Conventionally, two types of composition can be distinguished: simple and complex. In the first case, the role of the composition is reduced to combining the content elements of the work into a single whole without highlighting particularly important, key scenes, subject details, artistic images. In the plot area, this is a direct chronological sequence of events, one and the use of a traditional compositional scheme: exposition, plot, development of action, climax, denouement. However, this type practically does not occur, but is only a compositional “formula”, which the authors fill with rich content, moving on to a complex composition. The ring refers to complex type. The purpose of this type of composition is to embody a special artistic sense, using an unusual order and combination of elements, parts of the work, supporting details, symbols, images, means of expression. In this case, the concept of composition approaches the concept of structure, it becomes style dominant works and defines it artistic originality. The ring composition is based on the principle of framing, repetition at the end of the work of any elements of its beginning. Depending on the type of repetition at the end of a line, stanza, the work as a whole determines the sound, lexical, syntactic, semantic ring. The sound ring is characterized by the repetition of individual sounds at the end of a poetic line or stanza and is a kind of sound writing techniques. “Do not sing, beauty, with me ...” (A.S. Pushkin) A lexical ring is at the end of a poetic line or stanza. “I will give a shawl from Khorasan / And I will give a Shiraz carpet.” (S.A. Yesenin) The syntactic ring is a repetition of a phrase or a whole at the end of a poetic stanza. “Shagane you are mine, Shagane! / Because I'm from the north, or something, / I'm ready to tell you the field, / About wavy rye in the moonlight. / Shagane you are mine, Shagane. (S.A. Yesenin) The semantic ring is found most often in works and prose, helping to highlight the key artistic image, scene, “closing” the author and reinforcing the impression of the closedness of the life circle. For example, in the story of I.A. Bunin's "The Gentleman from San Francisco" in the finale, the famous "Atlantis" is again described? a steamship that returns to America the body of a hero who died of a heart attack, who once went on a cruise on it. The ring composition not only gives the story completeness and harmony in proportion to the parts, but also seems to expand the boundaries of the picture created in the work in accordance with the author's intention. Do not confuse the ring with the mirror, which is also based on the reception of repetition. But the main thing in it is not the principle of framing, but the principle of "reflection", i.e. the beginning and end of the work in opposition. For example, elements of a mirror composition are found in M. Gorky's play "At the Bottom" (Luke's parable about the righteous woman and the scene of the Actor's suicide).
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Composition (from Latin compositio - compilation, binding, addition) is a connection different parts into a whole. In our life, this term occurs quite often, therefore, in various fields activity value changes slightly.
Instruction
Reasoning. Reasoning is usually based on the same algorithm. First, the author puts forward a thesis. Then he proves it, expresses an opinion for, against, or both, and at the end draws a conclusion. Reasoning requires a mandatory logical development thoughts, always goes from the thesis to and from the argument to the conclusion. Otherwise the reasoning is simply not . This type speeches often used in artistic and journalistic styles speeches.
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The parable has attracted the attention of people since ancient times. small stories who kept wisdom were passed down from generation to generation. Preserving the intelligibility of the presentation, the parables invited a person to think about the true meaning of life.
Instruction
The parable in its main features is very similar to. The terms "" and "fable" were used based not so much on genre differences, but on the stylistic significance of these words. A parable is a higher “level” than a fable, often having a too mundane and mundane meaning.
Parables, like fables, had an allegorical character. They emphasized the moral and religious direction. At the same time, generalized and schematic features were attached to the nature and characters of people. Parables are literary works that simply did not fit the name "fable". In addition, the fables had a complete plot, which the parable was often deprived of.
In Russian, the term "parable" is most commonly used for biblical stories. In the X century. BC e., according to the biblical, the king of the Kingdom of Israel, Solomon, gave life to the parables that are included in the Old Testament. In essence, they are sayings that have a moral and religious character. Later, parables appeared in the form of stories with deep meaning, a moral saying for a clearer understanding of the essence. Such works include parables included in the Gospel, as well as other numerous works of this genre, written over several centuries.
The parable is interesting instructive story. She has one feature that attracts the reader's attention and characterizes her very accurately. The truth in it never "lies on the surface." It opens in the right perspective, because. people are all different and are on different stages development. The meaning of the parable is understood not only by the mind, but also by the feelings, by the whole being.
