Composition(from lat. compositio - compilation, composition),
1) building artwork, due to its content, nature and purpose, and largely determining its perception. K. - the most important organizing component art form, giving unity and integrity to the work, subordinating its elements to each other and to the whole. The laws of art that take shape in the process of artistic practice and aesthetic cognition of reality are, to one degree or another, a reflection and generalization of the objective patterns and interconnections of phenomena in the real world. These patterns and interconnections appear in an artistically translated form, and the degree and nature of their implementation and generalization are associated with the type of art, the idea and material of the work, etc.
K. in literature - the organization, location and connection of heterogeneous components of the artistic form of a literary work. K. includes: the arrangement and correlation of characters (K. as a “system of images”), events and actions (K. plot ), insert stories and digressions(K. non-plot elements), methods or angles of narration (actually narrative K.), details of the situation, behavior, experiences (K. details).
Receptions and methods of K. are very diverse. Comparisons of events, objects, facts, details remote from each other in the text of a work sometimes turn out to be artistically significant. The most important aspect of art is also the sequence in which the components of what is depicted are introduced into the text—the temporal organization of a literary work as a process of discovering and deploying artistic content. And finally, K. includes mutual correlation different sides(plans, layers, levels) literary form. Along with the term "K." many modern theorists use the word "structure" in the same sense (cf. Structure of a work of art ).
Being “... an endless labyrinth of links...” (see L. N. Tolstoy, On Literature, 1955, p. 156), K. completes the complex unity and integrity of the work, becoming the crown of an artistic form that is always meaningful. “Composition is the disciplining force and organizer of the work. She is instructed to ensure that nothing breaks out to the side, into its own law, namely, it is conjugated into a whole and turns in addition to its thought ... Therefore, it usually does not accept either logical derivation and subordination, or a simple life sequence, although it happens to her similar; its goal is to arrange all the pieces so that they are closed in the full expression of the idea ”(“ Theory of Literature ”, [book 3], 1965, p. 425).
Each production combines both general, “typical” methods of K. for a given genus, genre or direction (for example, triple repetitions in fairy tales, recognition and silence in dramas of “intrigue”, a strict strophic form of a sonnet, retardation in epic and drama), and individual, inherent this writer or individual work(for example, in L. N. Tolstoy's story "Hadji Murad" the leading principle of K. characters and their system is polarity, including deliberately imaginary: Nicholas I - Shamil).
AT modern literary criticism There is also a more local use of the term "K." At the same time, the unit, the component of K. is such a “segment” of the work (text), within which one method or angle of the image is preserved - dynamic narration or static description, characteristic, dialog, lyrical digression etc. The simplest units are combined into more complex components (a complete sketch of a portrait, a mental state, a reproduction of a conversation, etc.). An even larger and more independent component is the scene (in epic, drama). In an epic, it may consist of a number of forms of representation (description, narration, monologue); it can include a portrait, landscape, interior; but throughout its entire length one perspective is preserved, a certain point of view is maintained - the author or the character-participant, or an outside observer-narrator; otherwise: each scene is "depicted" without fail by someone's eyes. It is the combination of forms of presentation and certain “points of view,” their interrelationship and unity, that make up cinema in this sense.
K. of poetic works, especially lyrical ones, is peculiar; it is distinguished by strict proportionality and interdependence of metric-rhythmic units ( foot, verse, stanza), syntactic segments and intonations, as well as directly semantic units (themes, motives, images; see. Verse, Poem, Poetry and Prose ).
In the literature of the 20th century. the activity of the compositional principle intensifies, which was reflected in the emergence of the concept mounting (first in relation to cinema, then - to theater and literature).
In the plastic arts, the composition combines particular aspects of the construction of an artistic form (real or illusory formation of space and volume, symmetry and asymmetry, scale, rhythm and proportions, nuance and contrast, perspective, grouping, color solution etc.). K. organizes both the internal construction of the work and its relationship with environment and the spectator.
