solid, continuous line connecting the beginning and end of the series of events.

Stages of conflict development- basic plot elements:

Lyrical-epic genres and their specificity.

Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.

Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author

1. poem. – genre content can be either epic or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism (" Bronze Horseman), in symbolism (“12”)…

2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second sense of the word, a ballad is folk genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.

3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) feature genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.

4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together, these lyrical works create a "circle": the unifying principle is yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.

Basic concepts of poetic language and their place in the school curriculum in literature.

POETIC LANGUAGE, fiction speech, language poetic (poetic) and prose literary works, system of means artistic thinking and aesthetic exploration of reality.
Unlike the usual (practical) language, in which the communicative function is the main one (see Functions of the language), in P. I. the aesthetic (poetic) function dominates, the implementation of which focuses more attention on the linguistic representations themselves (phonic, rhythmic, structural, figurative-semantic, etc.), so that they become valuable means of expression in themselves. The general figurativeness and artistic originality of lit. works are perceived through the prism of P. I.
The distinction between ordinary (practical) and poetic languages, i.e., the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. I., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in in a certain sense slows down reading, destroying the usual automatic perception of the text; the main thing in it is “to survive doing things” (V. B. Shklovsky).
According to R. O. Yakobson, who is close to OPOYAZ in the understanding of P. Ya., poetry itself is nothing more than “a statement with an attitude towards the expression (...). Poetry is language in its aesthetic function.
P. i. closely connected, on the one hand, with the literary language (see), which is its normative basis, and on the other hand, with the national language, from where it draws a variety of characterological language tools, eg. dialectisms when transmitting the speech of characters or to create a local color of the depicted. poetic word grows out of the real word and in it, becoming motivated in the text and fulfilling a certain artistic function. Therefore, any sign of a language can, in principle, be aesthetic.

19. The concept of the artistic method. The history of world literature as a history of changing artistic methods.

artistic method(creative) method is a set of the most general principles aesthetic assimilation of reality, which is consistently repeated in the work of one or another group of writers that form a direction, trend or school.

O.I. Fedotov notes that "the concept of "creative method" is not much different from the concept of "artistic method" that gave rise to it, although they tried to adapt it to express a larger meaning - as a way of studying social life or as the basic principles (styles) of entire trends.

The concept of the artistic method appears in the 1920s, when critics of the Russian Association of Proletarian Writers (RAPP) borrow this category from philosophy, thereby seeking to theoretically substantiate the development of their literary movement and the depth of creative thinking of "proletarian" writers.

The artistic method has an aesthetic nature, it represents the historically conditioned general forms of emotionally colored figurative thinking.

Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, the historical changes in the artistic method, as well as the emergence of a new artistic method, can be explained not only through the historical changes in the object of art, but also through the historical change in the aesthetic qualities of reality. The subject of art contains the lifeblood of the artistic method. The artistic method is the result of a creative reflection of an object of art, which is perceived through the prism of the general philosophical and political worldview of the artist. “Method always appears before us only in its concrete artistic embodiment- in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)

The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.

The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.

The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.

The artist's method is felt through style his works, i.e. through individual manifestation method. Since the method is a way of artistic thinking, the method is the subjective side of the style, because. this way of figurative thinking generates certain ideologically - artistic features art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.

Interaction method and style:

§ Variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;

§ stylistic unity is possible only within the same method, since even the external similarity of the works of authors adhering to the same method does not give grounds for classifying them as a single style;

§ Reverse influence of style on method.

The full use of the style techniques of artists who are adjacent to one method is incompatible with the consistent observance of the principles of the new method.

Along with the concept of creative method, the concept direction or type of creativity, which in the most diverse forms and proportions will be manifested in any method that arises in the process of the development of the history of literature, since they express general properties figurative reflection of life. Taken together, the methods form literary currents(or directions: romanticism, realism, symbolism, etc.).

The method determines only the direction creative work artist, not her individual properties. The artistic method interacts with the creative individuality of the writer

The concept of "style" is not identical with the concept "creative individuality of the writer". The concept of "creative individuality" is broader than what is expressed by the narrow concept of "style". In the style of writers, a number of properties are manifested, which in their totality characterize the creative individuality of writers. specific and real result these properties in literature is style. The writer develops his own individual style on the basis of this or that artistic method. We can say that the creative individuality of the writer is a necessary condition further development every artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.