On turn of XIX-XX century the parable more than once adorned the works of writers of that time. Her style features allowed not only to diversify the descriptive fiction, the image of the characters of the heroes of the works and the plot dynamics, but also to draw the reader's attention to the moral and ethical content of the works. L. Tolstoy referred to the parable more than once. With its help, Kafka, Marcel, Sartre, Camus expressed their philosophical and moral convictions. The genre of the parable still arouses undoubted interest among both readers and contemporary writers.
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preposition. For example: " high mountain”, “walk in a circle”, “high”, “circle in the sky”.In a phrase, one word is the main one, and the second is dependent. The connection in the phrase is always subordinate. Words are connected in meaning and syntactically. Any independent part speech can be both the main and the dependent word.
Independent parts of speech in Russian are nouns, adjectives, pronouns, numerals, verbs, gerunds and adverbs. The remaining parts of speech - prepositions, conjunctions, particles - are auxiliary.
From the main word, you can ask a question to the dependent: “how to fly? - high"; "What mountain? - high"; "circling where? - in the sky".
If you change the form of the main word in a phrase, for example, the case, gender or number of nouns, then this may affect the dependent word.
Three types of syntactic connection in phrases
In total, there are three types of syntactic connection in phrases: agreement, control and adjacency.
When the dependent word changes along with the main word in gender, case and number, we are talking about agreement. The connection is called "coordination" because the parts of speech in it are completely consistent. This is typical for combinations of a noun with an adjective, ordinal number, participle and some: “big house”, “first day”, “laughing man”, “what century” and so on. At the same time, it is a noun.
If the dependent word does not agree with the main word according to the above criteria, then we are talking about either control or adjacency.
When the case of the dependent word is determined by the main word, this is control. At the same time, if you change the form of the main word, the dependent word will not change. This type of connection is often found in combinations of verbs and nouns, where the main word is a verb: “stop”, “leave the house”, “break a leg”.
When words are related only in meaning, and the main word does not affect the form of the dependent word in any way, we are talking about adjunction. So often adverbs, verbs with adverbs are combined, while dependent words are adverbs. For example: "speak quietly", "terribly stupid."
Syntactic links in sentences
As a rule, when it comes to syntactic connection, you are dealing with phrases. But sometimes you need to define a syntactic relationship in . Then you will have to choose between composing (also called "composition") or submission ("subordination").
IN writing connection sentences are independent of each other. If we put a dot between them, then common sense this will not change. Such sentences are usually separated either by the unions "and", "a", "but".
IN subordination it is impossible to break the sentence into two independent ones, since the meaning of the text will suffer in this case. The subordinate clause is preceded by the unions "that", "what", "when", "how", "where", "why", "what for", "how", "who", "which", "which" and others : "When she entered the hall, it had already begun." But sometimes there is no union: "He did not know whether they were telling him the truth or lying."
The main clause can be both at the beginning of a complex sentence and at its end.
Composition (lat. Compositio - compilation, combination, creation, construction) is the plan of the work, the ratio of its parts, the relationship of images, paintings, episodes. IN work of art there should be as many characters, episodes, scenes as necessary to reveal the content. A. Chekhov advised young writers to write in such a way that the reader, without the author's explanations - from the conversations, actions, actions of the characters could understand what was happening.
The essential quality of the composition is accessibility. A work of art should not contain unnecessary pictures, scenes, episodes. L. Tolstoy compared a work of art with a living organism. "In a real work of art - poetry, drama, painting, song, symphony - one cannot take out one verse, one measure from its place and put it on another without violating the meaning of this work, just as it is impossible not to violate the life of an organic being if one takes out one organ from its place and insert into another "." According to K. Fedin, the composition is "the logic of the development of the theme." Reading a work of art, we must feel where, at what time the hero lives, where is the center of events, which of them the main ones and which ones are less important.
A necessary condition for composition is perfection. L. Tolstoy wrote that the main thing in art is not to say anything superfluous. The writer must depict the world in as few words as possible. No wonder A. Chekhov called brevity the sister of talent. The talent of the writer turns out to be in the mastery of the composition of a work of art.
There are two types of composition - event-plot and nepodia, carrying or descriptive. The event type of composition is characteristic of most epic and dramatic works. The composition of epic and dramatic works has space and cause-and-effect forms. The event type of composition can have three forms: chronological, retrospective and free (montage).
V. Lesik notes that the essence of the chronological form of the event composition "consists in the fact that events ... go one after another in chronological order- as they happened in life. There may be temporal distances between individual actions or scenes, but there is no violation of the natural sequence in time: what happened earlier in life is presented earlier in the work, and not after subsequent events. Consequently, there is no arbitrary movement of events here, there is no violation of the direct movement of time.