Construction in architecture is based on the harmonic correlation of ideological and artistic principles, functional purpose, design features, and the urban planning role of buildings, structures, and their complexes. K. determines the appearance, planning and spatial construction of the city as a whole or an architectural ensemble, a separate building or structure. The principles of k. where they act in organic unity with the principles of construction artistically reflected in them, together form a structural relationship between load and support, architectonics structures. K. in the visual arts is a specific development of the ideological and plot-thematic basis of the work with the distribution of objects and figures in space, the establishment of the ratio of volumes, light and shadow, spots of color, etc. Types of k. are divided into "stable" (where the main compositional axes intersect at right angles in geometric center works) and "dynamic" (where the main compositional axes intersect under acute angle, diagonals, circles and ovals dominate), “open” (where centrifugal multidirectional forces predominate, and the image is revealed to the viewer in every possible way) and “closed” (where centripetal forces win, pulling the image to the center of the work). sustainable and closed types K. prevail, for example, in the art of the Renaissance, dynamic and open - in the art of the Baroque. In the history of art, an important role was played by the addition of generally accepted compositional canons (for example, in the ancient Eastern, early medieval art, in art High Renaissance, classicism), as well as the movement from traditional rigid canonical schemes to free compositional techniques; so, in the art of the 19-20 centuries. An important role was played by the desire of artists for a free painting that would correspond to their individual creative characteristics.
About k. in music, that is, about the structure of a musical work, see. musical form.
2) Musical, pictorial, sculptural or graphic work, final result creative work of a composer or artist.
3) A complex work of art, including different kinds arts (for example, literary and musical cinema).
4) Composing music. In musical educational institutions (schools, conservatories) it is taught as a special academic subject (in Soviet musical educational institutions it is called compositions). The teaching of composition is closely connected with the study of such musical-theoretical subjects as harmony, polyphony, instrumentation, analysis musical works.
Lit.: Zhirmunsky V. M., Composition of lyrical poems, P., 1921; Tomashevsky B., Theory of Literature. Poetics, 6th ed., M. - L., 1931; Alpatov M. V., Composition in painting, M. - L., 1940: Theory of literature, [book. 2], M., 1964, p. 433-34, [book. 3], M., 1965, p. 422-42; Lotman Yu. M., Structure artistic text, M., 1970; his own, Analysis poetic text, L., 1972; Uspensky B., Poetics of composition, M., 1970; Timofeev L. I., Fundamentals of the theory of literature, M., 1971; Schmarzow A., Kompositionsgesetze in der Kunst des Mittelalters, Bd 1-2, Bonn-Lpz., 1920-22.
V. E. Khalizev, V. S. Turchin.
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 by a common hero, common ideas, problems, etc., even a common scene (for example , a 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 composition elements literary work includes epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (non-plot images created by the author's imagination), dialogues, monologues, episodes, insert stories and episodes, letters, songs ( for example, Oblomov's Dream 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.
When creating a work, the author himself chooses layout principles, "assemblies" of these elements, their sequences and interactions, using special compositional techniques. Let's look at some principles and techniques:
- 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 reverse(this technique was used by N. Chernyshevsky in the novel "What is to be done?");
- the author uses composition framing, 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 end take place in the same place, the same characters participate in them, etc. .d.; 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 the technique flashbacks, that is, the return of the action to the past, when the reasons for the current narrative were laid (for example, the author's story about Pavel Petrovich Kirsanov in Turgenev's novel "Fathers and Sons"); often when using retrospection in a work, an inserted story of the hero appears, and this type of composition will be called "story within 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" by Tolstoy, "Asya" by Turgenev, "Gooseberries" by 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 - road - tavern, meeting with Nozdrev - road - arrival at Nozdrev - road - etc .; it is important that the first volume ends precisely with the road, so the image becomes the leading structure-forming element of the work;
- the author can preface the main action with an exposition, which, for example, will be the entire first chapter in the novel "Eugene Onegin", or he can start the action immediately, abruptly, "without acceleration", as Dostoevsky does in the novel "Crime and Punishment" or Bulgakov in " Master and Margarita";
- the composition of the work may be based on symmetry of words, images, episodes(or scenes, chapters, phenomena, etc.) and will be mirror, as, for example, in A. Blok's poem "The Twelve"; mirror composition is 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 the technique compositional "gap" of events: breaks the narrative at the most interesting place at the end of the chapter, and the 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 works or works where the role of intrigue is very large.
