The composition of a literary work. Aspects of composition

1 question:

The meaning of the term "literary work", central to the science of literature, seems self-evident. However, it is not easy to define it clearly. A work of art is an original, finished piece of art work, the result of the aesthetic development of action; this refers to the final image of the world .. The starting point for the analysis of a work of art is the position of the unity of form and content in a work. Content and form are correlative concepts, passing into each other. But at the heart of this "mutual transition" of the form and content of the work is still the content, because it is looking for a form for itself in which the most complete expression of the ideological and philosophical essence of the content is possible. The text is a complex of words. signs, cat. For every reader are the same. The text becomes a work when it enters the context: history, the context of reading perception. The concepts of text and work are correlated when we are dealing with plot and plot (text = plot, plot = production). The text can be divided, the product is impossible, since it exists in the ind. consciousness. The form is disposable, i.e. inseparable from content (content can be expressed only in this form or vice versa). Informativeness of external form is its content. rhythmic form. org-ii (poetry and prose) is also informative. Semantic halo (Gasparov) of the meter-def. semantic content of this or that meter.

Loop and Fragment- polar phenomena, cat. Sub-t integrity of production. Cycle- a group of productions, united by one hero, problem, place and t action, double authorship (Pushkin's Little Tragedies, Notes of the hunter Turgenev, Dark alleys) . Fragment- part of the work, which received the status of independent work, completed work, existence (At Lukomorye, "Childhood of Bagrov-grandson - Scarlet Flower").

Frame component of the work - strong positions of the text, which are deeply contained: the title reflects the writer's aesthetic view, the epigraph is the author's position, dedication, prologues, epilogue, author's commentary, note, the first line of the verse. Any literary work consists of 3 structural levels: 1. level of external form = style: speech org, rhythmic-melodic org; 2. The level of internal form (Potebnya) = genre: space-time org-I, subjective org-I, motivic org-I, subject org-I, type of pathos. 3. Conceptual level = meter: topics, problems, artistic idea.

Structural model of works: 1st level of external form (words and rhythm, artistic speech, rhythmic organization). Level 2 of the internal form of the word: air defense, character system; 3rd level conceptual - topics, probleatics. artistic ideal.

content is the essence of any phenomenon; form is the expression of that essence. Ancient philosophers (Plato, Aristotle) ​​spoke about content and form. The allocation of a reasonable category of content and form occurred in the XVIII - early XIX centuries. It was carried out by German classical aesthetics. Content in literature - statements of the writer about the world; form is a system of sensually perceived signs with the help of which the writer's word finds its expression. It is the art form that harmonizes the disordered material of life and transforms it into a picture of the world.

Functions art form:

1. Inner: carry and reveal artistic content;
2. External: the form is created according to the laws of beauty and aesthetics, it affects the reader.

In art, the connection between content and form is of a different nature than in science. In science, the phrase can be reformulated. In art, content and form should correspond to each other as much as possible, they are inextricably linked. « artistic idea in itself it bears the principle and mode of its manifestation, and it freely creates its own form” (Hegel). The continuity of content and form in a literary work is revealed in the concept meaningful form- the impossibility of the existence of an empty form or unformed content. The ratio of content and form is a criterion for the artistic evaluation of a literary work.

Aspects of artistic form and content:

1. Ontological- formless content is impossible, just like a formless form;
2. Axiological- the ratio of content and form is the criterion of artistry.

Regulations on inseparable connection content and form in works of art has been repeatedly ignored. The formal school (1910-1920) neglected artistic content, arguing that the reflection of action is not included in the tasks of art. In the unity of content and form, the leading role belongs to the content. It is more dynamic, movable, changing with life. The form is more conservative, inert, changing much more slowly. IN turning points development of art there is a conflict of new content with the old form, leading to the search for a new artistic unity. There is a need to clothe new content, the creators of new forms appear. Imitation hinders the development of literature. New form is not generated automatically. When the direction changes, the form lags behind the content. The old, obsolete form cannot be organically combined with the new content.

2 question:

Literary hermeneutics (from the Greek I explain, interpret) is the science of interpreting texts, the doctrine of the principles of their interpretation. It includes commenting, interpreting the text, clarifying its content and establishing its meaning in

history of literature. Unlike poetics, hermeneutics is not aimed at revealing the system of means by which artistic message, but to reveal the secret of its semantic content.

Initially, the role of hermeneutics was reduced to the interpretation of oracle divinations. In the future, the scope of its application expanded to include the interpretation of sacred texts, laws and classical poetry. In the Middle Ages, literary hermeneutics existed as part of classical philology, interest in which sharply increased during the Renaissance. At the turn of the Middle Ages and modern times, there was an understanding that philological hermeneutics and biblical hermeneutics, which developed in parallel, use common methods of interpretation and that both of them are united in their essence.

Modern literature defines hermeneutics as the art of interpretation (and sometimes of understanding). IN general theory hermeneutic understanding - not just the perception of information. Its purpose is to penetrate the system of sign symbols that make up speech in order to more adequately comprehend the meaning hidden in them.

The leading theorists of hermeneutics are German scientists of the 18th-19th centuries. F. Schleiermacher and W. Dilthey. Modern hermeneutics as a science was developed by H. Gadamer and E. Hirsch.

The first universal theory of understanding was proposed by F. Schleiermacher. In his theoretical constructions, he proceeded from the fact that misunderstanding arises by itself, and not understanding. Seeing in hermeneutics the art of avoiding misunderstanding, he considered it necessary to explore the essence of the process of understanding.

Schleiermacher formulated seven rules for understanding text:

Need to catch common sense and the composition of the work;

See the connection between the whole and the parts;

Bear in mind that this understanding cannot be absolute and exhaustive;

Combine intuitive and analytical approaches;

Consider both the content of the text and to whom it was addressed.

In the text of any work, according to Schleiermacher, two principles can be combined - following the existing rules and deviating from them, due to the fact that the genius himself creates images and sets the rules. Therefore, knowledge of the rules is necessary, but not sufficient to understand the work. Genius free from rules should be comprehended directly, as if turning oneself into another. This becomes the impetus for the prophetic gift, the ability to predict, the conjecture that makes the interpreter congenial to the author.