The peculiarity of the retrospective composition is that the writer does not adhere to the chronological sequence. The author can tell about the motives, causes of events, actions after their implementation. The sequence in the presentation of events can be interrupted by the memories of the characters.
The essence of the free (montage) form of event composition is associated with violations of causal and spatial relationships between events. The connection between the episodes is more often associative-emotional than logical-semantic. Editing composition characteristic of the literature of the 20th century. This type of composition is used in the novel by Y. Japanese "Horsemen". Here the storylines are connected at the associative level.
A variation of the event type of composition is event-narrative. Its essence lies in the fact that the author, narrator, narrator, characters tell about the same event. The event-narrative form of composition is typical for lyric-epic works.,
The descriptive type of composition is characteristic of lyrical works. "The basis for the construction of a lyrical work," notes V. Lesik, "is not a system or development of events ... but the organization of lyrical components - emotions and impressions, the sequence of presentation of thoughts, the order of transition from one impression to another, from one sensual image to another "." The lyrical works describe the impressions, feelings, experiences of the lyrical hero.
Yu. Kuznetsov in the "Literary Encyclopedia" distinguishes plot-closed and open composition. Fabulously closed characteristic of folklore, works of ancient and classic literature (three repetitions, a happy ending in fairy tales, the alternation of choir performances and episodes in ancient Greek tragedy). “The composition is fabulously open,” Yu. Kuznetsov notes, “devoid of a clear outline, proportions, flexible, given the genre and style opposition that occurs in specific historical conditions literary process. In particular, in sentimentalism (sternivsk's composition) and in romanticism, when open works became a negation of closed ones, classicistic ones ... ".
What determines the composition, what factors determine its features? The originality of the composition is primarily due to the design of the work of art. Panas Mirny, having familiarized himself with the life story of the robber Gnidka, set himself the goal of explaining what caused the protest against the landlords. First, he wrote a story called "Chipka", in which he showed the conditions for the formation of the character of the hero. Subsequently, the writer expanded the idea of \u200b\u200bthe work, required a complex composition, so the novel "Do oxen roar when the manger is full?"
Features of the composition are determined literary direction, Classicists demanded three unities from dramatic works (unity of place, time and action). Events in a dramatic work were supposed to take place during the day, grouped around one hero. Romantics portrayed exceptional characters in exceptional circumstances. Nature was more often shown at the time of the elements (storms, floods, thunderstorms), they often took place in India, Africa, the Caucasus, and the East.
The composition of the work is determined by the genus, type and genre, the basis of lyrical works is the development of thoughts and feelings. Lyrical works are small in size, their composition is arbitrary, most often associative. In a lyrical work, the following stages of development of feeling can be distinguished:
a) the starting point (observation, impressions, thoughts or state that became the impetus for the development of feeling);
b) development of feeling;
c) climax ( highest voltage in the development of feeling);
In the poem by V. Simonenko "Swans of motherhood":
a) starting point - to have a lullaby sung to the son;
b) development of feelings - the mother dreams about the fate of her son, how he will grow up, hit the road, meet friends, wife;
c) climax - mother's opinion about possible death son in a foreign land;
d) summary - One does not choose one's homeland, love for one's native land makes a person a person.
The Russian literary critic V. Zhirmunsky distinguishes seven types of composition of lyrical works: anaphoristic, amoebeina, epiphoristic, refrain, ring, spiral, joint (epanastrophe, epanadiplosis), pointe.
An anaphoristic composition is characteristic of works that use anaphora.
You have renounced your native language. You
Your land will cease to give birth,
A green branch in a pocket on a willow,
Withered by your touch.
You have renounced your native language. Zaros
Your way and disappeared in a nameless potion...
You don't have tears at the funeral,
You don't have a song at your wedding.
(D. Pavlychko)
V. Zhirmunsky considers anaphora an indispensable component of the amoeba composition, but it is absent in many works. Describing this type of composition, I. Kachurovsky notes that its essence is not in anaphora, "but in the identities of the syntactic structure, replicas or counterreplicas of two interlocutors or, in a certain pattern, the roll call of two choirs" ". I. Kachurovsky finds an illustration of the amoebaic composition in the german romance Ludwig Ulanda:
Have you seen the castle high
A castle over the Sea Shire?
Silently floating clouds
Pink and gold over it.
In the mirror waters, peaceful
He would like to bow
And climb into the evening clouds
In their radiant ruby.
I saw a castle high
Castle over the sea world.
Hail fog deep
And the moon stood over him.