Composition is form aspect literary work, but its content is expressed through the features of the form. The composition of a work is an important way to embody 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:
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 a poem and with the help of the so-called sound writing 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 the central images of the work. 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: 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 ("The Sea" by Zhukovsky, "I came to you with greetings ..." Fet);
- comparison of 2 images that entered into artistic interaction("Stranger" Blok); such a composition is based on the reception antitheses, or opposition.
STYLE DOMINANTS
In the text of a work there are always some points at which the style "comes out". Such points serve as a kind of stylistic "tuning fork", tune the reader to a certain "aesthetic wave" ... Style is presented as "a kind of surface on which a unique mark has been identified, a form that betrays the presence of one guiding force with its structure." (P.V. Palievskiy)
Here we are talking about STYLE DOMINANTS, which play an organizing role in the work. That is, they, the dominants, must be subject to all techniques and elements.
Style dominants - this is:
Plot, descriptiveness and psychologism,
Conditionality and lifelikeness,
monologism and heterogeneity,
Verse and prose
Nominativity and rhetoric
- simple and complex types compositions.
COMPOSITION -(from lat. compositio - compilation, binding)
The construction of a work of art, due to its content, character, purpose, and largely determining its perception.
Composition is the most important, organizing element of the artistic form, giving unity and integrity to the work, subordinating its components to each other and to the whole.
In fiction, composition is a motivated arrangement of the components of a literary work.
A component (UNIT OF COMPOSITION) is considered a ""segment"" of a work, in which one way of depicting (characteristic, dialogue, etc.) or a single point of view (author, narrator, one of the characters) on the depicted is preserved.
The mutual arrangement and interaction of these "segments" form the compositional unity of the work.
Composition is often identified both with the plot, the system of images, and with the structure of a work of art.
In the very general view There are two types of composition - simple and complex.
SIMPLE (linear) composition comes down only to the unification of the parts of the work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.
With COMPLEX (transformational) composition the order of combination of parts reflects a special artistic sense.
For example, the author does not start with an exposition, but with some fragment of a climax or even a denouement. Or the narration is conducted, as it were, in two times - the hero “now” and the hero “in the past” (remembers some events that set off what is happening now). Or a double hero is introduced - generally from another galaxy - and the author plays on the comparison / opposition of episodes.
In fact, it is difficult to find a pure type of simple composition; as a rule, we are dealing with complex (to one degree or another) compositions.
DIFFERENT ASPECTS OF COMPOSITION:
external composition
figurative system,
character system change of points of view,
parts system,
plot and plot
conflict art speech,
off-plot elements
COMPOSITE FORMS:
narration
description
characteristic.
COMPOSITE FORMS AND MEANS:
repetition, amplification, opposition, montage
matching,
"close" plan, "general" plan,
point of view,
temporal organization of the text.
REFERENCE POINTS OF THE COMPOSITION:
climax, denouement,
strong positions of the text,
repetitions, contrasts,
ups and downs in hero's fate,
spectacular artistic techniques and means.
The points of greatest reader tension are called COMPOSITION KEY POINTS. These are kind of milestones that lead the reader through the text, and in them the ideological issues works.<…>they are the key to understanding the logic of the composition and, accordingly, the entire internal logic of the work as a whole .
STRONG POSITIONS OF THE TEXT:
These include formally selected parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapters, parts (first and last sentence).
MAIN TYPES OF COMPOSITION:
ring, mirror, linear, default, flashback, free, open, etc.
STORY ELEMENTS:
exposure, connection
action development
(vices and turns)
climax, denouement, epilogue
OUTSIDE ELEMENTS
description (landscape, portrait, interior),
insert episodes.