The artistic method and creative individuality of the writer are manifested in literature through the creation literary images, building motives.

mythological school

The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.

Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.

Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.

biographical method

Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. (scientific activity of N.A. Kotlyarevsky).

Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.

Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.

Psychological direction

Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.

Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. The work of G.Battala "Theory of Literature".

Concept psychological analysis literary work in the 1920s–30s. (L.S. Vygotsky). Research by K. Leonhard, Müller-Freinfels and others.

Psychoanalysis

Theoretical basis psychoanalytic criticism. Life and work of Z. Freud. Psychoanalytic writings of Freud. Psychoanalysis of C.G. Jung. Individual and collective unconscious. Theory of archetypes. Humanistic psychoanalysis of Erich Fromm. The concept of the social unconscious. J. Lacan's research.

Psychoanalytic theories in Russia in the 1920s. 20th century (I.D. Ermakov). Psychoanalysis in modern literary criticism.

Sociologism

The emergence of sociology. The difference between sociological and cultural-historical methods. Features of the application of the sociological method in Russian and Tatar literary criticism. Views of P.N. Sakulin. Proceedings of G. Nigmati, F. Burnash.

Vulgar sociologism: genesis and essence (V.M. Friche, later works of V.F. Pereverzev). FG Galimullin about vulgar sociologism in Tatar literary criticism.

Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).

The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.

Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.

formal school.

Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.

Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.

Structuralism

The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.

Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).

Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis(A.G. Yakhin), while studying the history of Tatar literature (D.F. Zagidullina and others).

Emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.

B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.

An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.

hermeneutics

The first information about the problem of interpretation in Ancient Greece and in the East. The views of representatives of the German "spiritual-historical" school (F. Schleiermacher, W. Dilthey). The concept of H. G. Gadamer. The concept of "hermeneutic circle". Hermeneutic theory in modern Russian literary criticism (Yu. Borev, G.I. Bogin).

Artistic image. The concept of the artistic image. Classification of artistic images according to the nature of generalization.

Artistic image- a way of mastering and transforming reality, inherent only in art. An image is any phenomenon that is creatively recreated in a work of art, for example, the image of a warrior, the image of a people.).
According to the nature of generalization, artistic images can be divided into individual, characteristic, typical, images-motives, topoi and archetypes (mythologemes).
Individual images characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in V. Hugo's Notre Dame Cathedral, the Demon in M. Lermontov's poem of the same name, Woland in A. Bulgakov's The Master and Margarita.
A characteristic image is generalizing. It contains common traits of characters and mores inherent in many people of a certain era and its public spheres(characters of "The Brothers Karamazov" by F. Dostoevsky, plays by A. Ostrovsky).
typical image represents the highest level of the characteristic image. Typical is exemplary, indicative of a certain era. The depiction of typical images was one of the achievements realistic literature XIX century. Suffice it to recall the father of Goriot and Gobsek Balzac, Anna Sometimes in the artistic image can be captured both the socio-historical signs of the era, and the universal human character traits of a particular hero.
Image-motive- this is a theme that is consistently repeated in the work of a writer, expressed in various aspects by varying its most significant elements (“village Rus'” by S. Yesenin, “Beautiful Lady” by A. Blok).
topos(Greek topos - place, area) denotes general and typical images created in the literature of an entire era, a nation, and not in the work of an individual author. An example is the image " little man» in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. This term is first encountered in German romantics V early XIX century, however, the work of the Swiss psychologist C. Jung (1875-1961) gave him a true life in various fields of knowledge. Jung understood the "archetype" as a universal image, unconsciously transmitted from generation to generation. The most common archetypes are mythological images. The latter, according to Jung, literally “stuffed” all of humanity, and the archetypes nest in the subconscious of a person, regardless of his nationality, education or tastes.

In the conventional sense artistic image- this sensual expression of any term defines reality, the reflection of which is in the form of a specific life phenomenon. An artistic image is born in the imagination of a person who engages in art. The sensual expression of any idea is the fruit of hard work, creative fantasies and thinking based only on their life experience. The artist creates a certain image, which is an imprint in his mind of a real object, and embodies everything in Paintings, books or films reflect his own vision of the idea by its creator.