(Translated by Mikhail Orest)
Amebane composition is common in the troubadours' tentsons and pastorals.
An epiphoric composition is characteristic of poems with an epiphoric ending.
Breaks, breaks and fractures...
Our spines were broken in circles.
Understand, my brother, finally:
Before heart attacks
We had - so, do not touch!
Soul heart attacks... soul heart attacks!
There were ulcers, like infections,
There were images to disgust -
One bad thing, my brother.
So drop it, go and don't touch it.
We all have, mind you:
Soul heart attacks... soul heart attacks!
In this bed, in this bed
In this scream to the ceiling
Oh don't touch us my brother
Don't touch paralytics!
We all have, mind you:
Soul heart attacks... soul heart attacks!
(Yu. Shkrobinets)
The refrain composition consists in the repetition of a group of words or lines.
How quickly everything in life passes.
And happiness only flickers with a wing -
And he's no longer here...
How quickly everything in life passes,
Is this our fault? -
It's all about the metronome.
How quickly things go by...
And happiness only flickers with a wing.
(Lyudmila Rzhegak)
The term "ring" I. Kachurovsky considers unsuccessful. “Where better,” he notes, “is a cyclic composition. The scientific name of this tool is anadiploic composition. Moreover, in cases where anadiplosis is limited to any one stanza, this does not refer to composition, but to style.” Anadiplosis as composite agent it can be complete or partial, when part of the stanza is repeated, when the same words are in a changed order, when part of them is replaced by synonyms. Such options are also possible: not the first stanza is repeated, but the second, or the poet gives the first stanza as the final one.
Evening sun, thank you for the day!
Evening sun, thank you for the fatigue.
The calm of the forests is enlightened
Eden and for the cornflower in the golden rye.
For your dawn, and for my zenith,
and for my burned zeniths.
Because tomorrow wants greenery,
For the fact that yesterday managed to oddzvenity.
Heaven in the sky, for children's laughter.
For what I can and for what I must
Evening sun, thank you all
who did not defile the soul.
For the fact that tomorrow is waiting for its inspiration.
That somewhere in the world blood has not yet been shed.
Evening sun, thank you for the day
For this need, words are like prayers.
(P. Kostenko)
The spiral composition creates either a "chain" stanza (tercina) or stropho-genres (rondo, rondel, triolet) i.e. acquires stropho-creative and genre features.
The name of the seventh type of composition I. Kachurovsky considers indecent. More acceptable, in his opinion, is the name of epanastrophe, epanadiplosis. A work where the repetition of a rhyme when two adjacent stanzas collide has a compositional character is E. Pluzhnik's poem "Kanev". Each dvenadtsativir-Shova stanza of the poem consists of three quatrains with rhymes, which pass from quatrain to quatrain, last verse of each of these twelve verses rhymes with the first verse as follows:
And home will step in here and time
Electricity: and the newspaper rustled
Where once the prophet and poet
The great spirit behind the darkness has dried up
And be reborn in millions of masses,
And not only look from the portrait,
Competition immortal symbol and omen,
Apostle of truth, peasant Taras.
And since my ten phrases
In the dull collection of an anchorite,
As for the times to come for show,
On the shores lies the indifferent Leta...
And the days will become like the lines of a sonnet,
Perfect...
The essence of the pointe composition is that the poet leaves the interesting and essential part of the work for last. It could be unexpected turn thoughts or conclusion from the entire previous text. The means of pointe composition is used in the sonnet, last poem which should be the quintessence of the work.
Exploring lyrical and lyric-epic works, I. Kachurovsky found three more types of composition: symplocial, gradation and main.
A composition in the form of a symplok I. Kachurovsky calls symplokial.
Tomorrow on earth
Other people walking
Other loving people -
Kind, gentle and evil.
(V. Simonenko)
Gradation composition with such types as descending climax, growing climax, broken climax is quite common in poetry.
The gradation composition was used by V. Misik in the poem "Modernity".
Yes, perhaps, in the time of Boyan
Spring time has come
And the rains rained down on youth,
And the clouds were moving in from Tarashche,
And the hawks stole over the horizon,
And the cymbals resounded,
And blue cymbals in Prolis
Gazing into the heavenly strange clarity.
Everything is like then. And where is she, modernity?
She is in the main: in you.
The main composition is typical for wreaths of sonnets and folk poetry. Epic works tell about the life of people during a certain time. In novels, stories, events and characters are revealed in detail, comprehensively.
Such works may contain several storylines. IN small works(stories, short stories) there are few storylines, few characters, situations and circumstances are depicted succinctly.
