in an artistic way name any phenomenon creatively recreated in a work of art. Artistic image- this is an image created by the author in order to fully reveal the described phenomenon of reality. Unlike literature and cinema, art cannot convey movement and development in time, but this has its own strength. In the immobility of the pictorial image lies a huge power, which makes it possible to see, experience and understand exactly what in life rushes by without stopping, only fleetingly and fragmentarily touching our consciousness. An artistic image is created on the basis of means: image, sound, language environment, or a combination of several. In x. O. digested and processed creative fantasy, imagination, talent and skill of the artist, a specific subject of art is life in all its aesthetic diversity and richness, in its harmonic integrity and dramatic collisions. X. o. is an inseparable, interpenetrating unity of objective and subjective, logical and sensual, rational and emotional, mediated and immediate, abstract and concrete, general and individual, necessary and accidental, internal (regular) and external, whole and part, essence and phenomenon, content and forms. Thanks to the merger during creative process of these opposite sides into a single, integral, living image of art, the artist gets the opportunity to achieve a bright, emotionally rich, poetically penetrating and at the same time deeply spiritualized, dramatically intense reproduction of a person’s life, his activity and struggle, joys and defeats, searches and hopes. Based on this fusion, embodied with the help of material means specific to each type of art (word, rhythm, sound intonation, drawing, color, light and shadow, linear relationships, plasticity, proportionality, scale, mise-en-scène, facial expressions, film montage, close-up, angle, etc.), images-characters, images-events, images-circumstances, images-conflicts, images-details are created that express certain aesthetic ideas and feelings. It is about the system X. o. related to the ability of art to perform its specific function - to deliver a person (reader, viewer, listener) deep aesthetic pleasure, awaken in him an artist who is able to create according to the laws of beauty and bring beauty to life. Through this single aesthetic function of art, through the X. o. his cognitive value, a powerful ideological and educational, political, moral impact on people
2)Buffoons are walking across Rus'.
In 1068, buffoons were first mentioned in the annals. The image that comes to mind is a brightly painted face, funny disproportionate clothes and the obligatory cap with bells. If you think about it, you can imagine next to a buffoon some musical instrument, like a balalaika or a harp, there is still not enough bear on the chain. However, such an idea is quite justified, because back in the fourteenth century, a monk-scribe from Novgorod depicted buffoons in the margins of his manuscript. True buffoons in Rus' were known and loved in many cities - Suzdal, Vladimir, the Moscow principality, throughout Kievan Rus. The buffoons danced beautifully, provoking the people, excellently played the bagpipes, psaltery, banged on wooden spoons and tambourines, blew horns. The people called buffoons "merry fellows", composed stories, proverbs and fairy tales about them. However, despite the fact that the people were friendly to buffoons, the more noble strata of the population - princes, clergy and boyars, did not tolerate cheerful scoffers. This was due precisely to the fact that the buffoons ridiculed them with pleasure, translating the most unseemly deeds of the nobility into songs and jokes and exposing the common people to ridicule. Buffoon art developed rapidly and soon buffoons not only danced and sang, but also became actors, acrobats, jugglers. Buffoons began to perform with trained animals, arrange puppet shows. However, the more the buffoons ridiculed the princes and deacons, the more the persecution of this art intensified. Novgorod buffoons began to be oppressed throughout the country, some of them were buried in remote places near Novgorod, someone left for Siberia. A buffoon is not just a buffoon or a clown, he is a person who understood social problems, and in his songs and jokes ridiculed human vices. For this, by the way, persecution began on buffoons in the era late medieval. The laws of that time prescribed buffoons to be beaten to death immediately upon meeting, and they could not pay off the execution. Gradually, all the buffoons in Rus' bred out, and instead of them, wandering jesters from other countries appeared. English buffoons were called vagants, German buffoons were called spielmans, and French buffoons were called jongers. The art of wandering musicians in Rus' has changed a lot, but inventions such as puppet theater, jugglers and trained animals have remained. In the same way as immortal ditties and epic tales remained, which were composed by buffoons
Thought in art is expressed not in the form of formulas or some other rational constructions, as is the case in science, but through an artistic image. It is the artistic image that is the main carrier of content in art. An artistic image is a form of thinking in art, a form of expression of the ideas and worldview of the artist. No artistic image - no content. An artistic image is a specific, inherent in art way of reflecting reality, its generalization from the standpoint of an aesthetic ideal in a concrete, sensual, directly perceived form. The term "artistic image" is used in two senses (meanings, plans): as a designation of a character in a work of art (the image of Tatiana in "Eugene Onegin") and as a designation of the entire work of art.