In the concept of Schleiermacher, understanding is not reduced to a single act, but is a process with repeated identification of oneself with the author at different levels of understanding, a hermeneutic circle. The reason for the circularity of this process was seen by the scientist in the fact that nothing interpreted can be understood at one time. The process of understanding could last up to the moment when everything suddenly becomes clear to the interpreter to the details.

Hermeneutics of modern times transferred from ancient rhetoric to the theory of understanding the rule according to which the whole must be understood on the basis of the part, and the part on the basis of the whole. This rule is called the hermeneutic circle, the circle of the whole and the part, or the circle of understanding. The hermeneutic circle itself is defined as the paradox of the irreducibility of understanding and interpreting a text to a logically consistent algorithm.

The interpretation of the work occurs on the basis of a combination of the application of the rule and conjecture, intuitive understanding. That is why for a long time hermeneutics remained an art, not a science.

Hermeneutics took shape as a science thanks to the works of H. Gadamer. He introduced the principle of multiple descriptions of a work as a system.

The presence of the hermeneutic circle indicates that it is not the application of the rule of the whole and the part that generates the circle of understanding, but, on the contrary, the presence of the circle of understanding makes it possible to use the rule of the whole and the part. The closedness of the circle of understanding is a prerequisite for the infinity of the process of interpretation, if we are talking about the text of a literary work.

Gadamer's idea that the true meaning of a text or work of art can never be completely exhausted and that the approach to it is an endless process, corresponds to the principle of multiple descriptions of each system. This principle excludes the possibility of giving one single correct description, which would be the end point in the process of interpreting a literary work, but allows for the possibility of the existence of many equally correct, although not exhaustive descriptions.

Principles of text interpretation formulated by H. Gadamer:

Putting forward a certain hypothesis, which contains a premonition or pre-understanding of the meaning of the text as a whole (the initial impression, often formed even before reading the text, an assumption about the meaning of the whole work);

Interpretation based on this meaning of its individual fragments, i.e. movement from the whole to its parts (search for confirmation of one's correctness in the text, clarification of new meanings or meanings that are opposite to the original hypothesis);

Correction of the holistic meaning based on the analysis separate fragments text, i.e. reverse movement from parts to the whole (a conclusion about the meaning of the entire text, made through the analysis of its parts);

An enriched understanding of the whole allows you to rethink and understand the parts of the whole in a new way ( new search confirmation, refutation, etc.).

Thus, the circle is not only closed, but also repeated many times. The movement between the reader's and the author's perception in the process of "misunderstanding" and "pre-understanding" leads to an "understanding" of the text, which is never complete.

Interpretation is impossible without the ability to feel aesthetic pleasure from communicating with the phenomenon of literature (the principle of emotionality). The interpreter is obliged to recognize the authority of the author of the work, as well as proceed from his own ethical and aesthetic principles, but be free to choose the goal, context, conventions of the theoretical language of interpretation. Mastering the "life of the spirit" occurs due to immersion in a certain cultural and historical tradition; hermeneutical experience, given tradition, also takes into account the historical distance separating writer and reader.

The analysis of a work ends not with a search for commonality between form and content, but with the establishment of a personal understanding between a literary work and the reader.

The method takes into account both the subjective individuality of the interpreter and the objective situation of the time of writing, the influence of traditions and cultural context, which in general makes it possible to constantly update, but adequate perception of the text.

In Russia, the theoretician of hermeneutics was G.G. Shpet. The key idea of ​​G.G. Shpeta: it is impossible for some opinion to act as indisputable “knowledge”, restricting the freedom of everyone else.

Speaking about the ambiguity of the image, G.G. Shpet argues that in any image, the conceptual and emotional-sensory principles coexist. This idea of ​​G.G. Shpeta

new reveals the position of the inexhaustibility of art. The sliding of an image (symbol) between two spheres endows the image with the properties of both. Depending on the context in the word, signs of a conceptual or emotional-sensory series come to the fore.

In recent times, literary hermeneutics has taken the path of creating specialized techniques and interpretive models. This work was carried out sometimes independently of the ideas of H. Gadamer (M.M. Bakhtin, D.S. Likhachev), sometimes in connection with them (G.I. Bogin), sometimes in opposition to them (E. Donalds, E. Hirsch) .

Basic concepts of hermeneutics: understanding, interpretation (interpretation), meaning.

Comprehension is a superficial awareness of the text. Interpretation is a secondary component of understanding after intuition. Interpretation as a secondary (usually rational) component of understanding is perhaps the most important concept of hermeneutics.

Interpretation is associated with the translation of the statement into another language (into another semiotic area), with its recoding (to use the term of structuralism). The phenomenon being interpreted somehow changes, is transformed; his second, new appearance, differing from the first, original, turns out to be both poorer and richer than him. Interpretation is a selective and at the same time creative (creative) mastery of a statement (text, work).

Poststructuralism is the direction in which in the 1970s. structuralism has changed. Deconstructivism, which arose from the works of J. Derrida, became a variant of poststructuralism. Along with the hermeneutic trend, poststructuralism is the main direction of the philosophy of postmodernism. Its main representatives are J. Derrida, M. Foucault, J. Lyotard, R. Barthes, J. Deleuze and others.

This is a movement that considers the claims of structuralists to the objectivity of humanitarian knowledge unfounded. Knowledge of structures alone does not give a complete understanding of historical events. It is necessary to know what lies beyond any structure - the context, the individual characteristics of the author. According to post-structuralists, structuralists overestimated the self-sufficiency of structures, left out of analysis the context, dialogicity and individual characteristics of a person, the manifestation of which very often determines the direction and results of the development of history. In literary criticism, poststructuralism manifested itself in the form of the “deconstruction” movement, a special method of text criticism.