Ticket number 26
1.Poetic vocabulary
2. Epic, dramatic and lyrical work of art.
3. The volume and content of the style of the work.
Poetic vocabulary
P.l.- one of key parties artistic text; the subject of study of a special section of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves correlating the vocabulary used in a separate sample of the artistic speech of a writer with the commonly used vocabulary, i.e., used by the writer's contemporaries in various everyday situations. The speech of the society that existed at that time historical period, to which the work of the author of the analyzed work belongs, is perceived as a certain norm, therefore, it is recognized as “natural”. The aim of the study is to describe the facts of the deviation of the individual author's speech from the norms of "natural" speech. The study of the lexical composition of the writer's speech (the so-called "writer's dictionary") at the same time turns out to be a particular type of such stylistic analysis. When studying the "writer's dictionary", attention is paid to two types of deviations from "natural" speech: the use of lexical elements that are rarely used in "natural", everyday circumstances, i.e. "passive" vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargonisms (including argotisms) and vernacular; the use of words that realize figurative (therefore rare) meanings, i.e. tropes. The introduction by the author of the words of either group into the text determines the figurativeness of the work, and therefore its artistry.
(everyday vocabulary, business vocabulary, poetic vocabulary etc.)
Poetic vocabulary. As part of the archaic vocabulary, historicisms and archaisms are distinguished. Historicisms include words that are the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, October (a child of primary school age preparing to join the pioneers), enkavedist (an employee of the NKVD - the People's Commissariat of Internal Affairs), commissar, etc. .P.). Historicism can be associated both with very distant epochs, and with events of relatively recent times, which, however, have already become facts of history ( Soviet authority, party activist, general secretary, politburo). Historicisms do not have synonyms among active words vocabulary, being the only names of the corresponding concepts.
Archaisms are the names of existing things and phenomena, for some reason displaced by other words belonging to the active vocabulary (cf .: daily - always, comedian - actor, gold - gold, know - know).
Obsolete words are heterogeneous in origin: among them there are native Russian (full, with a helmet), Old Slavonic (smooth, kiss, shrine), borrowed from other languages (abshid - “resignation”, voyage - “journey”).
Special interest stylistically, they evoke words of Old Slavic origin, or Slavicisms. A significant part of Slavonicisms assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also such Old Slavonic words that are perceived in the modern language as an echo high style and retain its characteristic solemn, rhetorical coloring.
The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavicisms in Russian literature. Names of gods and heroes of Greek and Roman mythology, special poetic symbols(lyre, ellisium, Parnassus, laurels, myrtle), artistic images ancient literature in the first third of the 19th century. formed an integral part of the poetic vocabulary. Poetic vocabulary, like Slavs, strengthened the opposition between sublime, romantically colored speech and everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already the successors of A.S. Pushkin's poeticisms are archaic. Writers often turn to obsolete words as an expressive means of artistic speech. The history of the use of Old Slavonic vocabulary in Russian fiction, especially in poetry, is interesting. Stylistic Slavisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary a source of sublimely romantic and "sweet" sounding of speech. Slavicisms that have consonant variants in Russian, primarily non-vowel ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the rights of "poetic liberties": poets could choose from two words one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp's voice, will die quietly in the air. - Bat.). Over time, the tradition of "poetic liberties" is overcome, but outdated vocabulary attracts poets and writers as a strong means of expression.
Obsolete words perform various stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the color of distant times. In this function, they were used, for example, by A.N. Tolstoy:
“The land of Ottich and Dedich are those banks of full-flowing rivers and forest clearings where our ancestor came to live forever. (...) he fenced his dwelling with a fence and looked along the path of the sun into the distance of centuries.
And he imagined a lot - heavy and hard times: the red shields of Igor in the Polovtsian steppes, and the groans of the Russians on Kalka, and the peasant spears installed under the banners of Dmitry on the Kulikovo field, and the ice covered with blood Lake Peipus, and the Terrible Tsar, who parted the united, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea ... ".