Dramatic works are written in the form of a dialogue, they are based on action, they are small in size, because most of them are intended for staging. IN dramatic works there are remarks that perform a service function - they give an idea of the scene, characters, advice to artists, but are not included in the artistic fabric of the work.
The composition of a work of art also depends on the characteristics of the artist's talent. Panas Mirny used complex plots, retreat historical character. In the works of I. Nechuy-Levitsky, events develop in chronological order, the writer draws portraits of heroes and nature in detail. Let's remember "Kaidasheva family". In the works of I.S. Turgenev, events develop slowly, Dostoevsky uses unexpected plot moves, accumulates tragic episodes.
The composition of works is influenced by the traditions of folklore. At the heart of the fables of Aesop, Phaedrus, La Fontaine, Krylov, Glebov "The Wolf and the Lamb" is one and the same folk story, and after the plot - morality. In Aesop's fable, it sounds like this: "The tale proves that even a just defense is not valid for those who undertook to do a lie." Phaedrus concludes the fable with the words: "This tale is written about people who seek to destroy the innocent by deceit." The fable "The Wolf and the Lamb" by L. Glebov begins, on the contrary, in morality:
The world has been going on for a long time,
The lower it bends before the higher,
And more than a smaller party and even beats
Any literary creation is an artistic entity. Such a whole can be not only one work (poem, story, novel ...), but also a literary cycle, that is, a group of poetic or prose works, united common hero, general ideas, problems, etc., even common place actions (for example, the cycle of stories by N. Gogol "Evenings on a Farm near Dikanka", "Tales of Belkin" by A. Pushkin; M. Lermontov's novel "A Hero of Our Time" is also a cycle of separate short stories united by a common hero - Pechorin). Any artistic whole is, in essence, a single creative organism that has its own special structure. As in the human body, in which all independent organs are inextricably linked with each other, in a literary work all elements are also independent and interconnected. The system of these elements and the principles of their relationship are called COMPOSITION:
COMPOSITION (from lat. Сompositio, composition, compilation) - construction, structure of a work of art: selection and sequence of elements and visual techniques works that create an artistic whole in accordance with the author's intention.
To the elements of the composition literary work relate epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (off-plot images created by the author's fantasy), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (for example, Dream Oblomov in Goncharov's novel "Oblomov", Tatyana's letter to Onegin and Onegin to Tatyana in Pushkin's novel "Eugene Onegin", the song "The Sun Rises and Sets ..." in Gorky's drama "At the Bottom"); all artistic descriptions - portraits, landscapes, interiors - are also compositional elements.
the action of the work can begin from the end of events, and subsequent episodes will restore the time course of the action and explain the reasons for what is happening; such a composition is called inverse(this technique was used by N. Chernyshevsky in the novel "What is to be done?");
the author uses framing composition, or ring, in which the author uses, for example, the repetition of stanzas (the last repeats the first), artistic descriptions(the work begins and ends with a landscape or interior), the events of the beginning and the end take place in the same place, the same characters participate in them, etc.; such a technique is found both in poetry (Pushkin, Tyutchev, A. Blok often resorted to it in "Poems about beautiful lady"), and in prose (" Dark alleys" I. Bunin; "Song of the Falcon", "Old Woman Izergil" by M. Gorky);
the author uses retrospective technique, that is, the return of an action to the past, when the reasons for what is happening in currently narratives (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); often, when using retrospection, an inserted story of the hero appears in the work, and this type of composition will be called "a story in a story" (Marmeladov's confession and Pulcheria Alexandrovna's letter in "Crime and Punishment"; chapter 13 "The Appearance of the Hero" in "The Master and Margarita"; " After the ball" Tolstoy, "Asya" Turgenev, "Gooseberry" Chekhov);
often the organizer of the composition is an artistic image, For example, the road in Gogol's poem "Dead Souls"; pay attention to the scheme of the author's narration: Chichikov's arrival in the city of NN - the road to Manilovka - Manilov's estate - the road - arrival at Korobochka - the road - the tavern, meeting with Nozdrev - the road - arrival at Nozdrev - the road - etc .; it is important that the first volume ends with the dear one; so the image becomes the leading structure-forming element of the work;
the author can preface the main action with an exposition, what will be, for example, the entire first chapter in the novel "Eugene Onegin", or it can start the action immediately, abruptly, "without overclocking", as Dostoevsky does in Crime and Punishment or Bulgakov in The Master and Margarita;
the composition of the work can be based on symmetry words, images, episodes (or scenes, chapters, phenomena, etc.) and will be a mirror as, for example, in A. Blok's poem "The Twelve"; mirror composition often combined with framing(this principle of composition is typical for many poems by M. Tsvetaeva, V. Mayakovsky and others; read, for example, Mayakovsky's poem "From Street to Street");
often the author uses reception of a compositional "gap" of events: cuts off the story interesting place at the end of a chapter, and a new chapter begins with a story about another event; for example, Dostoevsky in Crime and Punishment and Bulgakov in The White Guard and The Master and Margarita use it. This technique is very fond of the authors of adventurous and detective stories or works where the role of intrigue is very high.