Unlike structuralism, poststructuralism belongs to the era of postmodernity, which predetermines many of its characteristics. He expresses disappointment in classical Western rationalism, rejects the old faith in reason, science and progress, expresses doubts about the possibility of realizing the ideals of humanism. The main difference between poststructuralism and structuralism lies in its rejection of the concepts of structure and system, of structuralist universalism, theorism and scientism. It weakens the anti-subject orientation of structuralism, rehabilitates history and man. The connection between post-structuralism and structuralism lies in the fact that post-structuralism has retained a symbolic view of the world, and also practically implemented the intention of structuralism to combine the scientific and philosophical approach with art, the rational with the sensual and irrational.

Poststructuralists rely primarily on F. Nietzsche and M. Heidegger. Nietzsche expressed a critical attitude to the category of being, understood as the “last foundation”, having reached which thought acquires a solid support. According to Nietzsche, there is no such being, there are only its interpretations and interpretations, which are endless. He also questioned the existence of truths, calling them "irrefutable errors".

Its main methodological principles are pluralism and relativism, according to which the proposed picture of the world is devoid of unity and integrity. The world breaks up into many fragments, between which there are no stable ties.

He argues that the world is irrational, disorder, entropy and chaos reign in it, and it does not lend itself to rational explanation and knowledge. Poststructuralism designs new type thinking in which great importance have a style, literary and poetic devices, metaphors, polysemantic and indefinite words, "insoluble" terms. This type of thinking is often denoted by the word "writing", which was coined by Barthes. For Derrida, “writing” is one of the forms of “deconstruction”. “Writing” and deconstruction are a destabilizing force, a way of destroying or loosening established norms and rules, views and ideas, hierarchies and subordinations, types and genres. The product of writing and deconstruction is a text that differs from a philosophical treatise, scientific work or literary work. According to its internal organization, the text is a labyrinth that has no beginning and end, no unifying center or main word. The text is open and incomplete, it is characterized by excess, immensity and infinity in everything. In its creation, the game beginning is important. Poststructuralism questions the possibility of achieving objective knowledge, since all knowledge is mediated by language, depends on culture and power. A significant place in poststructuralism is occupied by the theme of the crisis of the social status of the intelligentsia. The former intelligentsia has given way to intellectuals who do not pretend to be the rulers of thoughts, being content with the performance of more modest functions. Foucault paints a new image of the intellectual. He opposes the former "universal intellectual" who thinks about the fate of the world, prophesies, draws up laws, evaluates and condemns, sits in the court of history. Foucault proposes a type of "specific intellectual" whose role is not to tell other people what they should do. The intellectual is special person who does not teach anyone anything, does not read morality to anyone, but simply treats the sick, does research, writes a book or composes music. He is immersed in the present and does not think about the future.

Poststructuralism is characterized by attention to the problems of the textological plan. Culture is understood as a set of texts. Derrida rejects the notion accepted in linguistics of the primacy of sound speech over written speech. He sees in this a vice inherent in all previous philosophy. Derrida puts forward the idea of ​​the primacy of writing as material "traces" that serve as a support for linguistic signs.

Derrida put forward the principle of deconstruction, excluding any possibility of establishing any single and stable meaning (meaning) for the text. Any text is created on the basis of other, already created texts. Those, in turn, are created on the basis of pre-existing texts. Thus, culture appears as an endless and boundless text. The text acquires a self-sufficient meaning and an independent meaning, different from that which the author had in mind. At the same time, the author himself is lost somewhere in the past. So the text becomes autonomous and anonymous. R. Barth introduced the concept of "author's death". The text itself is so important that the author can generally be neglected, he did his job - he created material for further interpretation. In poststructuralism, cognition comes down to understanding and interpreting texts. Since everyone interprets the text in his own way, the pluralism of human truths, the relative nature of our knowledge, is proclaimed.

A characteristic feature of poststructuralism is negativism. Everything that used to be considered established, reliable, certain: man, reason, philosophy, science, progress, culture - are now declared untenable and indefinite. Everything turns into words, reasoning and texts that can be interpreted, understood, but which cannot be relied upon in cognition and practical activity.

In poststructuralism, there is a rejection of the concept of "progress" in cognition and cultural life. The concept of progress is replaced by the concept of growth or "spread", figuratively expressed in the term "rhizome".

A rhizome is a chaotic spread that does not have any prevailing direction, regularity. It is the rhizome that serves as the main image modern culture, with its denial of orderliness, synchronism, regularity, consistency.

In post-structuralism, there is a rejection of the way of thinking through oppositions, which is characteristic of structuralism. In particular, the opposition of high and low, mass and elite in culture disappears. Blurring the clear line between different levels and forms of culture. The opposition "center - periphery" also disappears, which means the loss of the central position of the West as the traditional core of modern culture.

Poststructuralism is characterized by the erasure of spatial and temporal boundaries, attention to the past, imitation of old styles.

3. Task:

a) determine what the most important feature the verbal artistic image is illustrated by the issued poem;

b) show that its form is meaningful.

The most important thing is to agree on time. To do this, there are terms that accurately indicate the essence of the concept.

The concept we are interested in is composition.

The upcoming competition will have special conditions, namely:

THE STORY PRESENTED SHOULD BE BUILT ON THE FRAMEWORK COMPOSITION PRINCIPLE.

To put it simply, a frame composition is a story within a story.

Let's analyze what it is, what should be the structure of the competitive story.

As you know, a classic story / novel begins with an exposition in which the author acquaints the reader with the place and time of action, gives initial information about the characters.
For example,

My father, Andrey Petrovich Grinev, served under Count Munnich in his youth, and retired as prime minister in 1717. Since then, he lived in his Simbirsk village, where he married the girl Avdotya Vasilyevna Yu., the daughter of a poor local nobleman. We were nine children. All my brothers and sisters died in infancy.
My mother was still my belly, as I was already enrolled in the Semenovsky regiment as a sergeant, by the grace of the major of the guard, Prince B., our close relative. (Pushkin. Captain's daughter)

Once in the spring, at the hour of an unprecedentedly hot sunset, in Moscow, on Patriarch's Ponds, there were two citizens. The first of them, dressed in a summer gray pair, was vertically challenged, well-fed, bald, carried his decent hat with a pie in his hand, and on his well-shaven face were placed supernatural-sized glasses in a black horn-rimmed. The other, a broad-shouldered, reddish, shaggy young man with a checkered cap folded at the back of his head, was wearing a cowboy shirt, chewed white trousers, and black slippers. (Bulgakov. Master and Margarita)

All happy families are alike; each unhappy family is unhappy in its own way.
Everything was mixed up in the Oblonskys' house. The wife found out that her husband was in connection with a French governess who was in their house, and announced to her husband that she could not live with him in the same house. This situation continued for the third day and was painfully felt by the spouses themselves, and by all members of the family, and household members. (Tolstoy. Anna Karenina)

The intrigue unwinds - or, conversely, twists into a tight spiral - and bam! There comes a climax, during which all the characters get what they deserve (= in accordance with the author's intention).