The artistic image has a number of features:
An artistic image is a combination of the objective and the subjective. Images are created by the artist in the creative process, so they are the result of comprehension of reality;
The artistic image is associative. This is an indispensable condition. Associativity is put into it by the artist, but the viewer must also see it. Artist without associative thinking- nonsense: there is no ability to create associations, which means there is no ability to create an artistic image;
The artistic image is multi-valued. This makes it possible to choose different versions in its interpretation, the breadth of the problem;
The artistic image often remains unsaid. This leaves room for the thoughts and feelings of the perceiver (reader, viewer, listener). The more meaningful the image, the more complex and ambiguous it is in perception. It can be deciphered not only by the artist's contemporaries, but also by representatives of other generations and eras. Understatement, as well as diversity, makes the recipient active, he is given the opportunity to co-create with a writer, artist or director. The perceiver, as it were, has a starting point, but at the same time a certain free will is preserved. Understatement stimulates thought;
Artistic image of multiplanes. This means that one reading of its content does not cancel another at the same time. Thanks to its versatility, the image can be interpreted in different ways, and none of the interpretations will be false. That is why we are simultaneously interested in the Hamlet of Smoktunovsky and Vysotsky; interesting story of King Lear, interpreted with different positions: as a family drama (the betrayal of daughters), as a political drama (because of his own tyranny, Lear started the division of the state at the most inopportune moment), as a tragedy of the individual (Lear discovers that his idol - power - turned out to be false). In science, ambiguity is not in use due to objective circumstances (if you change the formula of water, you get some other substance). At the same time, the possibility of different interpretations of the artistic image does not mean that the artistic image is absolutely gutta-perchievous, that there is no internal logic. On the contrary, an artistic image has internal self-development and is conditioned by many factors: it is not without reason that writers often talk about how a character begins to live his own life from a certain moment and dictates the further development of events to the author, i.e. as if out of subordination;
The artistic image is a dialectic of the typical (i.e. widespread, universal) and the individual. An artistic image may have a specific name (Demon, Ophelia, Faust, Hamlet), but at the same time it can express a universal idea. Moreover, it is impossible to express in art the universal or the abstract outside the individual. Since the universal in art is shown through the individual, the particular, the singular, the artist must capture the most essential in the object or phenomenon. Otherwise, he will not be able to rise in his work and in his images to the level of generalization;
The artistic image is a fusion of the emotional and the rational. Art is impossible without their union. Sometimes it seems that a work is based on a pure impression (for example, an etude), but this is only an appearance, since experience and individuality play a role here too. If thoughts and feelings are not melted together, then the work can degenerate either into a cold, dry scheme, or into empty and shallow emotions.
Often a work of art contains not one image, but a whole system of artistic images - different and multifaceted. The system of images is more difficult to perceive and analyze, since each of the images not only interacts with others, but is itself in dynamics. The content of the work is not a mold of life. Art recycles reality, creates its own special conditional world, which has its own structure, existing according to its own laws.
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. This definition allows us to highlight the specifics of artistic figurative thinking in comparison with other basic forms of mental activity.
Genuinely piece of art always distinguished by a great depth of thought, the significance of the problems posed. In the artistic image, as the most important means of reflecting reality, the criteria for the truthfulness and realism of art are concentrated. By connecting the real world and the world of art, the artistic image, on the one hand, gives us the reproduction of real thoughts, feelings, experiences, and on the other hand, it does this with the help of conventional means. Truthfulness and conventionality exist together in the image. Therefore, not only the works of great realist artists are distinguished by vivid artistic imagery, but also those that are entirely built on fiction ( folk tale, fantasy story, 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 of medieval art, the Renaissance, the 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 of creative activity. Meanwhile, the activity aspect is equally inherent in both a work of art and an artistic image. Working on an artistic image, the artist often overcomes the limitations of the original idea and sometimes the material, that is, the practice of the creative process makes its own corrections to the very core of the artistic image. The art of the master here is organically merged with the worldview, the aesthetic ideal, which are the basis of the artistic image.
The main stages, or levels, of the formation of an artistic image are:
Image-intention
Piece of art
Image-perception.
Each of them testifies to a certain qualitative state in 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.
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 of social 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 detection 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- main plot elements:
Lyrical-epic genres and their specificity.
Lyric epic genres reveal connections within literature: from lyrics - a theme, from epic - a plot.