An artistic image can be born only when the author is able to operate with his own impressions, which will form the basis of his work.

The psychological process of sensual expression of an idea consists in imagining the final result of labor even before the start creative process. Operating with fictitious images helps, even in the absence of the necessary completeness of knowledge, to realize your dream in the created work.

Artistic image created creative person, characterized by sincerity and reality. The hallmark of art is craftsmanship. It is it that allows you to say something new, and this is possible only through experiences. Creation must pass through the feelings of the author and be suffered by him.

The artistic image in each area of ​​art has its own structure. It is conditioned by the criteria expressed in the work spirituality, as well as the specifics of the material that is used to create the creation. Thus, the artistic image in music is intonational, in architecture it is static, in painting it is pictorial, and in literary genre- dynamic. In one, it is embodied in the image of a person, in another - nature, in the third - an object, in the fourth it acts as a combination of combinations of people's actions and their environment.

The artistic representation of reality lies in the unity of the rational and emotional sides. The ancient Indians believed that art owes its birth to those feelings that a person could not keep in himself. However, to artistic category not every image can be attributed. Sensual expressions must carry special aesthetic purposes. They reflect the beauty of the surrounding nature and the animal world, capture the perfection of man and his being. The artistic image should testify to the beautiful and affirm the harmony of the world.

The sensual incarnations are a symbol of creativity. Artistic images act as a universal category for understanding life, and also contribute to its comprehension. They have properties that are unique to them. These include:

Typicality that arises in connection with a close relationship with life;

Liveliness or organicity;

holistic orientation;

Understatement.

The building materials of the image are the following: the personality of the artist himself and the realities of the surrounding world. Sensual expression of reality combines subjective and objective principles. It consists of reality, which is reworked by the creative thought of the artist, reflecting his attitude to what is depicted.

The most important category of literature, which determines its essence and specificity, is the artistic image. What is the meaning of this concept? It means a phenomenon that the author creatively recreates in his creation. The image in a work of art is presented as the result of meaningful conclusions by the writer about some process or phenomenon. The peculiarity of this concept is that it not only helps to comprehend reality, but also to create your own fictional world.

Let's try to trace what an artistic image is, its types and means of expression. After all, any writer tries to depict certain phenomena in such a way as to show his vision of life, its trends and patterns.

What is an artistic image

Domestic literary criticism borrowed the word "image" from the Kievan-church lexicon. It has a meaning - a face, a cheek, and its figurative meaning is a picture. But it is important for us to analyze what an artistic image is. By it they mean a specific, and sometimes a generalized picture of people's lives, which carries aesthetic value and is created with the help of fiction. element or part literary creation having an independent life - that's what an artistic image is.

Such an image is called artistic not because it is identical to real objects and phenomena. The author simply transforms reality with the help of his imagination. The task of the artistic image in literature is not just to copy reality, but to convey the most important and essential.

So, Dostoevsky put into the mouth of one of his heroes the words that it is rarely possible to recognize a person from a photograph, because the face does not always speak of the most important character traits. From photographs, Napoleon, for example, seems stupid to some. The task of the writer is to show in the face and character the most important, specific. Creating a literary image, the author in words reflects human characters, objects, phenomena in an individual form. By image, literary scholars mean the following:

1. Characters of a work of art, heroes, actors and their characters.
2. Depiction of reality in a concrete form, with the help of verbal images and tropes.

Each image created by the writer carries a special emotionality, originality, associativity and capacity.

Changing forms of artistic representation

In the course of how humanity changes, so there are changes in the image of reality. There is a difference between what the artistic image was 200 years ago and what it is now. In the era of realism, sentimentalism, romanticism, modernism, the authors displayed the world in different ways. Reality and fiction, reality and ideal, general and individual, rational and emotional - all this changed in the course of the development of art. In the era of classicism, writers highlighted the struggle between feelings and duty. Often heroes chose duty and sacrificed personal happiness in the name of the public interest. In the era of romanticism, rebel heroes appeared who rejected society or it them.

Realism introduced rational knowledge of the world into literature, taught to identify cause-and-effect relationships between phenomena and objects. Modernism called on writers to cognize the world and man by irrational means: inspiration, intuition, insight. For realists, at the head of everything is a person and his relationship with the outside world. Romantics are interested in the inner world of their characters.