This is the classic pattern.

What is the main thing here? To sequence scenes (read - plot elements) most fully disclosed the idea.
Reveals? - Respect to the author.
Doesn't reveal? - it means that the author created confusion instead of music.

I understand that so far I have not revealed anything new to you, thank God, we have been talking about this for more than a year. Now I want to draw your attention to the following thing.
Heroes!
They, too, are different. Not in the sense of positive / negative, main / secondary, but in the sense of what level they occupy.

And here we are very close to the vital topic - FRAMEWORK COMPOSITION.

The examples above were from the category of, so to speak, single-level heroes.
What do I mean?
The fact that all the characters had an equal chance to participate in the plot action. All of them lived their lives in the plot, and all were almost equally dependent on it.

But it might be different. When the main character of the kagbe is duplicated, and the author's premise is proved twice.

Frame composition - a story within a story!

How does it work?

99% of the story is in 1st person. There is an “I” of the narrator / narrator. “I” lives in its own world, worries about something of its own.

For example,

The first post-war spring on the Upper Don was extremely friendly and assertive. At the end of March, warm winds blew from the Sea of ​​\u200b\u200bAzov, and after two days the sands of the left bank of the Don were completely bare, snow-filled logs and beams swelled in the steppes, breaking the ice, the steppe rivers wildly jumped, and roads
became almost completely impassable.
In this bad off-road time, I had to go to the village of Bukanovskaya. And the distance is short - only about sixty kilometers - but it was not so easy to overcome them. My friend and I left before sunrise. (Sholokhov. The fate of man)

It was a beautiful July day, one of those days that only happens when the weather has settled for a long time.<…>On such a precise day I once hunted black grouse in the Chernsky district of the Tula province.<…>I finally found out where I went. This meadow is famous in our neighborhoods under the name "Bezhina Meadows" ...
But there was no possibility of returning home, especially at night; my legs wobbled beneath me from exhaustion. (Turgenev. Bezhin meadow)

This is important. Two main characters, NOT connected by a literary conflict, but only by plot circumstances.

Here, put yourself a fat daw - this is one of the main conditions for the frame composition.

So, what we conditionally called the exposition ends with the meeting of two heroes.

Soon I saw a man come out from behind the outer courtyards of the farm. He was leading by the hand a little boy, judging by his height - no more than five or six years old. They wearily wandered towards the crossing, but, having caught up with the car, they turned towards me. A tall, round-shouldered man, coming close, said in a muffled bass voice:
- Hello, brother!
- Hello. - I shook the big, callous hand extended to me. (Sholokhov. The fate of man)

All this happened in Kyiv, in the Tsar's Garden, between June and July. A heavy, rapid rain had just passed, and the last drops were still dripping ... and I kept waiting and waiting for her, sitting, as if under a tent, under a huge chestnut tree. Somewhere in the distance, the chromatic scales of streetcars were howling. Chauffeurs rumbled. And in the puddles the reflections of electric lamps fluctuated variegatedly...
<…>
Of course, you cling to the idea of ​​suicide. After all, this is so easy to do! I rest my head in my hands, clench my forehead, and rock back and forth. And suddenly I hear a voice next to me:
“Yes, young man, I also thought about it when I was the same age as you are now ...
I did not even have time to notice when this man sat next to me, but I already felt that his voice was sad, and I completed his appearance: high growth, bowler hat, wet, tired eyes and a long mustache hanging down. (Kuprin. Gad)

Here it is - the border of the beginning of the second story.

Crossing the border, the "I" of the narrator goes out of focus, the focus is transferred to the "I" of the protagonist, and the true self begins to develop. literary conflict, because of which, in fact, the story was written.

There are options here.

The frame (what related to the "I" of the narrator) is solved as a narration from the 1st person. And the events that happened with "I" true hero, can be stated both from the 1st person and from the 3rd.
For example,

It seems that I always get to Italy only in the low season. In August and September, I will only stop on my way for two days in order to once again look at places or pictures dear to me from old memory.
<…>
He finished dinner before me. He got up, but, passing by my table, stopped. And extended his hand.
“Hello,” he said. I didn't recognize you right away when you came in. I didn't mean to be impolite at all.
<…>
And suddenly Carathers uttered words that startled me.
"I'm terribly unhappy," he muttered.
He said it without any transition. And obviously sincere. His voice broke into a sob. Almost a sob. I can't express how shocked I was by his words. It felt like walking down the street, turned a corner and a gust of headwind took my breath away and almost knocked me down. A complete surprise. In the end, our acquaintance was captive. We are not friends. He is very little pleasant to me, I am very little pleasant to him.
<…>
“I sympathize with you from the bottom of my heart,” I said.
- I'll tell you everything, will you let me?
- Tell me.
<…>
If I could not repeat Carathers' story exactly, it would be impossible to remember everything, word for word; I feel more comfortable retelling it in my own way. Sometimes he couldn't bring himself to say something directly, and I had to guess what he meant. Sometimes he did not understand something, and it seems that in some respects I understood the essence of the matter better. Betty Weldon-Burns is gifted with a subtle sense of humor. Carathers is completely deprived of it. I caught a lot of things that eluded him.
<…>
When Carathers opened the Times one morning, unsuspectingly, and, looking through secular news, stumbled upon a report of the engagement of Elizabeth, the only daughter of the Duke of St. Erth, to James, eldest son of Sir John Weldon-Burns, Baronet, he was stunned. He called Betty and asked if it was true.
“Of course,” she replied.
Shocked, Carathers was at a loss for words. Betty continued:
- He will bring his relatives to us today for breakfast, introduce them to dad. I dare say it's going to be a tough test. You can invite me to Claridge's and round off my strength with a cocktail, would you?
(Maugham. Something human)

See? After the meeting, the focus shifts to Carathers.
The "I" of the narrator steps aside, does not interfere with the development of the conflict, in which only Carothers participates, but not the narrator. The narrator, on the other hand, takes on the second hypostasis - he listens and reserves the right to evaluate his interlocutor.