Archaisms, especially Slavicisms, give speech an elevated, solemn sound. Old Slavonic vocabulary acted in this function back in ancient Russian literature. In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, Old Russianisms were stylistically equalized, which also began to be involved in creating the pathos of artistic speech. The high, solemn sound of obsolete words is also appreciated by writers of the 20th century. During the years of the Great Patriotic War I.G. Ehrenburg wrote: “Having repulsed the blows of predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, she saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see in the distance a world enlightened by grief, in which good will shine. Our people showed their military virtues…”
Outdated vocabulary can acquire an ironic connotation. For example: Which of the parents does not dream of a smart, balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from the gas.). The ironic rethinking of obsolete words is often facilitated by the parodic use of elements of high style. In the parodic-ironic function, obsolete words often appear in feuilletons, pamphlets, and humorous notes. Let us refer to an example from a newspaper publication during the period of preparation for the day the president took office (August 1996).
Composition is the arrangement of parts of a literary work in a certain order, a set of forms and methods of artistic expression by the author, depending on his intention. Translated from Latin means "composition", "construction". The composition builds all parts of the work into a single finished whole.
It helps the reader to better understand the content of the works, maintains interest in the book and helps to draw the necessary conclusions in the final. Sometimes the composition of the book intrigues the reader and he is looking for a continuation of the book or other works of this writer.
Composite elements
Among such elements are narration, description, dialogue, monologue, insert stories and lyrical digressions:
- Narration- the main element of the composition, the story of the author, revealing the content of the work of art. Occupies most the volume of the entire work. It conveys the dynamics of events, it can be retold or illustrated with drawings.
Description. This is a static element. During the description, events do not occur, it serves as a picture, a background for the events of the work. The description is a portrait, an interior, a landscape. A landscape is not necessarily an image of nature, it can be a landscape of a city, a lunar landscape, a description of fantastic cities, planets, galaxies, or a description of fictional worlds.- Dialog- a conversation between two people. It helps to reveal the plot, deepen the characters actors. Through the dialogue of two heroes, the reader learns about the events of the past of the heroes of the works, about their plans, begins to better understand the characters of the heroes.
- Monologue- the speech of one character. In the comedy by A. S. Griboyedov, through the monologues of Chatsky, the author conveys thoughts advanced people of his generation and the experience of the hero himself, who learned about the betrayal of his beloved.
- Image system. All images of the work that interact in connection with the author's intention. These are images of people fairy tale characters, mythical, toponymic and subject. There are absurd images invented by the author, for example, "The Nose" from Gogol's story of the same name. The authors simply invented many images, and their names became common.
- Insert stories, a story within a story. Many authors use this technique to set up intrigue in a work or at a denouement. There may be several inserted stories in the work, the events in which take place at different times. Bulgakov's "The Master and Margarita" uses the novel-in-novel technique.
Author's or lyrical digressions. Gogol has many lyrical digressions in his Dead Souls. Because of them, the genre of the work has changed. It's big prose work called the poem "Dead Souls". And "Eugene Onegin" is called a novel in verse because of the large number of author's digressions, thanks to which an impressive picture appears before readers. Russian life early 19th century.- Author's characteristic . In it, the author talks about the character of the hero and does not hide his positive or negative attitude towards him. Gogol in his works often gives ironic characteristics to his characters - so precise and capacious that his characters often become household characters.
- The plot of the story is a chain of events that take place in a work. The plot is the content of the literary text.
- plot- all events, circumstances and actions that are described in the text. The main difference from the plot is the chronological sequence.
- Landscape- description of nature, real and imaginary world, cities, planets, galaxies, existing and fictional. landscape is artistic technique, thanks to which the character of the characters is more deeply revealed and an assessment of events is given. One can recall how the sea landscape changes in Pushkin's "The Tale of the Fisherman and the Fish" when the old man again and again comes to the Golden Fish with another request.