Readers and listeners can also be called in some way co-creators of literary images, because their perception is important. Ideally, the reader does not just passively stand aside, but passes the image through his own feelings, thoughts and emotions. Readers of different eras open up completely different sides of what kind of artistic image the writer portrayed.

Four types of literary images

The artistic image in literature is classified on various grounds. All these classifications only complement each other. If we divide the images into types according to the number of words or characters that create them, then the following images stand out:

• Small images in the form of details. An example of an image-detail is the famous Plyushkin heap, a structure in the form of a heap. She characterizes her character very clearly.
• Interiors and landscapes. Sometimes they are part of the image of a person. So, Gogol constantly changes interiors and landscapes, making them a means of creating characters. Landscape lyrics are very easy for the reader to imagine.
• Character images. So, in the works of Lermontov, a person with his feelings and thoughts is at the center of events. Characters are also commonly called literary heroes.
• complex literary systems. As an example, we can name the image of Moscow in the lyrics of Tsvetaeva, Russia in the work of Blok, St. Petersburg in Dostoevsky. An even more complex system is the image of the world.

Classification of images according to generic and style specifics

All verbal and artistic creations are usually divided into three types. In this regard, the images can be:

• lyrical;
• epic;
• dramatic.

Every writer has their own style of portraying characters. This gives reason to classify images into:

• realistic;
• romantic;
• surreal.

All images are created according to a certain system and laws.

The division of literary images according to the nature of generalization

Uniqueness and originality are characterized by individual images. They are invented by the imagination of the author himself. Individual images are used by romantics and science fiction writers. In Hugo's Notre Dame Cathedral, readers can see an unusual Quasimodo. The Shuttlecock in Bulgakov's novel "The Master and Margarita", the Demon in the work of the same name by Lermontov, is an individual.

The generalization, opposite to the individual, is characteristic. It contains the characters and customs that people of a certain era have. Such are literary heroes Dostoevsky in The Brothers Karamazov, Crime and Punishment, Ostrovsky's plays, Galsworthy's The Forsyte Sagas.

The highest level of characteristic characters are typical images. They were the most probable for a particular era. It is typical heroes that are most often found in the realistic literature of the 19th century. This is the father of Goriot and Gobsek Balzac, Plato Karataev and Anna Karenina Tolstoy, Madame Bovary Flaubert. Sometimes the creation of an artistic image is intended to capture the socio-historical signs of an era, universal human character traits. In the list of such eternal images you can bring in Don Quixote, Don Juan, Hamlet, Oblomov, Tartuffe.

From the framework of individual characters go motif images. They are constantly repeated in the subject matter of the works of some author. As an example, Yesenin's "village Rus" or " beautiful lady"Block.

Typical images found not only in the literature of individual writers, but also of nations, eras, are called topos. Such Russian writers as Gogol, Pushkin, Zoshchenko, Platonov used the topos image of the "little man" in their writings.

The universal image, which is unconsciously transmitted from generation to generation, is called archetype. It includes mythological characters.

Means of creating an artistic image

Each writer, to the best of his talent, reveals images with the means available to him. Most often, he does this through the behavior of the characters in certain situations, through his relationship with the outside world. Of all the means of artistic image, an important role is played by speech characteristic heroes. The author can use monologues, dialogues, internal statements of a person. To the events taking place in the book, the writer can give his author's description.

Sometimes readers observe an implicit, hidden meaning in the works, which is called subtext. Of great importance external characteristic heroes: height, clothes, figure, facial expressions, gestures, voice timbre. It's easier to call it a portrait. A great semantic and emotional load is carried in the works details, expressing details . To express the meaning of a phenomenon in objective form, the authors use symbols. The idea of ​​​​the habitat of a particular character gives a description of the interior of the room - interior.

In what order is literary

character image?

To create an artistic image of a person is one of the most important tasks of any author. Here's how to characterize this or that character:

1. Indicate the place of the character in the system of images of the work.
2. Describe it in terms of social type.
3. Describe the character's appearance, portrait.
4. Name the features of his worldview and worldview, mental interests, abilities and habits. Describe what he does, his life principles and influence on others.
5. Describe the sphere of feelings of the hero, the features of inner experiences.
6. Analyze author's attitude to the character.
7. Reveal the most important character traits of the hero. As the author opens them, other characters.
8. Analyze the actions of the hero.
9. Name the personality of the character's speech.
10. What is his relationship to nature?