Theoretically, the narrator can retain the right to evaluate even in the case when the story in the story is told from the 1st person. Then special extra-plot elements will stand out, like author's digressions.

Theoretically, it is possible, but practically, the expediency of this move must be assessed in each specific case.

In terms of structure, the inner story (let's call it that) contains all the same elements familiar to us - exposition, plot, development of the action, etc.

Why is such a _ two-layer structure needed? What does she give that she cannot give an ordinary story?

The hero of the "inner" story proves the idea with his fate. And the "I" of the narrator emotionally grasps this idea, processes it and again gives it to the reader - already at a new level.
Agree, to prove it twice - it somehow turns out more convincingly.

The finale of the work with the frame composition of the kagbe is bifurcated.

There is the first ending - the ending of the events that happened to the "inner" hero. And the finale of the second - when the narrator sums up.

A stranger, but a person who has become close to me, got up, extended a large, hard, like a tree, hand:
- Farewell, brother, happy to you!
- And you will be happy to get to Kashar.
- Thank you. Hey son, let's go to the boat.
The boy ran up to his father, settled down to the right, and, holding on to the floor of his father's quilted jacket, trotted along next to the man striding broadly.
Two orphaned people, two grains of sand thrown into foreign lands by a military hurricane of unprecedented strength... Is something waiting for them ahead? And I would like to think that this Russian man, a man of unbending will, will survive and grow up near his father’s shoulder, one who, having matured, will be able to endure everything, overcome everything in his path, if his Motherland calls him to this.
With heavy sadness, I looked after them ... Maybe everything would have worked out well with our parting, but Vanyushka, moving a few steps away and braiding his stubby legs, turned to face me as he walked, waved his pink little hand. And suddenly, like a soft, but clawed paw, squeezed my heart, and I hastily turned away. No, it’s not only in a dream that elderly men who have turned gray during the war years cry. They are crying for real. The main thing here is to be able to turn away in time. The most important thing here is not to hurt the heart of the child, so that he does not see how a burning and stingy male tear runs down your cheek ... (Sholokhov. The fate of a man)

The eventual finale of the frame frame can be different.
The narrator can sigh heavily, throw a gun on his shoulder and wander into his estate. Or maybe grab his head and rush with screams.
In any case, the emotions of the narrator have changed dramatically - in comparison with what they were at the beginning of the work.

Here put the second fat daw.
The frame composition allows you to enhance the emotional effect of what you read. In the course of the “inner” story, the reader experiences feelings, but after reading the finale of the “frame”, feelings are doubled due to the fact that there is a conductor (amplifier?) - the figure of the narrator.

I summarize.

The main part of the frame story should be considered "internal".

At the same time, at the beginning of the work (=in the first part of the frame), the main problem is formulated.
Author! Don't forget about it!!

The finale of the story is the author's answer to the question posed by him.
Here we should remember the triad "theme - problem - idea"

) are combined by including them in an independent plot or non-plot unit - frame . It is also used in cinema (for example, in the movie almanac "Deep Night").

Loop framing[ | ]

In the so-called cyclic frame, there is more or less mechanical connection a number of independent narrative units, the introduction of which is usually motivated by a conversation or a dispute between the characters in the framing story or by the author of the frame referring to certain cases.

The technique of cyclic framing is already present in the literatures of the ancient and feudal East (India, Persia, Arabia) and the ancient West. It reaches a high perfection in them and, through translations and imitations, passes into the literature of the new Europe. In the latter, two traditions of cyclic framing are combined: the technique of framing the story coming from the East with a more or less strong saturation of didacticism and the technique of including narrative illustrations coming from antiquity in the form of oratory and conversation. In the collections of short stories of the Renaissance framed by the conversations of the characters ( "Decameron" bocaccio, "Heptameron" Margarita of Navarskaya, "The Canterbury Tales " Chaucer), both techniques organically merge, overcoming to a large extent the mechanical nature of O.'s connection with novelistic inserts.

The framing technique was used by the authors of fairy tales, for example, Giambattista Basile ("The Tale of Tales") and Wilhelm Hauff (Almanacs of Tales).

An organic character is framed in the collections of romantics ( "Fantasy" Tika, "Serapion Brothers" Hoffmann, "Russian Nights" Odoevsky, "Tales of Belkin" Pushkin), since the frames of the conversation become a form of expression of the same philosophical and aesthetic ideas as narrative inserts, and motivate the very nature of the latter. Some novels of the same era (“The manuscript found in Zaragoza”, “Melmoth the Wanderer”) were written in the so-called. box style (story within a story).

Framing realistic prose[ | ]

The framing of a realistic story is organically merged with the framed plot: it either substantiates certain features of its deployment that contradict the usual forms of realistic narration (introducing fantasy, anticipating action in time, motivating the features of a tale - archaisms, dialectisms, etc.), or reinforces those or other indications of the fiction of the reality of what is reported (an indication of the place and time, the story of a witness, etc.). Therefore, the framing of a separate story can easily be compressed to one introductory phrase and even to a subtitle (cf. for example, the subtitles of Chekhov’s stories “ Rogue's Tale A", " An old sailor's tale" and so on.).

Literature [ | ]

The article uses text from the Literary Encyclopedia 1929-1939, which has passed into the public domain since the author - R. S. - died in 1939.

In modern literary criticism, the term frame (or frame) is used in two related meanings.