Composition is an aspect of the form of a literary work, but its content is expressed through the features of the form. The composition of the work is important way embodiment of the author's idea. Read the poem by A. Blok "The Stranger" on your own, otherwise our reasoning will be incomprehensible to you. Pay attention to the first and seventh stanzas, listening to their sound:
1st stanza
EVENING OVER RESTAURANTS
Hot air is wild and deaf,
And ruled by drunken shouts
Spring and decaying spirit.
7th stanza
And every evening, at the appointed hour
(Is this just a dream?)
Maiden's camp, seized by silks,
In the foggy window moves.
The first stanza sounds sharp and disharmonious - because of the abundance of [p], which, like other disharmonious sounds, will be repeated in the following stanzas up to the sixth. It is impossible otherwise, because Blok here paints a picture of disgusting philistine vulgarity, " scary world", in which the soul of the Poet toils. This is how the first part of the poem is presented. The seventh stanza marks the transition to new world- Dreams and Harmonies, and the beginning of the second part of the poem. This transition is smooth, the sounds accompanying it are pleasant and soft: [a:], [nn]. So in the construction of the poem and with the help of the technique of the so-called sound painting, Blok expressed his idea of the opposition of two worlds - harmony and disharmony.
The composition of the work can be thematic, in which the main thing is to identify the relationship between central images works. This type of composition is more characteristic of lyrics. There are three types of such a composition:
consistent, representing logical reasoning, the transition from one thought to another and the subsequent conclusion in the finale of the work ("Cicero", "Silentium", "Nature is a sphinx, and so it is more true ..." Tyutchev);
development and transformation of the central image: the central image is considered by the author from various angles, its bright features and characteristics are revealed; such a composition involves a gradual increase in emotional tension and a culmination of experiences, which often falls on the finale of the work ("Sea" Zhukovsky, "I came to you with greetings ..." Fet);
comparison of 2 images, entered into artistic interaction("Stranger" Blok); such a composition is built at the reception of antithesis, or opposition.
There are three levels of literary work:
Subject figurativeness - vital material
Composition - the organization of this material
Artistic language - the speech system of a literary work, at all four levels artistic language Keywords: phonics, vocabulary, semantics, syntax.
Each of these layers has its own complex hierarchy.
The seeming complexity of a literary work is created by the hard work of the writer on all three levels of the artistic whole.
Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different signs and indicators.
A literary text is a communicative, structural and semantic unity, which is manifested in its composition. That is, it is the unity of communication - structure - and meaning.
The composition of a literary text is "mutual correlation And location units of depicted and artistic and speech means. The units depicted here mean: theme, problem, idea, characters, all aspects of the depicted external and internal world. Artistic and speech means are the entire figurative system of the language at the level of its 4 layers.
Composition is the construction of a work, which determines its integrity, completeness and unity.
The composition is "system connections" all of its elements. This system also has an independent content, which should be revealed in the process philological analysis text.
Composition, or structure, or architectonics is the construction of a work of art.
Composition is an element of the form of a work of art.
Composition contributes to the creation of a work as an artistic integrity.
The composition unites all the components and subordinates them to the idea, the idea of the work. Moreover, this connection is so close that it is impossible to remove or rearrange any component from the composition.
Types of compositional organization of the work:
Plot view - that is, plot (epos, lyrics, drama)
Non-plot type - plotless (in lyrics, in epic and drama, created creative method modernism and postmodernism)
The plot view of the compositional organization of a work can be of two types:
Eventive (in epic and drama)
Descriptive (in lyrics)
Let's consider the first type of plot composition - event. It has three forms:
Chronological form - events develop in a straight line of time movement, the natural time sequence is not violated, there may be time intervals between events
Retrospective form - deviation from the natural chronological sequence, violation of the linear order of the passage of events in life, interruption by the memories of the heroes or the author, familiarizing the reader with the background of events and the life of the characters (Bunin, "Easy breathing")
Free or montage form - a significant violation of the spatio-temporal and causal relationships between events; the connection between individual episodes is associative-emotional, not logical-semantic (“A Hero of Our Time”, Kafka’s “Trial” and other works of modernism and postmodernism)
Consider the second type of composition - descriptive:
It is present in lyrical works, they basically lack a clearly limited and coherently developed action, the experiences of a lyrical hero or character are brought to the fore, and the whole composition is subject to the goals of his image, this is a description of thoughts, impressions, feelings, pictures inspired by the experiences of a lyrical hero .