Mega, macro and micro images

Sometimes the text of a literary work is perceived as a mega-image. It has its own aesthetic value. Literary critics give him the highest generic and indivisible value.

To depict life in larger or smaller segments, pictures or parts, macro images are used. The composition of the macro image is made up of small homogeneous images.

The microimage is distinguished by the smallest text size. It can be in the form of a small segment of reality depicted by the artist. It can be one phrase word (Winter. Frost. Morning.) Or a sentence, a paragraph.

Image-symbols

A characteristic feature of such images is metaphor. They carry semantic depth. So, the hero Danko from Gorky's work "The Old Woman Izergil" is a symbol of absolute selflessness. He is opposed in the book by another hero - Larra, who is a symbol of selfishness. The writer creates a literary image-symbol for hidden comparison, in order to show its figurative meaning. Most often, the symbolism is found in lyrical creations. It is worth remembering Lermontov's poems "The Cliff", "It Stands Lonely in the Wild North...", "Leaf", the poem "Demon", the ballad "Three Palm Trees".

Eternal images

There are images that never fade, they combine the unity of historical and social elements. Such characters of world literature are called eternal. Prometheus, Oedipus, Cassandra immediately come to mind. Any intelligent person add here Hamlet, Romeo and Juliet, Iskander, Robinson. There are immortal novels, short stories, lyrics in which new generations of readers discover unprecedented depths.

Artistic images in lyrics

An unusual look at ordinary things allows you to see the lyrics. The keen eye of the poet notices the most everyday things that bring happiness. The artistic image in the poem can be the most unexpected. For some it is the sky, the day, the light. Bunin and Yesenin have a birch. The images of the beloved or beloved are endowed with special tenderness. Very often there are images-motives, such as: a woman-mother, wife, bride, beloved.

1. Artistic image: the meaning of the term

2. Properties of the artistic image

3. Typology (varieties) of artistic images

4. Art trails

5. Artistic images-symbols

1. Artistic image: the meaning of the term

In the very general sense An image is a sensory representation of a certain idea. Images are called empirical perceived and truly sensual in literary work objects. These are visual images (pictures of nature) and auditory (wind noise, rustling of reeds). Olfactory (smells of perfume, aromas of herbs) and taste (taste of milk, biscuits). Tactile (touch) and kinetic (related to movement) images. With the help of images, writers designate a picture of the world and a person in their works; detect movement, dynamics of action. The image is also a kind of holistic formation; thought embodied in an object, phenomenon or person.

Not every image becomes artistic. The artistry of the image lies in its special - aesthetic - purpose. It captures the beauty of nature, wildlife, man, interpersonal relationships; reveals the secret perfection of being. The artistic image is called upon to testify to the beautiful, which serves the common Good and affirms world harmony.

In terms of the structure of a literary work, the artistic image is the most important constituent element its forms. An image is a pattern on the “body” of an aesthetic object; the main "transmitting" gear of the artistic mechanism, without which the development of action, understanding of meaning is impossible. If a work of art is the basic unit of literature, then the artistic image is the basic unit of literary creation. With the help of artistic images, the object of reflection is modeled. The objects of landscape and interior, events and actions of the characters are expressed in an image. The author's intention comes through in the images; the main general idea is embodied.

So, in A. Green's extravaganza "Scarlet Sails", the main theme of love in the work is reflected in the central artistic image - scarlet sails, meaning a sublime romantic feeling. The artistic image is the sea, into which Assol peers, waiting for a white ship; the neglected, uncomfortable inn of Menners; a green bug crawling along the line with the word "look." As an artistic image (the image of the betrothal) is the first meeting with Gray Assol, when the young captain puts the ring of his betrothed on his finger; equipment of Gray's ship scarlet sails; drinking wine that no one should have drunk, etc.

The artistic images we have singled out: the sea, the ship, scarlet sails, the tavern, the bug, the wine are important details extravaganza forms. Thanks to these details, A. Green's work begins to "live". It receives the main characters (Assol and Gray), the place of their meeting (the sea), as well as its condition (a ship with scarlet sails), the means (a look with the help of a bug), the result (betrothal, wedding).