Firstly, its use emphasizes the special status of a work of art as an aesthetic reality, opposed to the primary reality. Like a frame in painting, a stage in a theater, a black screen in a movie, the frame of a literary work is one of the main conditions for creating an artistic illusion. A device that emphasizes this - always implied - frame may be exposure of convention, such as, for example, introducing information about the author’s biography and the history of the work’s creation, reflections on characters, etc. into a literary text. Such deviations from the plot are numerous in Pushkin’s “Eugene Onegin”: “Onegin, my good friend, / Was born on the banks of the Neva ...", "...For the time being of my novel / I finished the first chapter...". Here the narrator is present not only as a voice, he appears as a person, emphasizing his function as an intermediary between the world where his characters “live” (Onegin, Tatyana, Zaretsky) and the intended readers (addressee).

However, in the text of a work there is always another "frame" - those components that graphically separated from the main text of the work and whose main function is to create a reader's attitude to his aesthetic perception. The most comprehensive list of framework text components includes:

Frame text can be like external(referring to the whole work), and internal(forming the beginning and end of its parts: chapters, songs, etc.).

The equivalent of a frame text can be the placement of a work in the heading of a magazine (“Prose”, “Poetry”) or a thematic collection (“Moscow Story”, “Day of Poetry”).

Compound framework components in the text of a work is largely determined by its genre. The most important of them for epic and dramatic works, lyrics " large forms”, lyric epic - title. In poems, it is often absent (in this case, its function is taken over by the first line). The text of the play is hard to imagine without a list of characters and an indication of who owns the corresponding remarks. The composition of the framework text is also influenced by literary conventions that prevail in one or another historical era development national literature. Yes, in Western European literature XIV-XVIII centuries solemn and magnificent dedications (often of a purely formal, etiquette nature) are very common. Before mid-nineteenth V. there is a strong tradition to preface works with lengthy prefaces, which explain the author's intention and the features of its implementation. Some sort of identification mark romantic poems- epigraphs that create a certain emotional mood in the reader.

In the process of literature development, not only the composition of the frame text changes, but also its functions. At first, each of its components performs primarily a service role (the title "names" the text and informs the reader about its content, the notes comment on it, etc.). But with the complication of principles artistic thinking previously "neutral" components of the text are becoming more and more aesthetically significant, "drawn" into figurative system works participate in the formation of meaning. The connection between the framework components and the main text of the work in some cases turns out to be so strong that with their removal, the work loses a significant part of its semantic and figurative potential (for example, the preface "From the Publisher" to Pushkin's "Tales of the late Ivan Petrovich Belkin", the author's notes in "Life and opinions of Tristram Shandy, gentleman” L. Stern.

The most important "timeless" function of the frame text is structure-forming. The presence of frame components gives the work the character of completeness, emphasizes its external and internal unity. Their organizing role is especially evident in the works of complex composition, which includes stylistically heterogeneous components (for example, plug-in genres). So, the story of the misadventures of a knight-errant and his faithful squire, short stories about shepherds in love and beautiful shepherdesses, the sonnets of Amadis of Gaul and his horse Barbieca would simply cease to be perceived by the reader as parts of one whole, if they were not united by Cervantes under the common title - “The Cunning Hidalgo Don Quixote of La Mancha. In the author's cycles, where each individual text (lyrical poem, story or essay) can be considered as a relatively independent work, it is the presence of a common “frame” that most clearly reveals the interconnection of all parts, their subordination to a single plan (“Mirgorod” by Gogol, lyrical cycles, books: “Free iambs” by A. Blok, “My sister is life” by B. Pasternak).

Framework Components emphasize dialogical the nature of the work, its appeal to the perceiving subject. This is most clearly revealed in the initiations. A major role in establishing contact between the reader and the book as a whole belongs to the heading complex, which creates a certain setting for the perception of the work.

But the literary text, functioning both as a separate work and as part of a single whole called Literature, enters into "dialogical relations" not only with the reader, but also with other texts. Epigraphs ( most of which are quotes), genre subtitles (implying the presence of a certain literary series) emphasize the openness of the boundaries of the text, its correlation (sometimes through irony and denial) with the works of other authors and other eras.

Krzhizhanovsky about the poetics of titles and other components of the frame text.

These are excerpts from his book, which Chernets herself did

A dozen or two letters, leading thousands of characters of the text, are usually called the title. The words on the cover cannot but communicate with the words hidden under the cover. Not only that: the title, since it is not separated from a single book body and since it, in parallel with the cover, encloses the text and meaning, has the right to pretend to be the main thing of the book.

The title is limited by area. Moreover: the signs of titular blat, from century to century, are drawn together, naturally condensing the phraseology.

... In most cases, the name of the author can be excluded from the concept of "title" only artificially. The fact is that the writer's name, as it becomes famous, turns from its own into a common noun, thereby participating in the denunciation, i.e. the naming of the book; having settled down among the titles, the name, as it were, receives from them a heading power and a special predicative meaning: to Augustine, Rousseau, Leo Tolstoy, in contrast to the writers of a series of books, whose titles, often very long, also began with the word "Confession", it is unnecessary to add to it anything… except a name.

The original title page is untitled. The book is conceived as if self-written - it is curious that even the philosopher of a rather late time, I. Fichte, who published his first work unsigned, repeatedly returns to the statement that "the subject must expound itself, using the writer as its own body."

Indeed: initially the author is only an "organ" in the body of the book, and his name, if it appears on the title page, then somewhere in the end of the title, squeezed in small letters. Alias ​​In. Annensky's "Nobody" is only a reminiscence of those times when the writer was nobody, and did not even claim a dozen letters in the title. True, a few gigantic names - Aristotle, Augustine - serve as a shelter for many nameless, hiding inside colossus names, like the Achaeans inside a Trojan horse - only to connect their writings with old philosophy and theological tradition.

In Russian, for example, the old original and translated book prevails, pushing aside individual names, the general designation religion, people, class, sometimes even cities, in which the author includes himself, dissolving as a particular in general: "Advice to my soul, the creation of a Christian woman yearning for her mountainous homeland. Last ed. 1816." Or "Plow and plow, written by a steppe nobleman. M.1806". In the latter case, when the class or estate of the author is closely associated with the theme, the theme forces the sometimes half-disclosed name to full disclosure.