Combining an epic narrative with a lyrical beginning - a direct expression of the experiences, thoughts of the author
1. poem. – genre content can be either epic or lyrical. (in this regard, the plot is either enhanced or reduced). In antiquity, and then in the era of the Middle Ages, Renaissance and Classicism, the poem, as a rule, was perceived and created synonymously with the epic genre. In other words, these were literary epics or epic (heroic) poems. The poem has no direct dependence on the method, it is equally represented in romanticism ("Mtsyri"), in realism ("The Bronze Horseman"), in symbolism ("12")...
2. ballad. - (French "dance song") and in this sense it is a specifically romantic narrative poetic work. In the second meaning of the word, the ballad is a folklore genre; this genre characterizes the Anglo-Scottish culture of the 14th-16th centuries.
3. fable is one of the oldest genres. Poetics of the fable: 1) satirical orientation, 2) didacticism, 3) allegorical form, 4) feature genre form yavl. The inclusion in the text (at the beginning or at the end) of a special short stanza - morality. The fable is connected with the parable, besides, the fable is genetically connected with the fairy tale, the anecdote, and later the short story. fable talents are rare: Aesop, Lafontaine, I.A. Krylov.
4. lyrical cycle- this is a kind of genre phenomenon related to the field of lyrical epic, each work of which was and remains a lyrical work. All together these lyrical works create a "circle": a unifying principle yavl. theme and lyrical hero. Cycles are created as "one moment" and there may be cycles that the author forms over many years.
Basic concepts of poetic language and their place in 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, that is, the actual communicative and poetic functions of the language, was proposed in the first decades of the 20th century. representatives of OPOYAZ (see). P. Ya., in their opinion, differs from the usual tangibility of its construction: it draws attention to itself, in a certain sense slows down reading, destroying the usual automatism of text perception; 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 related, on the one hand, to literary language(see), which is its normative basis, and on the other hand, with the national language, from which 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.
The artistic method (creative) method is a combination 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 historically determined general forms emotionally colored figurative thinking.
Art objects are the aesthetic qualities of reality, i.e. “the wide social significance of the phenomena of reality, drawn into social practice and bearing the stamp of essential forces” (Yu. Borev). The subject of art is understood as a historically changeable phenomenon, and changes will depend on the nature of social practice and the development of reality itself. The artistic method is analogous to the object of art. Thus, 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 expression- in the living matter of the image. This matter of the image arises as a result of the artist’s personal, most intimate interaction with the concrete world around him, which determines the entire artistic and thought process necessary to create a work of art” (L.I. Timofeev)
The creative method is nothing more than a projection of imagery into a certain concrete historical setting. Only in it does the figurative perception of life receive its concrete realization, i.e. is transformed into a certain, organically arisen system of characters, conflicts, storylines.
The artistic method is not an abstract principle of selection and generalization of the phenomena of reality, but a historically conditioned understanding of it in the light of the main questions that life poses to art at each new stage of its development.
The diversity of artistic methods in the same era is explained by the role of worldview, which acts as an essential factor in the formation of the artistic method. In each period of the development of art, there is a simultaneous emergence of various artistic methods depending on the social situation, since the era will be considered and perceived by artists in different ways. The proximity of aesthetic positions determines the unity of the method of a number of writers, which is associated with the commonality of aesthetic ideals, the kinship of characters, the homogeneity of conflicts and plots, and the manner of writing. So, for example, K. Balmont, V. Bryusov, A. Blok are associated with symbolism.
The artist's method is felt through style his works, i.e. through 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 gives rise to certain ideological and artistic features of art. The concept of method and individual style of the writer correlate with each other as the concept of genus and species.
Interaction method and style:
§ variety of styles within one creative method. This is confirmed by the fact that representatives of this or that method do not adjoin any one style;
§ stylistic unity is possible only within one method, since even the external similarity of the works of authors adhering to the same method does not give grounds for attributing them to 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. In their totality, the methods form literary currents (or trends: 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 on the basis of one or another artistic method his own individual style. We can say that the creative individuality of the writer is necessary condition further development of each artistic method. We can talk about a new artistic method when new individual phenomena created by the creative individualities of writers become general and represent a new quality in their totality.
The artistic method and creative individuality of the writer are manifested in literature through the creation of literary images, the construction of motives.
mythological school
The emergence of the mythological school at the turn of the 18th–19th centuries. The Influence of "German Mythology" by the Brothers Grimm on the Formation of the Mythological School.
Mythological school in Russian literary criticism: A.N. Afanasiev, F.I. Buslaev.
Traditions of the mythological school in the works of K.Nasyri, Sh.Marjani, V.V.Radlov and others.
biographical method
Theoretical and methodological foundations of the biographical method. Life and work of Sh.O. Saint-Bev. Biographical method in Russian literary criticism of the 19th century. ( scientific activity N.A. Kotlyarevsky).