- Portrait This description is not only appearance hero, but also inner world. Thanks to the talent of the author, the portrait is so accurate that all readers have the same image of the hero of the book they read: what Natasha Rostova looks like, Prince Andrei, Sherlock Holmes. Sometimes the author draws the reader's attention to some feature hero, for example, the mustache of Poirot in the books of Agatha Christie.
Don't Miss: In Literature, Use Cases.
Compositional techniques
Story composition
In the development of the plot there are stages of development. Conflict is always at the center of the plot, but the reader does not immediately learn about it.
Story composition depends on the genre of the work. For example, a fable necessarily ends with a moral. The dramatic works of classicism had their own laws of composition, for example, they had to have five acts.
The composition of folklore works is distinguished by its unshakable features. Songs, fairy tales, epics were created according to their own laws of construction.
The composition of the fairy tale begins with a saying: "Like on the sea-ocean, but on the island of Buyan ...". The saying was often composed in poetic form and sometimes was far from the content of the fairy tale. The storyteller attracted the attention of the listeners with a saying and waited for them to listen without being distracted. Then he said: “This is a saying, not a fairy tale. The story will come."
Then came the beginning. The most famous of them begins with the words: "Once upon a time there were" or "In a certain kingdom, in a thirtieth state ...". Then the storyteller moved on to the tale itself, to its heroes, to miraculous events.
Techniques of a fairy-tale composition, a three-fold repetition of events: the hero fights three times with the Serpent Gorynych, three times the princess sits at the window of the tower, and Ivanushka flies to her on horseback and rips off the ring, three times the Tsar tests daughters-in-law in the fairy tale "The Frog Princess".
The ending of the fairy tale is also traditional, they say about the heroes of the fairy tale: "They live - they live and make good things." Sometimes the ending hints at a treat: "You have a fairy tale, and I knit bagels."
literary composition- this is the arrangement of parts of the work in a certain sequence, this is an integral system of forms artistic image. The means and techniques of composition deepen the meaning of the depicted, reveal the characteristics of the characters. Each work of art has its own unique composition, but there are its traditional laws that are observed in some genres.
In the days of classicism, there was a system of rules that prescribed certain rules for writing texts to authors, and they could not be violated. This is the rule of three unities: time, place, plot. This is a five-act structure of dramatic works. it speaking surnames and a clear division into negative and goodies. Features of the composition of works of classicism are a thing of the past.
Compositional techniques in literature depend on the genre of a work of art and on the talent of the author, who has the types, elements, techniques of composition, knows its features and knows how to use these artistic methods.
Composition (from lat. compositio - compilation, connection) - compound parts, or components, into a whole; the structure of the literary and artistic form. Composition - compound parts, but not the parts themselves; depending on what level (layer) of the art form in question distinguish aspects of composition. This is the arrangement of characters, and the event (plot) connections of the work, and the installation of details (psychological, portrait, landscape, etc.), and the repetition of symbolic details (forming motives and leitmotifs), and the change in the flow of speech of its forms such as narration, description, dialogue, reasoning, as well as the change of subjects of speech, and the division of the text into parts (including the frame and main text), and the discrepancy between poetic rhythm and meter, and the dynamics of speech style, and much more. Aspects of composition are diverse. At the same time, the approach to the work as aesthetic object reveals at least two layers in the composition of his artistic form and, accordingly, two compositions that combine components that are different in nature.
Literary work appears to the reader as word text, perceived in time, having a linear extent. However, behind the verbal fabric there is a correlation of images. Words are signs of objects (in a broad sense), which in the aggregate are structured in world (objective world) works.
The composition of a literary work. This is the ratio and arrangement of parts, elements in the composition of the work.
The composition of the plot, scenes, episodes. Correlation of plot elements: retardation, inversion, etc.
Retardation(from lat. retardation- deceleration) - a literary and artistic device: a delay in the development of an action by including extra-fable elements in the text - lyrical digressions, various descriptions (landscape, interior, characterization).