The pseudonym at first tries to hide the author, but, obeying common destiny name on the title page, gradually evolves from concealing, latent forms to forms of the possible full disclosure of the future "potentate" (The history of the author's name - all this is almost an adventurous biography of the "potentate", only gradually revealing its potency). Its protective color gradually changes to a signal color. If at first the "potentate" of the book uses a pseudonym as a gray cloak that hides it, then later he puts on a pseudo-name over his name, like bright and cleverly tailored clothes, sometimes even emphasizing certain features. After all, the simple feeling of the title should remind the heading that the title is a blat, where all the letters count, and the letters of his name can only be admitted after passing through comprehension: on the title page, which should be a solid meaning, the condensation of the text into a phrase, pseudo- the names are not pseudonyms, but "real" names that do not literally express anything. The young writers Glickberg and Bugaev, who turned themselves into Black and White at the request of the titular blat, quite rightly used the place allotted by the printing house for names to convey that inner illumination, more precisely, that genuine name that sounds through all their lines.

Book speech, laconizing the phraseology of life, giving it in the press, achieves this through logical and artistic selection. Thus, the heading technique has to deal not with verbal raw material, with artistically processed material: what has passed through a larger sieve of text must once again be filtered through the title page. It is clear: this kind of art, aimed at art, the completion of art requires great sophistication and complex craftsmanship.

15. The world of the heroes of the work in the epic, drama and lyric-epic. Its conditionality and system.

Character (lat. persona - person, face, mask) - a type of artistic image, the subject of action, experience, statements in the work. Synonymous with terms like literary hero, the protagonist, but is the most neutral. The concept of a character is the most important in the analysis of epic and dramatic works, where it is the characters that form the basis of the objective world. In the epic, the narrator (narrator) can also be a hero if he participates in the plot (Grinev in " Captain's daughter"). In the lyrics, which primarily recreate the inner world of a person, the characters are depicted in fragments, in close connection with the experiences of the lyrical subject. The illusion of the characters' own life in the lyrics, in comparison with the epic and drama, is drastically weakened. No matter how broadly one interprets the subject of knowledge in fiction, its center is “human essences, i.e. primarily social. In relation to epic and drama, these are characters (Greek character - a sign, distinguishing feature), i.e. socially significant features that are manifested with sufficient clarity in the behavior of people. Highest Degree characteristic - type (Greek typos - imprint, imprint). The character appears, on the one hand, as a character, on the other, as artistic image, embodying a given character with varying degrees of aesthetic perfection.

In accordance with their status in the structure of the work, the character and character have different evaluation criteria. Unlike characters that evoke an ethically colored attitude towards themselves, characters are evaluated primarily from an ethical point of view, i.e. depending on how brightly, fully they embody the characters.

Various components and details of the objective world act as means of revealing the character in the work: the plot, speech characteristics, portrait, costume, interior… Out-of-stage heroes are distinguished by special savings in image resources. The character sphere of literature consists not only of isolated individuals, but also collectible heroes(their prototype is the choir in ancient drama).

Another way to study a character is solely as a participant in the plot, actor(but not as a character).

The basis of the objective world of epic and dramatic works is usually a system of characters (consists of elements - characters and structures - "a relatively stable way of connecting elements) and the plot. The character system is a certain correlation of characters.

To understand the main problematic character can play big role secondary characters, shading the various properties of his character. To create a system of characters, you need at least two characters, but the equivalent of this can be a bifurcation of a character, which marks different beginnings in a person, as well as his transformation (into an animal, an insect - Kafka's "Transformation").

The principle of "economy" in the construction of a system of characters can be combined with the use of doubles or collective images, mass scenes, in general, with the multi-heroic nature of works.

Epic and drama have much in common and are opposed to lyrics. In epic and drama, a world of heroes is created, which is located in a different time and space than the author and reader. The most important thing in the world of the hero is the system of characters and the system of events. The subjective organization of speech is the difference between epic and drama. Drama is characterized by the speech of the characters. Here it is impossible not to touch on the issue of off-stage time and space, because the characters in their speech inform us about off-stage and pre-stage events. (example - "Woe from Wit": Maxim Petrovich - the century of Catherine, a Frenchman from Bordeaux).

The organization of the speech of the characters in the drama

Dialogue between servants or minor characters about the main characters (maybe about off-stage events). The dialogue is gradually replacing the monologue - it is more lifelike, natural. Types of dialogues: dialogue-duel (in a drama based on an acute conflict, when one of the characters must win - the rhetorical orientation of a dramatic remark).

Monologue

Solitary monologue on stage. A form of psychological analysis, an example is Katerina's monologue. A form of informing the reader about off-stage events, an example is Osip's monologue in The Government Inspector.

The ratio of the narrator's speech and the speech of the characters is different. epic work maybe without the speech of the characters. The speech can be bordered by the narrator's commentary, which is extremely important and can negate the speech of the characters.

Who is speaking? Narrator's point of view. Typology of narrators:

3. I am a narrator (1st person narrator) - an eyewitness to all events, writes about my impressions. The self-consciousness of this narrator is close to the author (an example is Turgenev's Notes of a Hunter). I-narrator can express a completely alien consciousness - a tale as a form of narration (example - Leskov "The Enchanted Wanderer")

4. The speech of the narrator (3rd person), but the speech of the character is conveyed - a "sliding" point of view (example - "War and Peace" - the speech of the author, who conveys the state of Pierre - through the eyes of Pierre, from his point of view). Formally - the 3rd person, the author-narrator is almost omniscient, but in fact this is a "sliding" point of view.