Transformation of the Biographical Method in the Second Half of the 20th Century: Impressionist Criticism, Essayism.
Biographical approach to the study of the heritage of major artists of the word (G. Tukay, S. Ramieva, Sh. Babich and others) in the works of Tatar scientists of the 20th century. The use of a biographical approach in the study of the works of M. Jalil, H. Tufan and others. Essay writing at the turn of the 20th-21st centuries.
Psychological direction
Spiritual-historical school in Germany (W.Dilthey, W.Wundt), psychological school in France (G.Tard, E.Enneken). Causes and conditions for the emergence of a psychological direction in Russian literary criticism. Concepts of A.A. Potebnya, D.N. Ovsyaniko-Kulikovskiy.
Psychological approach in Tatar literary criticism of the early twentieth century. Views of M.Marjani, J.Validi, G.Ibragimov, G.Gubaydullin, A.Mukhetdiniya and others. 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 V.F. Pereverzeva). FG Galimullin about vulgar sociologism in Tatar literary criticism.
Sociologism as an element in literary concepts of the second half of the 20th century (V.N. Voloshinov, G.A. Gukovsky).
The emergence of new concepts, directions that managed to overcome the reductionism of the sociological approach. The life and work of M.M. Bakhtin, the concept of dialogue. An attempt to expand the possibilities of the sociological method in the works of M. Gainullin, G. Khalit, I. Nurullin.
Sociologism on a global scale: in Germany (B. Brecht, G. Lukacs), in Italy (G. Wolpe), in France, striving for the synthesis of sociologism and structuralism (L. Goldman), sociologism and semasiology.
formal school.
Scientific methodology of the formal school. Proceedings of V. Shklovsky, B. Eichenbaum, B. Tomashevsky. The concepts of "reception / material", "motivation", "estrangement", etc. Formal school and literary methodologies of the XX century.
Influence of the formal school on the views of Tatar literary critics. Articles by H.Taktash, H.Tufan on versification. Proceedings of H. Vali. T.N.Galiullin about formalism in Tatar literature and literary criticism.
Structuralism
The role of the Prague linguistic circle and the Genevan linguistic school in the formation of structuralism. The concepts of structure, function, element, level, opposition, etc. Ya. Mukarzhovsky's views: structural dominant and norm.
Activities of the Parisian semiotic schools (early R. Barthes, K. Levy-Strauss, A. J. Greimas, K. Bremont, J. Genette, W. Todorov), the Belgian school of the sociology of literature (L. Goldman and others).
Structuralism in Russia. Attempts to apply the structural method in the study of Tatar folklore (works by M.S. Magdeev, M.Kh. Bakirov, A.G. Yakhin), in school analysis (A.G. Yakhin), in the study of the history of Tatar literature (D.F. Zagidullina and others).
Emergence narratology - the theory of narrative texts within the framework of structuralism: P. Lubbock, N. Friedman, A.–J. Greimas, J. Genette, W. Schmid. Terminological apparatus of narratology.
B.S.Meilakh about complex method in literary criticism. Kazan base group Yu.G. Nigmatullina. Problems of forecasting the development of literature and art. Proceedings of Yu.G. Nigmatullina.
An integrated method in the studies of Tatar literary critics T.N. Galiullina, A.G. Akhmadullina, R.K. Ganieva and others.
hermeneutics
The first information about the problem of interpretation in Ancient Greece and 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 are characterized by originality, originality. They are usually the product of the writer's imagination. Individual images are most often found among romantics and science fiction writers. Such, for example, are Quasimodo in the "Cathedral Notre Dame of Paris» V. Hugo, the Demon in the poem of the same name by M. Lermontov, Woland in The Master and Margarita by A. Bulgakov.
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 of the "little man" in the work of Russian writers - from Pushkin and Gogol to M. Zoshchenko and A. Platonov.