With the help of images, the writer asserts one simple truth. It is "to do so-called miracles with your own hands."

In the aspect of literature as an art form, the artistic image is the central category (as well as the symbol) literary creativity. It acts as a universal form of mastering life and at the same time a method of its comprehension. In artistic images comprehended social activity, concrete historical cataclysms, human feelings and characters, spiritual aspirations. In this aspect, the artistic image does not simply replace the phenomenon it denotes or generalizes it. character traits. He tells about real facts being; cognizes them in all their diversity; reveals their essence. Models of life are drawn in an artistic way, unconscious intuitions and insights are verbalized. It becomes epistemological; paves the way to the truth, the prototype (in this sense, we are talking about the image of something: the world, the sun, the soul, God).

Thus, the function of a "guide" to the Prototype of all things ( divine image Jesus Christ) acquires a whole system of artistic images in the story of I. A. Bunin "Dark Alleys", which refers to unexpected meeting the main characters: Nikolai and Nadezhda, once bound by the bonds of sinful love and wandering in the labyrinth of sensuality (in " dark alleys", according to the author).

The figurative system of the work is based on a sharp opposition between Nikolai (an aristocrat and a general who seduced and abandoned his beloved) and Nadezhda (a peasant woman, an inn owner who never forgot, did not forgive her love).

The appearance of Nikolai, despite his advanced age, is almost flawless. He is still handsome, elegant and fit. In his face, devotion to his work and loyalty are evidently read. However, all this is only an empty shell; empty cocoon. In the soul of a brilliant general, there is only dirt and the "abomination of desolation." The hero appears as a selfish, cold, callous person and incapable of an act even to achieve his personal happiness. He has no lofty goal, no spiritual and moral aspirations. He swims at the will of the waves, he died in soul. Literally and figuratively, Nikolai travels along the "dirty road" and therefore strongly resembles the writer's own "mud-thrown tarantass" with a coachman who looks like a robber.

Appearance of Hope ex-lover Nicholas, on the contrary, is not very attractive. The woman retained traces of her former beauty, but she stopped taking care of herself: she grew fat, grew uglier, and “became mad.” However, in her soul, Hope saved hope for the best and even love. The house of the heroine is clean, warm and comfortable, which testifies not to simple zeal or care, but also to the purity of feelings and thoughts. And “a new golden image (icon - P. K.) in the corner” clearly indicates the religiosity of the hostess, her faith in God and in His Providence. By the presence of this image, the reader guesses that Nadezhda finds the true source of Good and all Good; that she does not die in sin, but is reborn into eternal life; what is given to her is at the cost of severe mental suffering, at the cost of abandoning herself.

The need to contrast the two main characters of the story stems, according to the author, not only because of their social inequality. The contrast emphasizes different value orientation these people. He shows the perniciousness of the indifference preached by the hero. And at the same time affirms great power manifested by the heroine of love.

With the help of contrast, Bunin also achieves another, global goal. The author emphasizes the central artistic image - the icon. The icon depicting Christ becomes for the writer a universal means of spiritual and moral transformation of characters. Thanks to this image, leading to the Prototype, Nadezhda is saved, gradually forgetting about the nightmarish "dark alleys". Thanks to this Image, Nikolai also takes the path of salvation, kissing the hand of his beloved and thereby receiving forgiveness. Thanks to this Image, in which the characters find complete peace, the reader himself thinks about his life. The image of Christ leads him out of the labyrinth of sensuality to the idea of ​​Eternity.

In other words, an artistic image is a generalized picture human life, transformed in the light of the artist's aesthetic ideal; the quintessence of creatively cognizable reality. In the artistic image there is a setting for the unity of the objective and the subjective, the individual and the typical. He is the embodiment of social or private being. An artistic image is also called any image that has visibility (sensual appearance), inner essence (meaning, purpose) and a clear logic of self-disclosure.

2. Properties of an artistic image

The artistic image has special characteristic features (properties) that are inherent only to it alone. This:

1) typicality,

2) organicity (liveness),

3) value orientation,

4) understatement.

Typicality arises on the basis of the close connection of the artistic image with life and presupposes the adequacy of the reflection of being. An artistic image becomes a type in the event that it generalizes characteristic, and not random features; if it models a genuine, and not a far-fetched, imprint of reality.