Inversion in literature- violation of the usual order of words in a sentence. In analytic languages (for example, English, French), where word order is strictly fixed, stylistic inversion is relatively uncommon; in inflectional ones, including Russian, with a fairly free word order - very significantly.
Gusev "The Art of Prose": reverse time composition (« Easy breath» Bunina). Composition of direct time. retrospective("Ulysses" Joyce, "The Master and Margarita" Bulgakov) - different eras become independent objects of the image. Forcing phenomena- often in lyrical texts - Lermontov.
compositional contrast(“War and Peace”) is the antithesis. Plot-compositional inversion("Onegin", "Dead Souls"). The principle of parallelism- in the lyrics, "Thunderstorm" by Ostrovsky. Composite rings o - "Inspector".
Composition of figurative structure. The character is in interaction. There are main, secondary, off-stage, real and historical characters. Ekaterina - Pugachev are bound together through an act of mercy.
Composition. This is the composition and a certain position of parts of the elements and images of works in time sequence. Carries meaningful and semantic load. External composition - the division of the work into books, volumes / is auxiliary in nature and serves for reading. More meaningful nature of the elements: prefaces, epigraphs, prologues, / they help to reveal main idea work or to indicate the main problem of the work. Internal - includes various types of descriptions (portraits, landscapes, interiors), non-plot elements, set episodes, all kinds of digressions, various forms characters' speeches and points of view. The main task of the composition is the decency of the image artistic world. This decency is achieved through a kind of compositional techniques - repeat- one of the most simple and real, it makes it easy to round off the work, especially the ring composition, when a roll call is established between the beginning and end of the work, it has a special artistic meaning. Composition of motives: 1. motives (in music), 2. opposition (combination of repetition, opposition gives mirror compositions), 3. details, installation. 4. default, 5. point of view - the position from which stories are told or from which the events of the characters or the narrative are perceived. Types of points of view: ideal-holistic, linguistic, space-temporal, psychological, external and internal. Types of compositions: simple and complex.
Plot and plot. Categories of material and reception (material and form) in the concept of VB Shklovsky and their modern understanding. Automation and removal. Correlation between the concepts "plot" and "plot" in the structure of the artistic world. The significance of the distinction between these concepts for the interpretation of the work. Stages in the development of the plot.
The composition of a work as its construction, as the organization of its figurative system in accordance with the concept of the author. The subordination of the composition to the author's intention. Reflection in the composition of the tension of the conflict. The Art of Composition, composition center. The criterion of artistry is the correspondence of the form to the concept.
Architectonics is the construction of a work of art. The term “composition” is more often used in the same sense, and in application not only to the work as a whole, but also to its individual elements: the composition of the image, plot, stanza, etc.
The concept of architectonics combines the ratio of parts of a work, the location and interconnection of its components (terms), which together form a certain artistic unity. The concept of architectonics includes external structure works, and the construction of the plot: division of the work into parts, type of storytelling (from the author or on behalf of a special narrator), the role of the dialogue, one or another sequence of events (temporary or in violation of the chronological principle), the introduction of various descriptions, author's reasoning into the narrative fabric and lyrical digressions, the grouping of characters, etc. The methods of architectonics constitute one of the essential elements of style (in the broad sense of the word) and, together with it, are socially conditioned. Therefore, they change in connection with the socio-economic life of a given society, with the appearance on the historical scene of new classes and groups. If we take, for example, Turgenev's novels, then we will find in them a sequence in the presentation of events, smoothness in the course of the narrative, an orientation towards the harmonious harmony of the whole, an important compositional role landscape. These traits are easily explained both by the life of the estate and the psyche of its inhabitants. Dostoevsky's novels are built according to completely different laws: the action begins from the middle, the narration flows quickly, in jumps, and the external disproportion of the parts is also noticed. These properties of architectonics are determined in exactly the same way by the features of the depicted environment - the metropolitan philistinism. Within the same literary style Architectonics techniques vary depending on artistic genre(novel, short story, short story, poem, dramatic work, lyric poem). Each genre is characterized by specific features requiring a unique composition.