Archetype. For the first time this term is found among German romantics at the beginning of the 19th 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. Most often, 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.
a way and form of mastering reality in art, a general category of arts. creativity. Among other aesthetic. categories category X. o. are of comparatively late origin. In ancient and middle-century. aesthetics, which did not single out the artistic in a special sphere (the whole world, space - an artistic work of the highest order), art was characterized by predominantly. canon - a set of technological. recommendations that provide imitation (mimesis) of art. the beginning of life itself. To the anthropocentric The aesthetics of the Renaissance goes back (but terminologically fixed later - in classicism) the category of style associated with the idea of the active side of the art, the right of the artist to form a work in accordance with his creative work. initiative and immanent laws of a particular type of art or genre. When, following the de-aestheticization of being, the de-aestheticization of practical activity, a natural reaction to utilitarianism gave a specific. understanding of the arts. forms as organization according to the principle of internal. purpose, not external use (beautiful, according to Kant). Finally, in connection with the process of "theorizing" the claims, they will finish. separating it from the dying arts. crafts, pushing architecture and sculpture to the periphery of the system of arts and pushing to the center of more "spiritual" arts in painting, literature, music ("romantic forms", according to Hegel), it became necessary to compare the arts. creativity with the sphere of scientific and conceptual thinking to understand the specifics of both. Category X. o. took shape in Hegel's aesthetics precisely as an answer to this question: the image "... puts before our eyes, instead of an abstract essence, its concrete reality ..." (Soch., vol. 14, M., 1958, p. 194). In the doctrine of forms (symbolic, classical, romantic) and types of art, Hegel outlined various principles for constructing X. o. as different types of correlation "between the image and the idea" in their historical. and logical. sequences. Going back to Hegelian aesthetics, the definition of art as "thinking in images" was subsequently subjected to vulgarization in a one-sided intellectualistic. and positivist-psychological. concepts of X. o. late 19th - early 20th century In Hegel, who interpreted the entire evolution of being as a process of self-knowledge, self-thinking abs. spirit, just when understanding the specifics of the claim, the emphasis was not on "thinking", but on the "image". In the vulgarized understanding of X. o. was reduced to a visual representation of the general idea, to a special cognition. a technique based on demonstration, display (instead of scientific evidence): an example image leads from particulars of one circle to particulars of others. circle (to their "applications"), bypassing the abstract generalization. From this perspective, art. the idea (or rather, the plurality of ideas) lives separately from the image - in the head of the artist and in the head of the consumer, who finds one of the possible uses for the image. Hegel saw the knower. side X. about. in his ability to be the bearer of a particular art. ideas, the positivists - in the explanatory power of its depiction. At the same time, the aesthetic pleasure was characterized as a kind of intellectual satisfaction, and the whole sphere is not depicted. claim-in was automatically excluded from consideration, which called into question the universality of the category "X. o." (for example, Ovsyaniko-Kulikovsky divided suits into "figurative" and "emotional", i.e., ugly ones). As a protest against intellectualism in the beginning. 20th century shameless theories of art arose (B. Christiansen, Wölfflin, Russian formalists, and partly L. Vygotsky). If already positivism is intellectualistic. sense, putting the idea, meaning out of the brackets X. o. - in psychology. the area of "applications" and interpretations, identified the content of the image with its thematic. filling (despite the promising doctrine of the internal form developed by Potebnya in line with the ideas of W. Humboldt), the formalists and "emotionalists" actually took a further step in the same direction: they identified the content with the "material", and the concept of the image was dissolved in the concept form (or design, reception). In order to answer the question for what purpose the material is processed by the form, it was necessary - in a hidden or frank form - to ascribe to the work of art an external, in relation to its integral structure, purpose: art began to be considered in some cases as hedonistically individual, in others - as a social "technique of feelings." Cognitive. utilitarianism was replaced by educational-"emotional" utilitarianism. Modern aesthetics (Soviet and partly foreign) returned to the figurative concept of art. creativity, extending it to non-depicts. lawsuit-va and thereby overcoming the original. intuition "visibility", "seeing" in letters. sense of these words, to-heaven was included in the concept of "X. o." under the influence of antiquity. aesthetics with its experience of plasticity. claim-in (Greek ????? - image, image, statue). Semantics of Russian. the word "image" successfully points to a) the imaginary existence of art. fact, b) its objective existence, the fact that it exists as a certain integral formation, c) its meaningfulness (the "image" of what?, i.e. the image presupposes its semantic prototype). X. o. as a fact of imaginary being. Each work of art-va has its own material and physical. the basis, which is, however, immediate. bearer of non-arts. meaning, but