So, for example, it happens with the artistic image of the elder Zosima from the novel by F.M. Dostoevsky "The Brothers Karamazov". The named hero is the brightest typical (collective) image. The writer crystallizes this image after a thorough study of monasticism as a way of life. At the same time, it focuses on more than one prototype. The author borrows the figure, age and soul of Zosima from the elder Ambrose (Grenkov), whom he personally met and talked to in Optina. Dostoevsky takes the image of Zosima from the portrait of the elder Macarius (Ivanov), who was the mentor of Ambrose himself. Mind and spirit "get" Zosima from St. Tikhon of Zadonsk.

Thanks to the typicality of literary images, artists make not only deep generalizations, but also far-reaching conclusions; soberly assess the historical situation; even look into the future.

So, for example, M.Yu. Lermontov in the poem "Prediction", where he clearly foresees the fall of the Romanov dynasty:

A year will come, a black year for Russia,

When the kings crown will fall;

The mob will forget their former love for them,

And the food of many will be death and blood...

The organic nature of the image is determined by the naturalness of its embodiment, the simplicity of expression and the need to be included in the general figurative system. The image then becomes organic when it stands in its place and is used for its intended purpose; when it flickers with the meanings given to it; when with its help the most complex organism of literary creation begins to function. The organic nature of the image lies in its liveliness, emotionality, feeling, intimacy; in what makes poetry poetry.

Let us take, for example, two images of autumn from such little-known Christian poets as the Monk Barsanuphius (Plikhankov) and L.V. Sidorov. Both artists have the same subject matter (autumn), but they live and paint it differently.

ARTISTIC IMAGE - one of the most important terms aesthetics and art history, which serves to indicate the connection between reality and art and most concentratedly expresses the specifics of art as a whole. An artistic image is usually defined as a form or means of reflecting reality in art, a feature of which is the expression of an abstract idea in a specific sensual form. Such a definition makes it possible to single out the specifics of artistic and figurative thinking in comparison with other main forms of mental activity.

A truly artistic work is always distinguished by great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. Connecting real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore bright artistic imagery not only the works of the great realist artists differ, but also those that are entirely built on fiction ( folk tale, fantasy story and etc.). Imagery collapses and disappears when the artist slavishly copies the facts of reality, or when he completely evades the depiction of facts and thereby breaks the connection with reality, concentrating on the reproduction of his various subjective states.

Thus, as a result of the reflection of reality in art, the artistic image is a product of the artist's thought, but the thought or idea contained in the image always has a concrete sensory expression. Images are called both separate expressive devices, metaphors, comparisons, and integral structures (characters, characters, the work as a whole, etc.). But beyond this, there is also a figurative system of directions, styles, manners, etc. (images medieval art, Renaissance, Baroque). An artistic image can be part of a work of art, but it can also be equal to it and even surpass it.

It is especially important to establish the relationship between the artistic image and the work of art. Sometimes they are considered in terms of cause-and-effect relationships. In this case, the artistic image acts as something derived from a work of art. If a work of art is a unity of material, form, content, i.e., everything that an artist works with to achieve an artistic effect, then the artistic image is understood only as a passive result, a fixed result. creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations original intention and sometimes the material, that is, the practice of the creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.

The main stages, or levels, of the formation of an artistic image are:

Image-intention

Piece of art

Image-perception.

Each of them testifies to a certain qualitative state in the development of artistic thought. So, the further course of the creative process largely depends on the idea. It is here that the artist’s “illumination” occurs, when the future work “suddenly” appears to him in its main features. Of course, this is a diagram, but the diagram is visual and figurative. It has been established that the image-design plays an equally important and necessary role in the creative process of both the artist and the scientist.

The next stage is connected with the concretization of the image-concept in the material. Conventionally, it is called an image-work. This is as important a level of the creative process as the idea. Here the regularities associated with the nature of the material begin to operate, and only here the work receives a real existence.

The last stage at which their own laws operate is the stage of perception of a work of art. Here imagery is nothing but the ability to recreate, to see in the material (in color, sound, word) ideological content works of art. This ability to see and experience requires effort and preparation. To a certain extent, perception is co-creation, the result of which is an artistic image that can deeply excite and shock a person, at the same time have a huge educational impact on him.