27. Language is the fundamental principle of literature. The language is colloquial, literary and poetic.
Artistic speech absorbs the most different forms speech activity. For many centuries the language of fiction was determined by the rules of rhetoric and oratory. Speech (including written) had to be convincing, impressing; hence the characteristic speech techniques - numerous repetitions, "decorations", emotionally colored words, rhetorical (!) Questions, etc. Authors competed in eloquence, stylistics was determined by increasingly strict rules, and literary works themselves were often filled with sacred meaning(especially in the Middle Ages). As a result to XVII century(the era of classicism) literature turned out to be accessible and understandable to a rather narrow circle educated people. Therefore, since the 17th century, all European culture evolves from complexity to simplicity. V.G. Belinsky calls rhetoric a "false idealization of life." Elements of colloquial speech penetrate the language of literature. Creativity A.S. Pushkin in this respect is, as it were, at the turn of the two traditions of speech culture. His works often make up a fusion of rhetorical and colloquial speech (a classic example is the introduction to " To the stationmaster"Written in an oratorical style, and the story itself is stylistically quite simple).
Speaking connected, first of all, with the communication of people in their private lives, so it is simple and free from regulation. In the XIX - XX centuries. Literature as a whole is perceived by writers and scientists as a peculiar form of conversation between the author and the reader, and it is not for nothing that an address like “my dear reader” is associated primarily with this era. Artistic speech often also includes written forms of non-artistic speech (for example, diaries or memoirs), it easily allows deviations from the linguistic norm and implements innovations in the field of speech activity (remember, for example, the word creation of Russian futurists).
Today in works of art you can find the most modern forms speech activity - SMS quotes, excerpts from emails and much more. Moreover, they often mix different types arts: literature and painting / architecture (for example, the text itself fits into a certain geometric figure), literature and music (the soundtrack is indicated for the work - a phenomenon undoubtedly borrowed from the culture of the live magazine), etc.
Features of the language of fiction.
Language, of course, is inherent not only literary creativity, it covers all aspects of the surrounding reality, so we will try to determine those specific features languages that make it a means artistic reflection reality.
The function of cognition and the function of communication- two main, closely related sides of the language. In the process historical development a word can change its original meaning, so much so that we begin to use some words in meanings that contradict them: for example, red ink (from the word black, blacken) or cut off chunk (break off), etc. These examples show that the creation of a word is the knowledge of a phenomenon, the language reflects the work of a person’s thought, different aspects life, historical phenomena. It is estimated that about 90 thousand words are used in modern usage. Each word has its own stylistic coloring (for example: neutral, colloquial, colloquial) and history, and, in addition, the word acquires additional meaning from the surrounding words (context). An unsuccessful example in this sense was given by Admiral Shishkov: "Carried by fast horses, the knight suddenly fell from the chariot and broke his face." The phrase is funny because words of different emotional coloring are combined.
The task of selecting one or another speech means for the work is quite complicated. This selection is usually motivated figurative system underlying the work. Speech is one of important characteristics characters and the author himself.
The language of fiction carries a huge aesthetic beginning, therefore the author of a work of art not only generalizes the language experience, but also to some extent determines the speech norm, is the creator of the language.
The language of a work of art. Fiction is a set of literary works, each of which is an independent whole. A literary work that exists as a complete text written in one language or another (Russian, French) is the result of the writer's creativity. Usually the work has a title; in lyrical poems, its function is often performed by the first line. The centuries-old tradition of the external design of the text emphasizes the special significance of the title of the work: when handwriting, and after the invention of printing. Diverse works: typological properties on the basis of which a work is attributed to a particular literary genre(epos, lyrics, drama, etc.); genre (story, short story, comedy, tragedy, poem); aesthetic category or mode of art (sublime, romantic); rhythmic organization of speech (verse, prose); stylistic dominance (lifelikeness, conventionality, plot); literary movements (symbolism and acmeism).