only the image of this meaning. Potebnya with his characteristic psychologism in the understanding of X. o. proceeds from the fact that X. o. there is a process (energy), a crossing of creative and co-creative (perceiving) imagination. The image exists in the soul of the creator and in the soul of the perceiver, but the objectively existing art. the subject is only material means arousal of fantasy. In contrast, objectivist formalism considers art. a work as a made thing, which has an existence independent of the creator's intentions and the perceptions of the perceiver. Having studied the objective-analytical through material senses. the elements of which this thing consists, and their relationships, one can exhaust its construction, explain how it is made. The difficulty, however, lies in the fact that art. the work as an image is both a given and a process, it both abides and lasts, it is both an objective fact and an intersubjective procedural connection between the creator and the perceiver. Classic German. aesthetics considered art as a kind of middle sphere between the sensual and the spiritual. “In contrast to the immediate existence of objects of nature, the sensuous in a work of art is elevated by contemplation into pure vision and power, and the work of art is in the middle between immediate sensibility and thought belonging to the realm of the ideal” (Hegel V. F., Aesthetics, vol. 1, Moscow, 1968, p. 44). The very material X. o. already to a certain extent decomposed, ideal (see Ideal), and natural material here plays the role of material for material. For example, White color a marble statue does not appear in itself, but as a sign of a certain figurative quality; we must see in the statue not a "white" man, but the image of a man in his abstract corporeality. The image is both embodied in the material and, as it were, not embodied in it, because it is indifferent to the properties of its material basis as such and uses them only as signs of its own. nature. Therefore, the being of an image, fixed in its material basis, is always realized in perception, addressed to it: until a person is seen in a statue, it remains a piece of stone, until a melody or harmony is heard in a combination of sounds, it does not realize its figurative quality. The image is imposed on consciousness as an object given outside of it, and at the same time it is given freely, non-violently, because a certain initiative of the subject is required for this object to become precisely an image. (The more idealized the material of the image, the less unique and easier it is to copy its physical basis - the material of the material. Printing and sound recording cope with this task almost without loss for literature and music, copying works of painting and sculpture already encounters serious difficulties, and architectural structure hardly suitable for copying, tk. the image here is so closely fused with its material basis that the most natural environment of the latter becomes a unique figurative quality.) This conversion of X. o. to the perceiving consciousness is important condition his historical life, its potential infinity. In X. o. there is always an area of the unspoken, and understanding-interpretation is therefore preceded by understanding-reproduction, some free imitation of the inner. artist's facial expressions, creatively voluntary following it along the "grooves" of the figurative scheme (to this, in the most in general terms , the doctrine of the internal is reduced. form as an "algorithm" of the image, developed by the Humboldt-Potebnian school). Consequently, the image is revealed in each understanding-reproduction, but at the same time remains itself, because. all implemented and many unrealized interpretations are contained as a provided creative. an act of possibility, in the very structure of X. o. X. o. as an individual wholeness. Artistic likeness. A work of art for a living organism was outlined by Aristotle, according to whom poetry should "... produce its inherent pleasure, like a single and whole living being" ("On the art of poetry", M., 1957, p. 118). It is noteworthy that the aesthetic pleasure ("pleasure") is considered here as a consequence of the organic nature of the arts. works. Representation of X. about. as an organic whole played a prominent role in later aesthetic. concepts (especially in German romanticism, Schelling, in Russia - A. Grigoriev). With this approach, the expediency of X. o. acts as its wholeness: each detail lives thanks to its connection with the whole. However, any other integral structure (for example, a machine) determines the function of each of its parts, thereby bringing them to a whole-created unity. Hegel, as if anticipating the criticism of later primitive functionalism, sees the difference. traits of living integrity, animated beauty in that unity does not manifest itself here as abstract expediency: "... members of a living organism receive ... visibility by chance, that is, together with one member is not given also the certainty of the other" ("Aesthetics", vol. 1, M., 1968, p. 135). Like this, art. the work is organic and individual, i.e. all its parts are individualities, combining dependence on the whole with self-sufficiency, for the whole does not simply subdue the parts, but endows each of them with a modification of its fullness. The hand on the portrait, a fragment of the statue produce independent art. impression precisely because of this presence in them of the whole. This is especially clear in the case of lit. characters who have the ability to live outside of their art. context. "Formalists" rightly pointed out that lit. the hero acts as a sign of plot unity. However, this does not prevent him from maintaining his individual independence from the plot and other components of the work. On the inadmissibility