The lyrical subject is autopsychological or role-playing. The object of experiencing the lyrical subject is his own "I" - in this case he is called a lyrical hero. Subjects that can be an object of perception, experience of a lyrical subject (and a lyrical hero), by analogy with epic and dramatic works can be called characters. The most important way the creation of images-characters in the lyrics are their nominations, often characterizing not so much the characters as the attitude of the lyrical subject towards them. The term nomination, which came from linguistics (lat. nomina - name), denotes the process of naming and its result (name). There are primary nominations (names, nicknames, pronouns), directly naming the character, and secondary, indicating his qualities, signs. The combination of various nominations is the way to create an image. Ontologically opposed to epic and drama in the aggregate. The main subject of knowledge in lyrics is the inner world of a person, his consciousness. The inner world can be described regardless of what led to such a state (“Both boring and sad”) Universal character: each reader can imagine himself in moments of spiritual adversity. The lyrics are far from naturalism. Stereotypical expressions of state are of little interest to anyone. However, the outside world of the lyrics also reflects. Lyrics:

1. Meditative (meditatio - reflection). "And boring and sad"

2. Descriptive (landscape). The lyrical subject exists as a voice (I may not be here)

3. Descriptive-narrative (lyrepic). The main thing is still feelings. "Reflections at the front door" Nekrasov. Nekrasov gravitates towards lyre-epic, he has characters.

Who is speaking? At lyrical works sometimes there is no title Lyric:

1. Autopsychological - the lyrical subject is psychologically close to the author, conveys his system of values. Most of the lyrics are autopsychological. (but this was not the case right away - Lomonosov and Kantemir do not yet have it). Derzhavin is one of the first to introduce biographical and personal details. "Lyrical diary" of the poet

In the story "After the Ball" L.N. Tolstoy restores the past to show that his horrors live in the present, only slightly changing their forms, that the past is with its social inequality, cruelty, inhumanity - holds Russia in a tenacious embrace and that the renewal of life is urgently needed.

The composition of a work is understood as the arrangement and interconnection of its parts, the order in which events are presented. It is the composition that helps the reader to better understand the intention and idea of ​​the author, the thoughts and feelings that inspired him.
The story is based on two scenes opposed to each other. IN overall structure works, the second scene (the massacre of the soldier) obviously has special meaning, after all, it is not for nothing that the work is called “After the Ball”.

There are two narrators in the work: one is the one who introduces the reader to Ivan Vasilyevich, the other is Ivan Vasilyevich himself. The first cannot be identified with Tolstoy: this is, apparently, a young man from the company of those people whom Ivan Vasilyevich addresses and argues with (the conversation was “between us”, “we asked”, “it's you, today's youth ... well, yes you won't understand"). Before us, in essence, a kind of story within a story. It is impossible to identify with Tolstoy and Ivan Vasilyevich. Therefore, the position of the author should be judged only on the basis of a thoughtful analysis of the story.

Another compositional feature is the peculiar role of the introduction. It, as it were, sets the reader up for the perception of subsequent events and introduces the narrator.

Interestingly, the narrative begins immediately, even suddenly, without a detailed exposition. And it also ends without any conclusions. Before us is, as it were, a fragment of life: here is an incident that happened a long time ago, but answers the questions of modern reality, as the writer says.
The story "After the Ball" is compositionally divided into two parts, completely different in mood.

The first is devoted to the description of the ball - bright, cheerful, unforgettable. Main character of the story is young and handsome, in love and enjoying the favor of the lovely girl Varenka. Bright and joyful feelings overwhelm the young man, making the first part of the story festive and wonderful.

The second part of the story, both in events and in mood, is an absolute contrast to the first. The scene of the terrible punishment of the soldier was extremely shocking. young man, in whose soul there was no place for evil and violence, cruelty. Reality, harsh reality burst into the young man's dreams, sweeping away joy and happiness. It turned out that next to the holiday and fun there is tragedy, misfortune, injustice.
The composition of the story gives the reader the opportunity to feel all the horror, all the injustice of what is happening, precisely because it is shown after the amazing, full of love and the joys of the ball. By arranging the events in this order, L. N. Tolstoy helped us better and deeper understand the idea and meaning of the story.

Creativity of which poet of the second half of the 20th century is interesting to you and why? (On the example of at least two poems by one of the poets of your choice.)

Poems entered the life of Nikolai Rubtsov very early, at about 18-19 years of age.
The "village" theme became important for the poet after entering the Literary Institute, he turned to this topic already being mature man.
In the early 60s, Rubtsov said with humor:
... I suffered like an infection,

Love for big cities!
Nikolai Rubtsov offers his vision of the city. In 1962, he wrote very interesting poems "Away". The image of the big city, Petersburg, is revealed in a very peculiar way. In Rubtsov's perception, Petersburg is the city of Dostoevsky:

Slum yard. Figure on the corner.

It seems that this is Dostoevsky.
And the yellow light in the window without a curtain

It burns, but does not dispel the mist.

In his poems, there are often special characteristics of the village. For example, “The whole mother of Russia is a village”; “And this village seemed to me / Something holiest on earth...”
Rubtsov has practically no description of the beauty of nature. Nature exists inextricably linked with man. It does not occur to him to separate nature and man, in this case harmony seems to be the most correct and reasonable way of existence. In the bosom of nature, the poet indulges in philosophical reflection: nature completely “understands” and “accepts” him. Emotional condition the poet is perceived depending on the state of nature, depending on the season. Rubtsov humanizes nature, draws a parallel between himself and the world around him. For example, he sees himself as a living "expression of autumn."
... I'm with a bowed head.

Like the living expression of autumn,

Imbued with her longing and friendship

I wander along the slopes of my homeland ...
Nature can be presented as a bearer of historical meaning. The existence of a people, its past and present, as well as the awareness of oneself, one's true purpose - all this is a connection between nature and man. Rubtsov has an amazing poem "About the Moscow Kremlin":
In your destiny - O Russian land!

In your wilderness with forests and hills,

Where a vague sadness blows the elder,

Where was everything: humility and pride

Forever heard, forever illuminated,

The Moscow stronghold has been approved!
In the verses "Hello, Russia ..." we again encounter a mention of "old times". It appears inextricably linked with the heavenly and earthly spaces.
... The whole expanse, heavenly and earthly,

Breathed in the window of happiness and peace,

And the glorious breath of antiquity,

And rejoiced under the showers and heat!
The significance of Nikolai Rubtsov's work is enormous. His poems not only make you think about the place of a person in the world, about the meaning of human life, but also allow you to feel a special mood, make it possible to forget about the hustle and bustle of everyday life and think about true human values.