Composition is external and internal
External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes, their arrangement may be different depending on the methods of creating the plot chosen by the author.
External composition- this is the division of a text characterized by continuity into discrete units. Composition, therefore, is the manifestation of a significant discontinuity in continuity.
External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in the drama, etc.), this organizes and directs the reader's perception. The architectonics of the text serves as a way of "portioning" the meaning; with the help of ... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of the elements of the text (and hence its content).
External composition: no less significant is the absence of division of the text or its expanded fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the non-differentiation, the fluidity of the picture of the world of the narrator or character (for example, in the literature of the “stream of consciousness”).
Internal composition : this is the composition (construction, arrangement) of images - characters, events, action settings, landscapes, interiors, etc.
Internal(meaningful) composition is determined by the system of images-characters, the features of the conflict and the originality of the plot.
Not to be confused: the plot has elements plot, the composition has tricks(internal composition) and parts(external composition) compositions.
The composition includes, in its construction, both all the elements of the plot - plot elements, and extra-plot elements.
Techniques of internal composition:
Prologue (often referred to as the plot)
Epilogue (often referred to as the plot)
Monologue
Character portraits
Interiors
landscapes
Extra-plot elements in the composition
Classification of compositional techniques for the selection of individual elements:
Each compositional unit is characterized by extension techniques that provide emphasis the most important meanings of the text and engage the reader's attention. This:
geography: various graphic highlights,
repetitions: repetitions of language units of different levels,
amplification: strong positions of the text or its compositional part - promotional positions associated with establishing a hierarchy of meanings, focusing attention on the most important, enhancing emotionality and aesthetic effect, establishing meaningful links between adjacent and distant elements that belong to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningAndend works (parts, chapters, chapters). With their help, the author emphasizes the most significant elements of the structure for understanding the work and at the same time determines the main "semantic milestones" of one or another compositional part (the text as a whole).
Widespread in Russian literature of the late XX century. montage and collage techniques, on the one hand, led to increased fragmentation of the text, on the other hand, opened up the possibility of new combinations of "semantic planes".
Composition in terms of its connectedness
In the features of the architectonics of the text, such its most important feature is manifested as connectivity. The segments (parts) of the text selected as a result of segmentation correlate with each other, “link” on the basis of common elements. There are two types of connectivity: cohesion and coherence (terms proposed by W. Dressler)
cohesion (from Latin - “to be connected”), or local connectivity, is a connection of a linear type, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, correlation of grammatical forms, etc.
coherence(from lat. - “linkage”), or global connectivity, is a connection of a non-linear type that combines elements of different levels of the text (for example, the title, epigraph, “text in the text” and the main text, etc.). The most important means of creating coherence are repetitions (primarily words with common semantic components) and parallelism.
In a literary text, semantic chains arise - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as "mean increments".
Any literary text is permeated with semantic roll calls, or repetitions. Words related on this basis can take different positions: they can be located at the beginning and at the end of the text (ring semantic composition), symmetrically, form a gradation series, etc.
Consideration of the semantic composition is a necessary stage of philological analysis. It is especially important for the analysis of "plotless" texts, texts with weakened cause-and-effect relationships of components, texts saturated with complex images. The identification of semantic chains in them and the establishment of their connections is the key to the interpretation of the work.
Extraplot Elements
insert episodes,
lyrical digressions,
artistic advance,
artistic framing,
dedication,
Epigraph,
header
Insert episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are recalled in connection with the current events of the work (“The Tale of Captain Kopeikin” in “ Dead souls»)
Lyrical digressions- are lyrical, philosophical, journalistic, express the writer's thoughts and feelings directly, in the direct author's word, reflect the author's position, the writer's attitude to the characters, some elements of the theme, problem, idea of the work (in "Dead Souls" - about youth and old age , about Rus' as a bird - a troika)
Artistic lead - depiction of scenes that are ahead of the further course of events (
Artistic framing - scenes that begin and end a work of art, most often this is the same scene, given in development, and creating ring composition(“The Fate of a Man” by M. Sholokhov)
Dedication - a short description or lyrical work that has a specific addressee to whom the work is addressed and dedicated
Epigraph - an aphorism or a quotation from another famous work or folklore, located in front of the entire text or in front of its individual parts (proverb in The Captain's Daughter)
header- the name of the work, which always contains the theme, problem or idea of the work, a very brief formulation with deep expressiveness, figurativeness or symbolism.