of decomposing the works of the claim into technical service and independent. moments spoke many. Russian critics. formalism (P. Medvedev, M. Grigoriev). In arts. the work has a constructive frame: modulations, symmetry, repetitions, contrasts, carried out differently at each of its levels. But this framework is, as it were, dissolved and overcome in the dialogically free, ambiguous communication of the parts of X. o. the life of figurative unity, its animation and actual infinity. In X. o. there is nothing accidental (i.e., extraneous to its integrity), but there is nothing uniquely necessary either; the antithesis of freedom and necessity is "removed" here in the harmony inherent in X. o. even when he reproduces the tragic, the cruel, the terrible, the absurd. And since the image is ultimately fixed in the "dead", inorganic. material, there is a visible revitalization of inanimate matter (the exception is the theater, which deals with living "material" and all the time strives, as it were, to go beyond the scope of art and become a vital "act"). The effect of the "transformation" of the inanimate into the animate, the mechanical into the organic - ch. source of aesthetic pleasure delivered by the claim, and the premise of its humanity. Some thinkers believed that the essence of creativity lies in the destruction, overcoming the material by form (F. Schiller), in the violence of the artist over the material (Ortega y Gaset). L. Vygotsky in the spirit of the influential in the 1920s. constructivism compares the work of art with flying. with an apparatus heavier than air (see "Psychology of Art", M., 1968, p. 288): the artist conveys the moving through the resting, the airy through the heavy, the visible through the audible, or the beautiful through the terrible, the high through the low, etc. Meanwhile, the "violence" of the artist over his material consists in the release of this material from mechanical external bonds and clutches. The freedom of the artist is in harmony with the nature of the material, so that the nature of the material becomes free and the freedom of the artist involuntary. As has been repeatedly noted, in perfect poetic works the verse reveals in the alternation of vowels such an immutable ext. coercion, which makes it look like natural phenomena. those. in the general language phonetic. In the material, the poet releases such an opportunity, forcing him to follow him. According to Aristotle, the realm of claims is not the realm of the actual and not the realm of the regular, but the realm of the possible. Art cognizes the world in its semantic perspective, recreating it through the prism of the arts embedded in it. opportunities. It gives a specific arts. reality. Time and space in art-ve, in contrast to empirical. time and space are not clippings from homogeneous time or space. continuum. Arts. time slows down or speeds up depending on its content, each temporal moment of the work has a special significance depending on its correlation with the "beginning", "middle" and "end", so that it is evaluated both retrospectively and prospectively. Thus art. time is experienced not only as fluid, but also as spatially closed, visible in its completeness. Arts. space (in space arts) is also formed, regrouped (condensed in some parts, rarefied in others) by its content and therefore coordinated within itself. The frame of the picture, the pedestal of the statue do not create, but only emphasize the autonomy of the artistic architectonic. space, being auxiliary. means of perception. Arts. space, as it were, harbors temporal dynamics: its pulsation can be revealed only by moving from a general view to a gradual multi-phase consideration in order to then return to a holistic coverage. In arts. phenomenon, the characteristics of real life (time and space, rest and movement, object and event) form such a mutually justified synthesis that they do not need any motivations and additions from outside. Arts. idea (meaning X. o.). Analogy between X. o. and a living organism has its limit: X. o. as an organic integrity is, first of all, something significant, formed by its own meaning. Art, being image-creation, necessarily acts as meaning-creation, as the incessant naming and renaming of everything that a person finds around and within himself. In art, the artist always deals with expressive, intelligible being and is in a state of dialogue with it; "For a still life to be created, the painter and the apple must collide and correct each other." But for this, the apple must become a "talking" apple for the painter: many threads must extend from it, weaving it into an integral world. Any work of art is allegorical, since it speaks of the world as a whole; it does not "explore" c.-l. one aspect of reality, and concretely represents on its behalf in its universality. In this it is close to philosophy, also, unlike science, it is not of a sectoral nature. But, unlike philosophy, art is not systemic either; in private and specific. material, it gives the personified Universe, while at the same time there is a personal Universe of the artist. It cannot be said that the artist depicts the world and, "besides," expresses his attitude towards it. In such a case, one would be an annoying hindrance to the other; we would be interested either in the fidelity of the image (the naturalistic concept of art), or the meaning of the individual (psychological approach) or ideological (vulgar sociological approach) "gesture" of the author. Rather, the opposite is true: the artist (in sounds, movements, object forms) gives expression. being, on which was inscribed, depicted his personality. How does the expression express. being X. o. There is allegory and knowledge through allegory. But as an image of the personal "handwriting" of the artist X. o. there is a tautology, a complete and only possible correspondence with the unique experience of the world that gave rise to this image. As the personified Universe, the image is ambiguous, because it is the living center of many positions, both one and the other, and the third at once. As a personal universe, the image has a strictly defined evaluative meaning. X. o. - the identity of allegory and tautology, ambiguity and certainty, knowledge and evaluation. The meaning of the image, art. an idea is not an abstract position, which has become concrete, embodied in an organized feeling. material. On the way from conception to the embodiment of art. an idea never passes the stage of abstraction: as an idea, it is a concrete point in a dialogic the artist's encounter with being, i.e. prototype (sometimes a visible imprint of this original image is preserved in the finished work, for example, the prototype of the "Cherry Orchard", which remained in the title of Chekhov's play; sometimes the prototype-intent is dissolved in the completed creation and we catch it only indirectly). In arts. thought loses its abstractness, and reality loses its silent indifference to human beings. "opinion" about her. This grain of the image from the very beginning is not only subjective, but subjective-objective and vital-structural, and therefore has the ability to spontaneous development, to self-clarification (as evidenced by numerous recognitions of people of art). The prototype as a "formative form" draws into its orbit all new layers of material and shapes them through the style it sets. The conscious and volitional control of the author is to protect this process from accidental and incidental moments. The author, as it were, compares the created work with a certain standard and removes the excess, fills in the voids, eliminates the gaps. The presence of such a "standard" we usually acutely feel "on the contrary" when we assert that in such and such a place or in such and such a detail the artist did not remain faithful to his plan. But at the same time, as a result of creativity, something truly new arises, something that has never been before, and, therefore, there is essentially no "standard" for the work being created. Contrary to the Platonic view, sometimes popular even among the artists themselves ("In vain, artist, you think that you are the creator of your creations ..." - A. K. Tolstoy), the author does not just reveal art in the image. idea, but creates it. The prototype-design is not a formalized given that builds up material shells, but rather a channel of imagination, a “magic crystal”, through which the distance of future creation is “unclearly” distinguished. Only upon completion of art. work, the indefiniteness of the idea turns into a multi-valued certainty of meaning. Thus, at the stage of conception of art. the idea acts as a certain concrete impulse that arose from the "collision" of the artist with the world, at the stage of incarnation - as a regulative principle, at the stage of completion - as a semantic "facial expression" of the microcosm created by the artist, his living face, which at the same time is a face the artist himself. Various degrees of regulatory power of the arts. ideas combined with different material gives different types of X. o. A particularly energetic idea can, as it were, subdue its art. realization, to "acquaint" it to such an extent that the objective forms will be barely outlined, as is inherent in certain varieties of symbolism. A meaning that is too abstract or indefinite can only conditionally come into contact with objective forms, without transforming them, as is the case in naturalistic. allegories, or mechanically connecting them, as is typical of allegorical magic. fantasy of ancient mythologies. The meaning is typical. the image is concrete, but limited by specificity; feature object or person here becomes a regulative principle of constructing an image that fully contains its meaning and exhausts it (the meaning of Oblomov's image is in "Oblomovism"). At the same time, a characteristic feature can subjugate and "signify" all the others to such an extent that the type develops into a fantastic one. grotesque. On the whole, the diverse types of X. o. art dependent. self-awareness of the era and are modified internally. the laws of each claim. Lit.: Schiller F., Articles on aesthetics, trans. [from German], [M.–L.], 1935; Goethe V., Articles and thoughts about the art, [M.–L.], 1936; Belinsky V. G., The idea of art, Poln. coll. soch., vol. 4, M., 1954; Lessing G. E., Laokoon ..., M., 1957; Herder I. G., Izbr. cit., [trans. from German.], M.–L., 1959, p. 157–90; Schelling F.V., Philosophy of art, [transl. from German.], M., 1966; Ovsyaniko-Kulikovsky D., Language and Art, St. Petersburg, 1895; ?fuck off?. ?., From notes on the theory of literature, X., 1905; his own, Thought and Language, 3rd ed., X., 1913; his, From lectures on the theory of literature, 3rd ed., X., 1930; Grigoriev M.S., Form and content of the literary art. Prod., M., 1929; Medvedev P. 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Y., ; Pongs H., Das Bild in der Dichtung, Bd 1–2, Marburg, 1927–39; Jonas O., Das Wesen des musikalischen Kunstwerks, W., 1934; Souriau E., La correspondance des arts, P., ; Staiger E., Grundbegriffe der Poetik, ; his own, Die Kunst der Interpretation, ; Heidegger M., Der Ursprung des Kunstwerkes, in his book: Holzwege, Fr./M., ; Langer S.K. Feeling and form. A theory of art developed from philosophy in a new key, ?. Y., 1953; her own, Problems of art, ?. Y., ; Hamburger K., Die Logik der Dichtung, Stuttg., ; Empson W., Seven types of ambiguity, 3 ed., N. Y., ; Kuhn H., Wesen und Wirken des Kunstwerks, M?nch., ; Sedlmayr H., Kunst und Wahrheit, 1961; Lewis C. D., The poetic image, L., 1965; Dittmann L. Stil. symbol. Struktur, Mönch., 1967. I. Rodnyanskaya. Moscow.