The object of literary analysis in the study of composition I can be different aspects compositions:
1) architectonics, or the external composition of the text, - its division into certain parts (chapters, subchapters, paragraphs, stanzas, etc.), their sequence and interconnection;
2) a system of images of characters in a work of art;
3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of point of view that makes "the central problem of composition»; consideration in the structure of the text different points vision in relation to the architectonics of the work allows us to identify the dynamics of the deployment of artistic content;
4) the system of details presented in the text (composition of details); their analysis makes it possible to reveal ways of deepening the depicted: as I.A. Goncharov, “details that appear fragmentarily and separately in the long term of the general plan”, in the context of the whole, “merge in a common system ... as if thin invisible threads or, perhaps, magnetic currents are operating”;
5) correlation with each other and with other components of the text of its extra-plot elements (inserted novels, stories, lyrical digressions, "scenes on the stage" in the drama).
Compositional analysis thus takes into account different aspects of the text.
The term "composition" in modern philology is very ambiguous, which makes it difficult to use.
To analyze the composition of a literary text, you need to be able to:
To single out repetitions in its structure that are significant for the interpretation of the work, serving as the basis of cohesion and coherence;
Detect semantic overlaps in parts of the text;
Highlight markers - separators of different compositional parts of the work;
Correlate the features of the division of the text with its content and determine the role of discrete (individual parts) compositional units in the whole;
Establish a connection between the narrative structure of the text as its “deep compositional structure” (B.A. Uspensky) and its external composition.
Determine all the methods of external and internal composition in F. Tyutchev's poem "Silentium" (namely: parts of the composition, plot type - non-plot, event - descriptive, vision of individual elements, type of their connection, - NB
Artistic time and space. Worship before the beginning of the egoistic. Realism is fidelity to life, it is such a manner of creativity. Acmeists or Adamists. Fantasy means a special character of works of art. Sentimentalism. artistic method in literature and art. Fiction - depicted in fiction events. Content and form. Historical and literary process.
"Questions on the theory of literature" - Internal monologue. Description of the character's appearance. Type of literature. Intentional use of the same words in the text. Grotesque. A tool to help describe a character. events in the work. Exposure. Term. Paraphrase. Flame of talent. Symbol. Expressive detail. Description of nature. Interior. epic works. Plot. Display method internal state. Allegory. Epilogue.
"Theory and History of Literature" - With the help of a detail, the writer highlights the event. Implicit, "subtextual" psychologism. K.S. Stanislavsky and E.V. Vakhtangov. The psychologism of Tolstoy and Dostoevsky is artistic expression. Tiya, in which all sectors of society inevitably participate. Psychologism has not left literature. Theory of Literature. A. Gornfeld "Symbolists". Subtext is the meaning hidden "under" the text. Psychologism reached its maximum in the work of L.N. Tolstoy.
"Theory of Literature" - Anthem. Stages of action development. Satire. Humor. Novel. Consonance of the ends of poetic lines. Sonnet. The fate of the people. Character. Inner monologue. Tragic. Tragedy. Artistic detail. Author's position. Damage. Style. Symbol. Grotesque. Detail. Composition. Epos. Feature article. Epigram. Message. Oh yeah. Story. Literary genera and genres. Comedy. Character. Lyrical hero. Plot. Tasks. Scenery. Artistic welcome.
"Theory of Literature at School" - epic genres. Space. Acmeism. Speaking surnames. Portrait. Stages of development of action in a work of art. The content and form of a literary work. Lyrics. genre system folklore. Artistic image. Plot. Dramatic genres. The theme of the artwork. Biographical author. Composition. Symbolism. Lyric genres. Artwork idea. Artistic time.
"Fundamentals of Literary Theory" - Two ways to create speech characteristics. speech characteristic hero. Characters. Eternal image. Temporary sign. Theory of Literature. The development of the plot. historical persons. Plot. Monologue. Inner speech. Eternal themes. Paphos consists of varieties. Eternal themes in fiction. The content of the work. Pathos. Way. An example of opposition. Pushkin. Fabular development. The emotional content of a work of art.
